Saturday, February 12, 2011

The Natural

Last night I attended Clay Aiken's concert at the Hard Rock Live in Orlando. It was the second show of his tour supporting the Tried and True Album. I had a second row seat so I knew I would enjoy the show but I honestly didn't know how much because my preference is for his pop performances.



The Hard Rock is not raked and they jammed those seats so close together, I felt like a model on Tyra's show where they bend their shoulders forward in that weird pose . It was tight but oh so close to the stage, which was very high and did not afford a good look at his shoes until he sat on the stage.



The music began with the curtain down and he started to sing softly “Where do I begin”. He sang a few lines like that and then the curtain opened. It sounded like he stumbled just a bit, maybe he was mouthing “why is the curtain still down!”



I can’t describe that song. The original Andy Williams version is kind of overly lush. He started this one out softly, the way he did Home the other night. But it built up into a vocal tour de force that seemed to lift me out of my seat like I was weightless. It was an amazing way to open the show. It was almost as if he threw down the gauntlet to all the rest of the pop crap out there. If Ben Cohn did that arrangement, I salute him because it blew me away. I almost grabbed my phone to simply type Holy.Shit. to Nan. I tweeted that it was Steve Perry-esque. I'll add a youtube of it when the video is ready.



We went through training at work about how to hold a great meeting. One thing is “hook them from the start.” Well, damn you Clay, you hooked me from the start. I was so hooked I would have even welcomed It’s Impossible without complaint. (With that said, I was thrilled he tossed it and substituted some great stuff.)



The band was really far over to the sides-Ben and his mini Radio Shack with new guitar prodigy Adam Fallen on one side, and my favorite drummer man Felix Pollard and a new bassist, Del Atkins (?) on the other. There was a giant white screen as a backdrop, presumably used for videos and other special effects for other shows. I wish it had been another velvet curtain. That would have been perfect.



He did Kind of Hush and Can't Take My Eyes off of You with a little groove to his body. I don’t think he realizes that his body moves naturally like that, the man has dance in his limbs if he just lets go.



He talked to the audience quite a bit, talked to a woman who had her share of bloody Marys, they kept count as the concert went on. He talked about Aguilera's Super Bowl and how “sometimes it just happens”. He mentioned that he had a really hard time at the Miami concert with a bad echo and that tonight’s sound was good so he already felt like we were really together in this.



He was wearing a lighter gray sweater with white shirt and what looked like a white/gray tie. Jeans and shoes that sometimes looked gray to me and sometimes more of a mixture of tan/gray. Very stylish. The hair looked just fine in profile but had a ton of gel in the front and was straight up, almost at perfect attention. Profiles were all cheekbones but it's really atrocious straight on. Knowing Clay, I think he’s doing it to toy with us. Just comb it over to the side Clay. It will look better and will be less work.



He left off It’s Impossible which is my least favorite song so I was happy. I can’t remember if he did Moon River or Breaking Up is Hard to do then or later but he really does an exquisite job on Breaking Up. I loved it in Chicago and I loved it tonight.



You know how Clay often sings to a camera when someone is taking a picture. Well the people on either side of me were taking still pictures so it felt like he sang the entire first verse of Moon River to me.



The medley was clever, although some of it started to all sound the same to me. Invisible is really quite fun in that style, especially with our “secret handshake” aka the tug. Quiana Parler was in great voice as usual and I’m so glad she went back to the shorter hair that she has now versus that long weave she had over the summer. This haircut frames her beautiful face. I also have always wondered if she has perfect pitch. They remind me of a doubles tennis team; always knowing where and what the other one is doing or going to do.



I think the can’t remember the name of fan favorite album On My Way Here is part of the tour schtick. Tonight he called it A Thousand Different Ways, which was two albums ago! (Come to think of it, I think that’s when he talked about Aguilera).



