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https://youtu.be/qpU6qgBwITk
Here's Diana recycling that pixie afro again.
This is a much better performance than Sullivan, but why no second verse? It doesn't look like it's been edited out. And the "story" of the song makes no sense without the additional lyricis. Mom is cooking bread, then suddenly drops dead while cooking jam. Must have been hot in that kitchen.
These dresses are gorgeous. Would be recycled later [[minus a few beads) for the RIGHT ON cover.
I liked this better than the Sullivan version too. And Mary and Cindy sound great too. Unlike Love Child, I would have preferred they did the backgrounds on the recording rather than the Andantes.
I love these gowns..I have a question about this apperance - was this the Hollywood Palace where the very last shot of the show had the ladies holding hands as they left the darkened stage ? i saw it once and can never find the clip since..I thought it was beautifully shot
Yes it is, circa 7:44.https://www.youtube.com/watch?v=wPtZba-VkSgQuote:
Originally Posted by nomis
thank you Reese much appreciatedQuote:
Originally Posted by reese
Lol. I love that you threw in “minus a few beads”. I was called ocd on this here forum once for pointing it out!Quote:
Originally Posted by marybrewster
I very much like this version better than the Sullivan one. I like any DRATS live, non lip synced set where you can hear Mary and Cindy in place of the Andantes.
https://www.youtube.com/watch?v=lqakDo11cPQ
I do like the Hollywood Palace version of 'I'm Living In Shame' with Cindy & Mary ever since I first heard it. They seem quite comfortable with it.
However, on another note, their background vocals for the 2nd performance of Love Child on Ed Sullivan lacks much of the dramatic effect that the high and low notes of the Andante's brought to the song. Here Mary & Cindy really strain trying to reach the high notes. I find it interesting that on the words 'scorned by' Mary's voice is prominent but on 'different from' Cindy's voice is. I wonder if they agreed to sing it that way so that each could have a prominent moment or did the sound engineer pull out each voice from their pre-recorded background vocals to highlight each.
I don’t think they’re straining but they are singing it in a higher key than the AndantesQuote:
Originally Posted by luckyluckyme
Yes it is, as Reese already pointed out. But maybe you should do yourself a favor and check the site :Quote:
Originally Posted by nomis
http://dianarosssupremes.free.fr/index.htm
were all the tv show of the 1960s are listed, ordered chronologically, with tons of pictures and many many links to videos. It may save you time in searching something you haven't seen in years :) [[or discover new videos?).
Hope it helps!
The live versions I've heard of LOVE CHILD [[Sullivan, Hollywood Palace, Farewell) pale next to the original recording. Live, they did it in a slightly lower key that took a bit of the edge off, IMO. But it might have been hard to sing it in the higher key nightly.Quote:
Originally Posted by luckyluckyme
well nearly all of their live versions pale to the original.Quote:
Originally Posted by reese
Stoned Love just never worked live IMO. the majesty is just lost, especially at the rapid pace they always took it. perhaps if on stage and with a full orchestra [[and reduced speed) you'd have an opportunity to sort of approximate the magic from the studio version
as for LC, the live versions just sap it of all tension and power. it has become a show tune
I was surprised to see LOVE CHILD used as an audience participation number in their last Hollywood Palace appearance.Quote:
Originally Posted by sup_fan
I always thought it appeared rather awkward [[at least to me who was even as a child at the time) that there would be children brought up on stage during the "Love Child" number. Yes, I know the children had no idea what the subject matter of the lyrics were about; however, even today, I wonder if they look back at the footage now and question, "Was I up there because I was a love child?"Quote:
Originally Posted by reese
yeah it sort of sanitizes things to use as an audience participation and all. on the harsh side, it sort of negates the statement being made by the song. or the idea that motown and the girls WERE making a statement versus pandering. There's no denying that the single was an amazing tune. the production was so hot, the vocal incredible and Diana's emotional interpretation is one of her best ever of her whole career.Quote:
Originally Posted by jobucats
to then realize this is all sort of a gimmick to simply be "on trend" unfortunately really erodes the impact of the song.
i don't think the Sups would be expected to be marching in the streets or becoming militant. but they didn't even really adapt or grow their image to accommodate this
The Gold gowns from Hollywood Palace / Right On cover were also worn on Sullivan...they performed The Impossible Dream wearing them....same show as the No Matter What Sign You Are performance.....
Anyone know what happened to this set?...was the Right On photo shoot the last time we saw them? They looked great on TV...and I wish Jeans sleeve in the RO photo shoot was corrected...it's been fodder for the DR's gone, no one cares crew for years.
these gowns were supposedly lost in the Mexico fire.Quote:
Originally Posted by gman
on sullivan and Hollywood Palace, these gowns look stunning. like liquid gold. they moved beautifully and how they reflected the stage lights.
thank you sup_fan! I read there were 7 sets lost...and that they didn't actually burn, but were melted and ruined from the smoke and heat....from what you know, is this the group of gowns that were ruined:Talk of the Town cover setMSC Sonny and Cher show OrangeGIT Indian and BatwingBlack Forever Came Today setthese Right On gold set????thanks for sharing your knowledge....
I've stared at RIGHT ON cover several times shaking my head how that picture could have gotten past the Art Department.Quote:
Originally Posted by thanxal
I've seen pics of JML in these, but I think they melted in Mexico.Quote:
Originally Posted by gman
I haven't seen the full length poster from the Right On album in years [[it's in the attic with other memorabilia) but if I'm not mistaken there are beads missing from the sleeves of each of their dresses. I used to joke that it was like the stripes on soldiers uniforms determining rank.Quote:
Originally Posted by marybrewster
Not just beads, honey, but ROWS of beads.
i think a few more sets burned. from what i've gathered and fans have discussed the gowns lost were
the indian maiden pantsuits
blue/green and silver pansuits [[no matter what sign)
gold Right On dresses
the altered black sequin Forever Came Today gowns
the yellow batwing final Sullivan gowns
chandelier gowns from Talk of the Town
the white and bronze MSC gowns with all the feathers [[later remade)
red Sonny & Cher outfits [[damaged and repaired)
Supposed the brown sequin pantsuits were there but weren't damaged so they were able to still wear these on the trip
Funny that in 1974, the majority of their stageware was still from the Diana era. When you think about all the sets they acquired between 1970 and 1974, the Diana sets should have been minimal.
I don't recall, did any DMF sets make it past DMC?
what i've heard is that Jean really preferred the pantsuits and when she left, i guess mary was over those lol. also it might have been what could be quickly altered for Scherrie, she'd only been in the group about 4 months at this point.
during the years, MSC did wear the white fringe mini dresses, the brown feather pantsuits, the lavender Flip wilson pantsuits, the lavender sequin dresses both with the skirts and with the black pants, and the flowered dresses from Sonny and Cher
with MSS they wore the white bugle bead dresses, the revised red pantsuits from ed sullivan, the green Tom Jones fringe pantsuits.
Some that seem to be simply put away are:
the gold pantsuits from Tom Jones
the pink Glen Campbell pantsuits
the blue shorts and overalls
the blue hot pants with rad halter tops from Flip Wilson intro
the other MJL gowns
the white pantsuits from andy williams were stolen
the bla