Talent on Stage
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cash box talent on stage Minnie Riperton Kiss Melissa Manchester THE RIVIERA HOTEL. LAS VEGAS -A THE FORUM, L.A. - We miss out on so powder. Dig it man! Look what Paul THE TROUBADOUR, L.A. - Way back sure sign that a singer possesses much by growing up. There were the Stanley did and he got away with it. in music's earliest presentations, you genuine talent is said performer's ability games of make believe when wanting to The band's posturing was nothing sang because it was in you to do so. No to go beyond what has been expected all be a fireman or a fairy princess weren't short of every comic book you've ever pretentions. No worries about being in along and to give an audience something the pretentious notions of a not quite old read as the stance of kabuki punk from the right key or register. It felt good so equally strong. but unexpected. In other enough mind. The courageous levels of outer space cast an entertaining spectre you did it. This attitude of "what the hell!" words we know you're perfect, but what obnoxiousness we aspired to because over the arena confines. Gene Simmons was applied by Melissa Manchester at else can you do? Such was the case with conscience and responsibility were as the fire breathing blood capsule going her recent Troubadour gig with said Minnie Riperton's recent Vegas opening words we hadn't learned yet. at instrumental odds with Ace Frehley's looseness waxing successful. as her performing "more" was unveiled. Well, for all intents and purposes we Commander Cody of the ozone. Finally Ms. Manchester (an Arista songstress) Ms. Riperton's (an Epic range) much do grow up. But what if - "Mom. Can I Peter Criss as the studious kid with ranged wide the spectrum of influences talked about abilities in the area of upper have an advance on next week's al- glasses whose history test you looked at during the course of her set; augering vocal registers still waxed prominant as lowance? Why? Because Kiss is in town." if you had the chance. just the right touch of torch singer to trilling forays into rarified octave air Kiss (from the caverns of Casablanca) The band's physical telling of the blues, ballad and gospel flavored num- turned pop/soul compositions into encompassed, within the most basic of musical obviousy found a willing and bers. But it stood for Melissa's unbridled something light years away. The subtle rock and roll frameworks, every con- able balance in the insindiary persona. enthusiasm for each song to rise above distortion of each lyrical phrasing proved ceivable phase of childhood rec- Smoke bombs, snow, lights, sirens, the level of mere presentation. a pleasant maturing point on Minnie's ollection. And doing so in a most positive flames. I could've sworn I saw the Vocals, seemingly pretuned to the ex- part as each song mixed auras of exotic and palatable manner. Overkill in the kitchen sink. All the elements of con- act emotional demands of each song, and familiar. Some lyrical twists we've finest pre -adolescent sense of the word trolled chaos. And lest we forget Kiss's made compositions part of a continuous come to expect but this night surprises reigned supreme as outlandish theatrics utopian anthem "Rock And Roll All musical flow. Songs with the power to at- were definitely in the offing. and primordial music held sway. Nite." tract and hold the listener's attention. Showing particular strength was Ms. I mean who really cares if the chord "And party everyday" cried the dude in Uptempo gospel/blues proved Riperton's rendition of "Loving You"; progressions of "Deuce" and "Hotter the fifth row before toppling into an particularly effective as Melissa and her which seemed devised as sounding Than Hell" owe more to Black Sabbath alcohol induced heep under the thunder- moving backing band brought vocal and board for a series of experiments that outtakes than to any progressive acts of ing riffs of "Cold Gin." instrumental fire to the music. Full worked. Working within a singing god? So what if twenty minutes into the Lights up. My date looked at me and bodied pop ballads were the other side set I framework that seemingly defies earthi- everything started to sound the smiled. did the same. It was again time of her musical coin as the likes of "Happy same? Wow! What a rush! to become an ness and raw human emotion; Riperton's adult. Endings" and a riveting cover of passages were full of body, depth and an And that makeup. Not so much scary But it had been fun being fourteen "Rescue Me" showcased the lever that earthy approach to authoratative tones. as gutsy; it harkened