He does a very interesting section of the show where he shows that you can autotune anything and make it sound like music and that's how some people get on the radio today. (Look for a more editorial blog on that topic later.) He said that every night, Ben will not tell him which lyrics they will give him. They did Lady Gaga's Bad Romance and it was very funny to hear Clay say Rah Rah, etc. Before they did that, he asked who people listen to and someone said Bieber. He said Quiana listens to him in her dressing room. Quiana, girl. I thought you had more taste than that. Another person said Kei$ha and he made her stand up. He said something about having a dollar sign in her name (I was impressed he knew). I have some comments on Kei$ha too but that's definitely for my editorial blog.



He talked to the audience a bit more and then came over by us and sat down on the stage. He sang Sammy's What Kind of Fool am I and Misty right there. An older couple in the second row about 6 seats down from me were filming and he asked the man about it. The man said Misty was their song. It was so nice that it worked out that way. A woman in the front row was filming him and he commented about it and assured her that she wouldn’t get thrown out. He then started talking again and said “I feel like I should talk to the camera” and proceeded to do it like a TV interview for a few seconds. He asked her what her screen name was and she wouldn’t tell him. He said “you guys don’t tell your screen names?” and my friend Cissy said “not to you”.



He said that they were going to put in Who's Sorry Now but realized that it was a lot of slow songs in a row and that was the slowest. He asked for song genres and the first one was Disco. Quiana sang most of it while Clay did the Travolta move. Someone said country but he said it was a country song already. When someone said rock and roll, he thought for a minute and whispered an idea to Quiana. They were both talking and nodding and then he grabbed that mic and did a Quiet Riot version of WSN. He rocked that mic back and forth, he was freaking awesome. The crowd went mental. He said later that it was tough on his voice.







He sang Mack the Knife and mentioned that he sang the same verse four times last night. He did pretty good tonight, only messing up one small place. It’s a hard song to sing because the words aren’t really “normal” in some cases. The end was great.



Quiana did her second solo and then he came out to do Crying. He looked at her with such tenderness and at the end, he said how great she was and he didn’t know what he would do without her. She had left the stage by then and came back carrying her (kick ass)shoes. He mentioned that she’d done 8 tours with him because she didn’t do one Christmas. Then he introduced the band again and he and Felix discussed how many tours they were together and Clay said he hoped that Felix would be back with them again. Each time he talked about one he mentioned that he hoped they would be back with them again. Couple that with mentioning that he had toured with Ruben Studdard about four times and it is things that make you go hmmmm.



He talked about Unchained Melody and he mentioned Dave Novik three times, twice just as Dave as if the audience was supposed to know who that was. He said when Ben sent the new arrangement of UM, he didn’t know what it would sound like since he can’t read music. So the first time he heard it was when he went to London to have the symphony record it. He said he called Ben from London because he almost cried at how good it was.



When he started UM, that first verse where he sings “are you, still mine? And he usually just sings it as a pretty ordinary semi long note. Well tonight, he started it soft and then got louder and louder with it. Not changing the note itself like in the airplane note, but in a way that showed just absolute amazing control.



He left the stage and we all stood and clapped until they raised the curtain again. He was sitting in an office type chair and sang IML without any mentions of teachers. Then he told a story about Rita in the M&G who had won last summer but couldn’t make it so they got her in today. She was with her granddaughter who wanted a picture of herself with Clay since Rita had replaced all the family pictures in the house. She asked him for Solitaire and he said he didn’t tell her that it was already planned anyway. He sang it and he played with the melody a little, singing lower in some cases, minor key all in all making it even more interesting.



The crowd jumped to its feet again and the lights came up. And I exhaled for the first time in almost two hours.



The venue was perfect for this type of show. The set list was great between the songs and the banter and I liked this set list 1000X more than Miami. I really wonder what kind of album he could have had if he took away some of the older songs and replaced them with Where Do I Begin, Both Sides Now, In My Life, Breaking Up and added some up tempo.



And I want him to write and have Ben do the arrangements.



