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Tagged with An Evening With Diana Ross [[1977) … Mar 11 2012
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Live Album
An Evening With Diana Ross [[1977)
“All I ever wanted was the music, and the chance to sing for you…”
If you asked several people on the street to name Diana Ross’s greatest achievement, you’d probably get a variety of answers. Some would surely say Lady Sings The Blues; others would name songs like “I’m Coming Out” or “Ain’t No Mountain High Enough.” A lot would probably say her time with the Supremes, or name one of the 12 #1 hits the group had with Diana singing lead. But chances are almost nobody would call out her one-woman show, An Evening With Diana Ross, which she toured with and won a special Tony Award for following its run at Broadway’s Palace Theatre.
This is a shame, because An Evening With Diana Ross really displays the artist at the very zenith of her accomplishments. The stage show – along with this double-LP recorded in Los Angeles and the Emmy-nominated television special built around it – is a masterful display of Diana Ross doing what she does best – putting on an energetic, versatile, fast-paced show filled with hit songs, standards, and some surprising inclusions. This is much more than a concert; it’s a song-and-story performance, in the same way that the more recent Elaine Stritch At Liberty is. Brilliantly directed by Joe Layton [[known for his work on Broadway like Barnum and with Barbra Streisand on her early, successful television specials), the show tells the story of Diana Ross at various points in her life; she uses Harry Nilsson’s The Point! to talk about her children, songs from A Chorus Line to illustrate becoming an actress, and devotes sections to the story of Motown, the Supremes, and the great ladies of jazz and blues like Billie Holiday and Josephine Baker. It is a grand, overblown musical spectacular from start to finish, and never once loses the momentum set from the beginning with her mash-up of “Here I Am” and “I Wouldn’t Change A Thing.”
Best of all, the show is extremely successful as an album. Unlike Diana’s 1974 album release Live At Caesar’s Palace, the incredible energy displayed Diana Ross in her vocal performances compensates for the lack of visuals. There is so much more than music included here, which means the song choices are always explained and make perfect sense in context with one another [[whereas certain sections of Caesar’s Palace seemed to come from out of nowhere). Diana is in fine voice throughout – in fact, she’s in more than fine voice. The nightly demands of doing this show clearly worked her vocal chords into tip-top shape; her performances here are extremely powerful, far more impressive than anything she’d displayed on her past few albums.
Because the album is long and includes many song-snippets as part of medleys, I’ll review it both track-by-track and also by section, depending on what makes more sense to me. It is, however, a work best listened to straight-through; as a whole, this is a brilliantly conceived show, and the album – thankfully – captures just how creative and dynamic Diana was at her peak of stardom.
***
Overture/Here I Am/I Wouldn’t Change A Thing: Aside from the exciting “TCB” at the beginning of the Supremes’ Farewell album, I think this is the best opening of a recorded Diana Ross show; the instrumental overture, made up of music from the Mahogany soundtrack, leads into Diana’s stunning medley of “Here I Am” and “I Wouldn’t Change A Thing,” in which she’s in full, commanding voice. The lyrics perfectly sum up the entire show that will follow; Diana sings “Here I Am, and here I’ll always stay…wanting you…needing you…” to her audience, expressing appreciation that fans have been part of her life and assuring them she wouldn’t have it any other way. Again, her vocals are powerful and energetic; she sounds so much more vibrant than she had on Live At Caesar’s Palace. As she belts out the final word of the medley, holding “stay” for several seconds at the top of her register, she truly sounds like a Broadway star — in fact, her voice sounds far more powerful here than on most of her recorded work, which is competely opposite of most singers, who can’t always match their studio output in live performance.
The Lady Is A Tramp: Here we go again with this standard, which was pretty much a guarantee at a Diana Ross concert by this point. She’d recorded versions with the Supremes on Live At London’s Talk Of The Town and Farewell, and on her own Live At Caesar’s Palace. I imagine that for Diana, this was an easy inclusion that she knew would keep the energy pumping; certainly she could sing it in her sleep. For fans aware of her discography, the song is a little tired [[I still think the best version is on Farewell), but she sounds good and again, it was probably a sure-fire way to help get her voice warmed up early in the show and to get audiences moving in their seats.
Touch Me In The Morning: After a quick welcome to fans [[“Hello, LA!” she says, because the LP was recorded during the show’s stint at the Ahmanson Theatre in Los Angeles), she eases into her 1973 #1 hit. The tempo of the song is slightly increased, which it gives a nice groove, and Diana sings in a far more “show-biz-y” manner than she had on the original recording, which makes sense given the context. The placement of the song early in the show is clearly to please fans who were coming to hear Diana sing her hits; she’s still easing audiences into what will be an extended musical journey.