back to getting into once more. proper lyrical presentation has to excite. A lilting music with sudden bite. dad's shaving cream and mom's face m. s. The prime value of Melissa Manches- "Adventures In Paradise" continued ter as a singer who can easily move in this musical bent with a head long emotional circles came with her rendi- plunge into a foreign sphere of in- Joni Mitchell tion of "Midnight Blue." Her subtle, fluence. Vocals and taut backing in- The L.A. Express reflective shots at the uncertainties of at- strumentals melded into creative one- tachment cut through the curtain. Even if NASSAU COLISEUM, UNIONDALE, L.I. France They Kiss On Main Street." She ness. Her vocal timbre as music tool do- you had never experienced it, the song Joni Mitchell's long-awaited reap- also performed several new songs, ing what it does best. - still got you where you live. Melissa pearance in this area was an offering of "Coyote." "Don Juan's Reckless Riperton's stage presence was a Manchester at The Troubadour. material culled mostly from her later Daughter" and "Furry Sings The Blues" familiar mover in natural circles as No communication -breakdown this albums, the records with which she made and "Talk To Me." which were exciting glides. pauses and meaningful gazes night. m.s. formed an unshakable bond on a stage the transition from a flaxen -haired folkie despite their unfamiliarity. She atmosphere of easy. Presence and music to a wealthy woman of the world. Her performed "The Jungle Line" from "The merged as one for a tongue in cheek songs have steadily become those of a Hissing Of Summer Lawns" with two Donald Byrd conversation with a jive wishing well. A more self-assured person, as opposed to band members on the drum kit, plus a The Blackbyrds the love-lorn romanticism of her conga player, all pounding away loudly riff pulled off in believable fashion. earlier THE GROVE, LOS ANGELES Blue material. This has alienated many fans over a growling bass line. It was prac- - Minnie Riperton in Las Vegas. Note recording artist Donald Byrd and and won over many new ones, but as tically heavymetal Joni Mitchell, if one A most natural of sevens. m.s. the Blackbyrds had the audience in com- evidenced by her performance, what- can imagine that, and it was extremely plete control in the second night of a ever changes Ms. Mitchell has been effective. Mighty Clouds Of Joy Jiva two -night stand recently here in Los through have at the very least served to When Ms. Mitchell first appeared, she Angeles at the Coconut Grove. The night STARWOOD, L.A. - The Starwood make her a more confident performer of was dressed in black pants and jacket, proved not only this group's draw appeal became a revival meeting when the her own striking material. with her hair tucked up into a black but how a show could completely involve Mighty Clouds of Joy came on stage. The Backed ably by the L.A. Express, who fedora. This outfit, plus her gaunt everyone present in the packed theatre. Mighty Clouds came mighty close to rais- did an interesting soft jazz rock opening features, made her resemble David with Most noticeable event of the evening ing the roof of the club their turn as well, or by her own unique guitar Bowie in one of his recent skins. The ef- and performance. was a mixture of tambourines and powerful gripping and piano playing, Ms. Mitchell gave a fect was cold and eerie and was a clear Uptempo and funky was the word for whistles thrown out to the audience by stirring display of her vocal style, which visual break with her past, but after a few the Mighty guys from L.A. as they shout- Byrd and his group on several songs. has gone from a rather bland and flat songs she removed the hat and received ed and talked to the audience through People were on their feet, catching the voice to a complexly fascinating instru- an ovation as she shook down her barrage of music makers and then joined hypnotic rhythm and blues. Their ment which slides effortlessly up and blonde hair. music in with accompaniment from all sides of carefree lyrics and pulsating down, often dramatically counterpoint- If one had any doubts that were not as- the room. brought club patrons to their feet in ing the music. suaged by -her latest, brilliant album, this a The Byrd's movement on stage is good many instances to stand up and be wit- Highlighting the evening were her ren- performance proved that Ms. Mitchell is ness. ... exciting ... and together. The sweet ditions of "For The Roses" and "Rainy one of the most talented writers and rhythm of "Sweet City Life," and total The tension the backup band brought Night House." and from her new album.