Vocally, he surpassed himself. It’s funny, but no matter how much clack you watch in between tours, it simply doesn’t compare to seeing him perform live and even then, it’s still almost shocking at how well he can sing. He hit some low notes tonight that vibrated within me.



I’m a big baseball fan. Robert Redford made a baseball movie years ago called The Natural in which his character, Roy Hobbs is asked how he wants to be remembered. He said he would like to be walking by someone on the street years from now and hear “there goes Roy Hobbs, the best there ever was.”



Tonight, I saw Clay Aiken…The Best That Ever Was





, , , , , Felix Pollard, , , , Concert,

, , , , , Christina Aguilear, Kei$sha, Gaga, Bad Romance, Tyra Banks, Ruben Studdard



Thanks to dc4clay for the photo and Scarlett for the crystal clear video.

Tuesday, February 08, 2011

Broadway Backwards: Oh What A Night!


I wanted to put my thoughts together about last night's Broadway Backwards and Clay Aiken's participation. It's a little hard because they are more feelings than thoughts and also kind of jumbled.

I love the theater. As a child - ever since I was 6 years old, my parents would take me to see a musical. My first Broadway show was Mr. Wonderful with Sammy Davis Jr. I went to Performing Arts HS and lived in Manhattan since I was 14. I used to second-act shows, get student tickets, do standing room. Whatever I could. I think I saw Half a Sixpence with Tommy Steele 9 times and Roar of the Greasepaint, Smell of the Crowd with Anthony Newley at least a half dozen. I know, compared to Claymates and Spamalot - I was a slacker. But still. . . College and beyond - not just musicals. I loved dramas. Half-priced tickets were cheap back in the 60s and 70s. I saw Zero Mostel in Ulysses in Nightown, sitting in the balcony for $17. I remember the first time I ever saw John Malkovich and Joan Allen in Burn This - I was overwhelmed by their brilliance. Went four times and took everyone I could find. The original Equus with Anthony Hopkins and Peter Firth (first time I had ever witnessed Anthony Hopkins) took my breath away. Agnes of God with Elizabeth Allen, Amanda Plummer and Geraldine Page - spellbinding. Long way of saying that I am bewitched by the theater, find Broadway (and Off Broadway and regional and every form of theater) magical.

So I was excited to be going to Broadway Backwards - whether Clay was a part of it or not. I've lost so many dear friends to AIDS and have heard so many stories from my gay and lesbian friends of their journey, I've been supporting organizations like God's Love We Deliver and Broadway Cares for years. So this was a special evening for us to be in the audience.  From the first number with Alan Cummings singing "Don't Tell Mama" from Cabaret - I was so happy to be a part of this incredible event.

Each number was strong and each performer was charismatic and exciting. When Hinton Battle came out to sing Will I ever Tell You? from Music Man . . . oh my goodness I was ecstatic. That man is amazing.

Debra Monk followed him to sing an emotionally captivating On The Street Where You Live and exited to thunderous applause.

At this point, I turned to MrNan and said "I'm nervous for Clay". It's not that I don't think Clay has a gorgeous voice and tons of charisma. It's just that the performers on that stage were so full of confidence and owned the stage. Their voices were incredibly strong. They moved with such assurance. And most of all, their ability to tell a story with their voice and body was intense.

Dan Butler and Kirsten Wyatt (also the hosts) performed I'll Never Be Jealous Again from Pajama Game - a song I used to sing (out of tune always) with my father -- and were sheer joy.

Then Lillias White (from Fela) tore it up with a Ray Charles arrangement of Some Enchanted Evening from South Pacific and was followed by Brian Charles Rooney's impassioned version of One Halloween/But Alive from Applause to close the first act with a bravura performance.

By this point I was more than nervous. I was worried. These people were such pros. So much talent on that stage. Everything about this show was first-rate. The orchestra was wonderful. The staging of the numbers were great. The dance ensemble was perfect. It was everything I love about live performance. The audience knew these performers. They had seen them in shows. There was so much respect. Every time they brought a standing microphone out onto the stage - I grabbed MrNan's hand thinking . . . "this is Clay".