Smile/Send In The Clowns: Diana introduces “Smile” as one of her favorite songs, and turns in a lovely, effective performance of the popular tune written by Charlie Chaplin. The recorded version released on 1976′s Diana Ross was over-produced and overly saccharine, but it works far better here as part of a live show, and Diana’s vocals are more brassy and less syrupy, which makes the song more palatable. It then segues nicely into the Sondheim classic “Send In The Clowns,” from which Diana sings a few lines [[including the great “Isn’t it rich…isn’t it queer…losing my timing this late in my career?”). There’s an extended musical break during which there’s clearly a visual performance going on, but it’s still a nice inclusion here and keeps things moving.
Love Hangover: This was, of course, Diana’s big hit at the time; the song had sailed to #1 on the pop and R&B charts in 1976 and had earned her a Grammy nomination. Here, it serves basically as the closing of the show’s extended “introduction” [[and comes at the end of Side A of the original LP release); everything to this point has been handled in the fashion of a typical concert, and the songs have not been bound together by stories. However, from here on out, that will change, and the numerous autobiographical segments will begin. Much of “Love Hangover” consists of Diana’s pre-recorded vocals [[which she jokingly points out to the audience by talking at the same time her voice is singing) — I assume this was a chance for her to make a costume change and prepare for what comes next.
Girls: Diana sings a cute, short rendition of John Phillips’s “Girls” — which she uses to discuss her own three children, Rhonda, Tracee, and Chudney. Her stage patter here is really funny and delivered with perfect comic timing [[i.e. “I have girls in my bathroom, girls in my closet, girls wearing my shoes, my lipstick, my perfume, sleeping with my husband…). She also explains that the next few songs come at the request of her daughter Rhonda, and comprise her favorite story…
The Point [[Everybody’s Got ‘Em/Me And My Arrow/Lifelife/Everybody’s Got ‘Em [Reprise]): Rhonda’s “favorite story” [[don’t you wonder if it really was?) is the tale of Oblio, the little “round-headed” boy in the Land of Point. The Point! had been an animated special and album written by singer Harry Nilsson; his album had been released in 1971 and the film aired on ABC the same year. Diana uses three of the album’s songs to tell the story, acting out the parts of various characters [[her different voices are pretty entertaining) and weaving in narration and the songs. Diana Ross is obviously a gifted musical storyteller, and “The Point” segment here is a lot of fun; because it’s well-known just how much of a devoted mother she is and how fond she is of children in general, it makes perfect sense that she’d dedicate part of her show to them. “Lifeline” in particular is a lovely performance, showcasing gorgeous harmonies between Diana and her background singers, The Jones Girls.
Album-by-album…track-by-track…The Boss & her music
HomeAbout/Contact
Tagged with An Evening With Diana Ross [[1977) … Mar 11 2012
3 Comments
Live Album
An Evening With Diana Ross [[1977)
“All I ever wanted was the music, and the chance to sing for you…”
If you asked several people on the street to name Diana Ross’s greatest achievement, you’d probably get a variety of answers. Some would surely say Lady Sings The Blues; others would name songs like “I’m Coming Out” or “Ain’t No Mountain High Enough.” A lot would probably say her time with the Supremes, or name one of the 12 #1 hits the group had with Diana singing lead. But chances are almost nobody would call out her one-woman show, An Evening With Diana Ross, which she toured with and won a special Tony Award for following its run at Broadway’s Palace Theatre.
This is a shame, because An Evening With Diana Ross really displays the artist at the very zenith of her accomplishments. The stage show – along with this double-LP recorded in Los Angeles and the Emmy-nominated television special built around it – is a masterful display of Diana Ross doing what she does best – putting on an energetic, versatile, fast-paced show filled with hit songs, standards, and some surprising inclusions. This is much more than a concert; it’s a song-and-story performance, in the same way that the more recent Elaine Stritch At Liberty is. Brilliantly directed by Joe Layton [[known for his work on Broadway like Barnum and with Barbra Streisand on her early, successful television specials), the show tells the story of Diana Ross at various points in her life; she uses Harry Nilsson’s The Point! to talk about her children, songs from A Chorus Line to illustrate becoming an actress, and devotes sections to the story of Motown, the Supremes, and the great ladies of jazz and blues like Billie Holiday and Josephine Baker. It is a grand, overblown musical spectacular from start to finish, and never once loses the momentum set from the beginning with her mash-up of “Here I Am” and “I Wouldn’t Change A Thing.”
Best of all, the show is extremely successful as an album. Unlike Diana’s 1974 album release Live At Caesar’s Palace, the incredible energy displayed Diana Ross in her vocal performances compensates for the lack of visuals. There is so much more than music included here, which means the song choices are always explained and make perfect sense in context with one another [[whereas certain sections of Caesar’s Palace seemed to come from out of nowhere). Diana is in fine voice throughout – in fact, she’s in more than fine voice. The nightly demands of doing this show clearly worked her vocal chords into tip-top shape; her performances here are extremely powerful, far more impressive than anything she’d displayed on her past few albums.