The second act started and I fell in love with Bobby Steggert who (along with Robin De Jesus) sang The Trolly Song from Meet Me In St. Louis. I just read he's going to star in the 2012 Broadway show of Disney's Dumbo. This young man is a-mazing.

So next they bring out the standing mic - hand grab - but it's Len Cariou. I have seen that man in countless shows - the first time in Applause with Lauren Bacall and most recently in last season's Damages on tv. He is the epitome of a professional to me. He blew me away with Bewitched, Bothered and Bewildered from Pal Joey. What a story teller. Touching, funny, poignent.

The mic stayed there and I almost didn't want it to be Clay because I didn't want him to have to follow the applause Len Cariou got. Someone I was not familiar with at all walked out, Tituss Burgess and he sang a song I was not familiar with called Stars and the Moon from a show I'm not familiar with -- Songs For a New World. He originated the role of Sebastian in Little Mermaid and he's got a high tenor voice. He was mesmerizing. The song started and I wasn't sure where it was going and he had such amazing voice control and then there were punchlines and funny stuff and his timing was brilliant and the end hits you with an emotional pop. Wow.

They clear the mic away for Bebe Neuwirth to kill on All I Care About Is Love from Chicago - and at this point I'm thinking . . . "maybe Clay is sick and he can't perform".

Tony Yazbeck blows the audience away with The Music and the Mirror from Chorus Line and Brooks Ashmanskas and Denis O'Hare are totally adorable doing Marry The Man Today from Guys and Dolls and it's getting late.  But now they bring the mic out again and I grab MrNan's hand.

Previously, for every performer - Dan and Kirsten give a short introduction with what shows they did or are doing on Broadway and what Tonys they have been nominated for or won.  But now they start talking about a young gay woman who committed suicide and the plight of LGBT youth and said the next song is dedicated to her. Then simply, Ladies and Gentlemen, please welcome Mr. Clay Aiken. And BAM.   He sold it. His voice has such nuance. It's not a straight "Broadway" voice. There's a bit of "pop" to it. But he had power and range and beautiful texture to it. I remember thinking when they announced his name - there was nice applause but not the kind of name recognition and excitement you got when Len Cariou or Bebe Neuwirth were announced. Or Debra Monk or Karen Oliva (from West Side Story). This was a Broadway crowd. They weren't excited that it was Clay. They were waiting.

My fandom has changed over the last year or so. I adore Clay but I don't listen to him as often as I used to. I'm happy when his songs come up on my iPod but I don't usually seek them out. I don't download clack very much. But when I see him live and he delivers like he did last night - I remember how he touches my very soul. He reached that audience. He sang for that young woman and all all the youth who have been bullied or felt alone and wanted to know there was a safe place called Home. He made a believer of those people sitting in the audience and when he was done they showed him their love and appreciation - not just for his talent - but for his story as well. And I felt it all over again.



No video does justice to live performances.  Support the arts.

* * * *
Please support  Broadway Cares and thank for them for wonderful work they do.

* * * *
Thank you toni7babe for the photo and gingerscarlett for the video.

Monday, January 31, 2011

Skate Where The Puck Is Going To Be

Wayne Gretzky once said that he doesn’t skate where the puck is, but rather where it is going to be. He anticipated the next move, took the risk and that is what made him stand out from his peers.

Singing the Star Spangled Banner is a risk in and of itself as most singers who have attempted it will tell you. It’s a densely written poem that doesn’t lend itself to easy memorization of words or cadence and its got a few killer notes sprinkled amongst the 1.5 octaves of the song. The Urban Dictionary calls it the “sorting hat” of songs as it separates the great vocalists from the flash in the pan pop fad of the moment. Many contemporary singers change it up because they simply can’t sing it as written. Singing the anthem at a sporting event is even tougher because it is often done a cappella. Of course if you’re in an indoor venue, you have the lovely challenge of a 2-4 second audio delay so your voice reverberates back in your face. You’re singing one verse yet hearing another. I’ve had to give a presentation with that problem, it’s massively confusing and all I had to do was read the PowerPoint slides, not get my vocal chords to stretch in ways that probably make them angry. So a tip of my hat to all who sing it and sing it well.

But those are the known risks. And those should be all there is, especially when you’re singing in your hometown. The hometown where you grew up and where you returned despite hitting the big time and it probably behooves your career to live in LA and NY instead. The hometown where you intend to educate your child. The hometown where your support local arts and local children's charities. Yet, in the case of the NHL All-Star game, that very scenario actually created risks. Risks of being booed, risks of people being so full of themselves who think that standing there in a protest as tiny as their…..ears…and not applauding somehow makes anyone look bad but themselves.

So Clay Aiken skated where the puck was going to be. He walked out, tall and proud and sang that ridiculously difficult song-the one ironically (or perhaps fittingly) about persevering while under fire. And he nailed it like Zdeno Chara nails a slapshot. And the vast majority of the fans in the audience applauded; for the song, for the singer and for their gladiators on the ice. And then he walked out with his head held high to prepare for a charitable event on Broadway next Monday and his tour which begins on February 10th. The same tour where VIP packages are being auctioned off at every venue and he’ll give up part of his personal time to raise money for his children’s charity.

I’m no Pollyanna. He’ll drive me crazy at times when he digs in his heels against things that are good for him. I was as relieved that he didn’t have unflattering mile high spikes as I was that he sang so well and had just the right amount of stubble. But I know a good man when I see one. And I saw one yesterday standing on the RBC ice.

On a secondary note, I need to follow hockey again. Most of the guys I remembered when I followed the Bruins didn’t look as good as those guys yesterday. Besides, I need something to watch until baseball season starts, right?






, , ,, , RBC Center, , , , Wayne Gretzky

Monday, December 13, 2010

Dear Mark Burnett,

I was reading my news online this evening and noticed an article by Reuters about a new singing competition show that is being produced by Mark Burnett for NBC. The same Mark Burnett that brought Survivor, The Apprentice and Are You Smarter Than a Fifth Grader to TV.

The article notes that in this case, the judges would also serve as coaches and would be four currently popular performing artists. The cool thing about it is that the contestants would have to perform while the coaches had their backs to them; because in the end you have to have the voice before you have anything else. Hence, the title of the show is The Voice.

It would be great to actually find singers who can sing live. So many of today’s most popular singers are pro-tooled within an inch of their life. So, as soon as I read that article I wanted to find Mark Burnett’s phone number and text him four letters…C L A Y. But something tells me that Mr. Burnett’s number is unlisted so in today’s electronic age, I am composing this internet plea.

Dear Mr. Burnett,

*You will need a recognizable name to both the music audience and the television audience. Who better than the person who helped put American Idol on the map in 2003 and became a household name? And how sweet would it be to give Idol a run for their money with one of their own.

*The article states that the coaches will have to perform too. How about a guy who had to sing live under pressure for sixteen weeks? Have you seen some of the music award shows lately and heard these people without their autotune? He’s got the years of experience performing on live television as an entertainer, a talk show guest with comedic flair and even a co-host.

*You’ll need someone to bring ratings and Clay Aiken brought pretty big ratings to your Fifth Grader show when he was on during celebrity week. Think of the buzz of him competing against the show that gave him his start.

*You need someone who can help your contestants as both a judge and a coach. Clay served in this role for David Foster’s Star Search and did a great job. He was funny, he was insightful and he gave sound advice from a perspective that only one performer can give to another. Plus, who better to help them go from being an ordinary citizen to handling sudden fame?

*He’s a touring machine and could offer exposure to your contestants as a potential opening act.

As an added bonus, you’ll get a fandom that is very organized, tech savvy and loyal.


All I ask is that you give him a stylist who has a personal aversion to spiked hair. This look will do.



How 'bout it, Mark?