Because the album is long and includes many song-snippets as part of medleys, I’ll review it both track-by-track and also by section, depending on what makes more sense to me. It is, however, a work best listened to straight-through; as a whole, this is a brilliantly conceived show, and the album – thankfully – captures just how creative and dynamic Diana was at her peak of stardom.
***
Overture/Here I Am/I Wouldn’t Change A Thing: Aside from the exciting “TCB” at the beginning of the Supremes’ Farewell album, I think this is the best opening of a recorded Diana Ross show; the instrumental overture, made up of music from the Mahogany soundtrack, leads into Diana’s stunning medley of “Here I Am” and “I Wouldn’t Change A Thing,” in which she’s in full, commanding voice. The lyrics perfectly sum up the entire show that will follow; Diana sings “Here I Am, and here I’ll always stay…wanting you…needing you…” to her audience, expressing appreciation that fans have been part of her life and assuring them she wouldn’t have it any other way. Again, her vocals are powerful and energetic; she sounds so much more vibrant than she had on Live At Caesar’s Palace. As she belts out the final word of the medley, holding “stay” for several seconds at the top of her register, she truly sounds like a Broadway star — in fact, her voice sounds far more powerful here than on most of her recorded work, which is competely opposite of most singers, who can’t always match their studio output in live performance.
The Lady Is A Tramp: Here we go again with this standard, which was pretty much a guarantee at a Diana Ross concert by this point. She’d recorded versions with the Supremes on Live At London’s Talk Of The Town and Farewell, and on her own Live At Caesar’s Palace. I imagine that for Diana, this was an easy inclusion that she knew would keep the energy pumping; certainly she could sing it in her sleep. For fans aware of her discography, the song is a little tired [[I still think the best version is on Farewell), but she sounds good and again, it was probably a sure-fire way to help get her voice warmed up early in the show and to get audiences moving in their seats.
Touch Me In The Morning: After a quick welcome to fans [[“Hello, LA!” she says, because the LP was recorded during the show’s stint at the Ahmanson Theatre in Los Angeles), she eases into her 1973 #1 hit. The tempo of the song is slightly increased, which it gives a nice groove, and Diana sings in a far more “show-biz-y” manner than she had on the original recording, which makes sense given the context. The placement of the song early in the show is clearly to please fans who were coming to hear Diana sing her hits; she’s still easing audiences into what will be an extended musical journey.
Smile/Send In The Clowns: Diana introduces “Smile” as one of her favorite songs, and turns in a lovely, effective performance of the popular tune written by Charlie Chaplin. The recorded version released on 1976′s Diana Ross was over-produced and overly saccharine, but it works far better here as part of a live show, and Diana’s vocals are more brassy and less syrupy, which makes the song more palatable. It then segues nicely into the Sondheim classic “Send In The Clowns,” from which Diana sings a few lines [[including the great “Isn’t it rich…isn’t it queer…losing my timing this late in my career?”). There’s an extended musical break during which there’s clearly a visual performance going on, but it’s still a nice inclusion here and keeps things moving.
Love Hangover: This was, of course, Diana’s big hit at the time; the song had sailed to #1 on the pop and R&B charts in 1976 and had earned her a Grammy nomination. Here, it serves basically as the closing of the show’s extended “introduction” [[and comes at the end of Side A of the original LP release); everything to this point has been handled in the fashion of a typical concert, and the songs have not been bound together by stories. However, from here on out, that will change, and the numerous autobiographical segments will begin. Much of “Love Hangover” consists of Diana’s pre-recorded vocals [[which she jokingly points out to the audience by talking at the same time her voice is singing) — I assume this was a chance for her to make a costume change and prepare for what comes next.
Girls: Diana sings a cute, short rendition of John Phillips’s “Girls” — which she uses to discuss her own three children, Rhonda, Tracee, and Chudney. Her stage patter here is really funny and delivered with perfect comic timing [[i.e. “I have girls in my bathroom, girls in my closet, girls wearing my shoes, my lipstick, my perfume, sleeping with my husband…). She also explains that the next few songs come at the request of her daughter Rhonda, and comprise her favorite story…
The Point [[Everybody’s Got ‘Em/Me And My Arrow/Lifelife/Everybody’s Got ‘Em [Reprise]): Rhonda’s “favorite story” [[don’t you wonder if it really was?) is the tale of Oblio, the little “round-headed” boy in the Land of Point. The Point! had been an animated special and album written by singer Harry Nilsson; his album had been released in 1971 and the film aired on ABC the same year. Diana uses three of the album’s songs to tell the story, acting out the parts of various characters [[her different voices are pretty entertaining) and weaving in narration and the songs. Diana Ross is obviously a gifted musical storyteller, and “The Point” segment here is a lot of fun; because it’s well-known just how much of a devoted mother she is and how fond she is of children in general, it makes perfect sense that she’d dedicate part of her show to them. “Lifeline” in particular is a lovely performance, showcasing gorgeous harmonies between Diana and her background singers, The Jones Girls.