, , ,, , The Apprentice, , , , coach, ,, ,,,

Sunday, October 17, 2010

Breathe


Every now and then, a singer whose voice fills my every sense, will offer a performance that stands out from all the others. Sometimes it is a rocking performance that gives you chills for the power and control, like the ones I have shown in my last few blogs. And sometimes it is a ballad where you don’t breathe until it’s over. There have been a number of both kinds of performances over the years. They fill my memory bank and trickle into my days on long drives or whisper to me in quiet moments before I drift off to sleep.

I can hear him and I can picture myself, right down to where I was sitting. In My Life from the PBS taping in March, 2010. How do you sing with a lump in your throat? Meadowbrook in Gilford, NH (2005) where I cried silent tears for an acoustic version of I Can’t Make You Love Me that he sang directly in front of me from about the 10th row. The Mann Center in Philadelphia in 2006 where we heard Lover All Alone for the first time, and I rubbed Nan’s back as the song took hold of her. Wilkes-Barre, PA in 2004 for Measure of a Man that the audience sang to him, followed by the most tender version of Fields of Gold imaginable. You could almost see his voice as if it was a summer breeze caressing the tops of wheat stalks bending gently to the music.

This weekend was the annual fund raising gala for Clay Aiken’s National Inclusion Project. As with all the galas, they offered awards to those Champions for Inclusion and auctions to raise money for this incredibly worthy cause. He ends the event with a short performance as a way of thanking the donors. He’ll sing from whatever album is out and and then add a song we've never heard from him before. At this gala he added a special song, a Joni Mitchell song made his own through changes in key, tempo and melody. A song beautifully signed by volunteer Deb Leicey and he positioned her right beside him, because inclusion is always in his heart. Her hands became another instrument on the stage.

Those songs that were classified as pop (or folk) back when pop wasn't a four letter word thanks to today's singers who can barely sing, are as suited to him as the pop/rock style of Alone. I heard someone say recently that he has a theatrical quality voice that sings contemporary pop better than anyone. And it is so true. I felt like I heard Both Sides Now for the first time on Saturday. Granted, I was in elementary school when it was released but I remember vividly my twenty-something mother sitting on an orange shag carpet in the living room trying to learn the chords on her guitar. I can’t wait to send her this clip.

I know there are people out there who can still write like this. He’s one of them. I hope someday soon, he’ll believe it too.




Visit those other performances here:
In My Life
I Can't Make You Love Me
Lover All Alone
Measure of a Man/Fields of Gold

Friday, September 24, 2010

Stretch Armstrong

Can being too good be a bad thing? Clay Aiken noted in an interview this summer that his most recent album was recorded in Germany and he did 15 full vocals in 3 days. The songs were comfortable for him and he found it easy to sing them. Some might find this rather impressive, after all there are a few songs on the album that not every singer can do. The odd thing is that I found it left me with a rather unsettled feeling.

I don’t necessarily want him to sing songs where he’s too comfortable. Why? Well personally, I think he sounds best when he’s stretched. Listening to Clay sing old standards reminds me of watching a major league baseball slugger playing in a minor league ballpark. Sure, he’ll hit it out of the park-but so what. He should. And after 4-5 home runs in a row, even though you're impressed with the skill, it risks losing its punch.

Of course, I don’t want him to sing where he straining his voice. But are those few notes in Boston’s More Than a Feeling much different than the entire last chorus of his All is Well Christmas encore song?

He’s stretched when he sings pop rock songs and simply he nails them.

He's stretched when he sings funky/bluesy sounding songs like Everything I Don’t Need. He even described how the song was a stretch for him but his performance at the 2008 Gala for his charity was one of the best performances of any song I’ve ever seen him sing.

He’s stretched when he dances a little; until you watch him on stage and you realize how naturally his body moves to the music and how he can’t really help it.

So, why should he stretch?

Because he can. Because a talent this big deserves something better than songs half the world has covered and that are somebody else’s signature song.

Because it makes for a more interesting performance.

Because after awhile, it won’t be a stretch any more.

I’m sure I’m projecting personal preference here but I saw more joy and fun when he was on stage singing songs that weren’t standards. When he’s singing contemporary music, it’s all about the performance where singer and song matter at least equally or if anything the vocal ability matters more. When he’s singing standards, it seems to be more about the song itself. Like, "Listen! Isn’t this song timeless?"

They say those songs can stand the test of time. But at what point does a standard become just an old song, sounding dated rather than timeless. (I'm talking the song here, not the performance. The man can sing like no other.) His interviews talk about how nobody will be singing today’s songs in 50 years. My response is why do they have to? Why can’t we just enjoy them now? Sure, there’s a lot of auto-tuned crap on the radio right now, but there’s still good material there. He’s already proven he can write with the best of them. His song Lover All Alone is probably one of the best written and most haunting ballads in the last decade.

In three weeks, I’ll have the privilege of sitting in a Chicago theater as I enjoy a PBS fund raising concert of songs from his album of standards, Tried and True. I’ll enjoy it immensely, as watching him sing is a complete extra sensory experience. I was at the taping of his PBS special for Tried and True, Live! and it was a magical night. I've got tickets for three shows of his full Tried and True Tour next February.

But on the flight home, I’ll set my ipod to contemporary songs that made him reach beyond his comfort zone and proved just how good he is. Here's a little taste, courtesy of Scarlett's video from Hampton, New Hampshire.








Reach, Clay.












Friday, August 13, 2010

Born to be Wild

I spent most of the last week on the road to see Clay Aiken’s Timeless Tour, put on for appreciative crowds with good buddy Ruben Studdard. I saw three shows in three very different venues and left each one with three different memories. And images that I cannot get out of my head.

Before I tell you about these images and thoughts, I’d like to thank the rest of the gang who worked tirelessly on this show that was part walk through the history of music, part variety show and part night club dance.

Ruben: I never knew you had such a mischievous funny bone in you. Your voice is like smooth, chocolate silk and even though no one can replace Karen Carpenter’s version of Superstar in my heart, I do recognize the passion that you bring to it. Thank you for loving him and letting it show.

Quiana: Effortless singing with perfect pitch combined with just the right amount of sass. I can’t imagine a Clay Aiken tour without you.




Casey: Welcome to controlled chaos. It’s hard not to hate you for being a size 1.5 when you are up there singing your heart out with a sense of wonderment on your face. I hope you enjoyed it too. Oh but we do have to hate on you just a little bit for this.


Band: With a little bit of Ruben ( bass, guitar and keyboard) and a little bit of Clay (musical director, drums and backup singers), you guys were great. And a special thanks to Felix Pollard, one kick-ass drummer and the best Clay has ever had. You make every song better. We’ve missed you!



So back to my concert memories.

Foxwoods: I brought my husband who isn’t a “fan” but does think Clay puts on a great show. This venue was large, packed and just a little bit sterile. Maybe because the ceilings are so high but it’s not small enough for an intimate concert and not large enough for that loud arena feel. My husband liked the melodies but the sound was not great where we sat and he had trouble hearing the comedy. He did hear enough to say that Clay talks very fast! Funny thing for a life long Northeast man to say about a guy from the South. Clay proved once again that he can pick a situation in the audience and make comic gold out of it, by finding a man in the front row who appeared to be sleeping and running with it.

New Hampshire: A day driving along the Maine coast ended with seeing this concert in a “large, dark and divey” venue that was filled to the brim. It’s amazing that this venue gets some well known acts every year. The bad news is that we were packed in there. The good news is that my fourth row seat at a table meant we were six feet from the stage. We saw the smirks, the asides (Ruben saying to Clay “I can’t hear, man”) and how they worked to make the set-up something you forgot about when the first note was played. The venue felt like it had quite a large percentage of the non core fanbase and we managed to find a way to dance in our tiny little cracks of space in between tables. There is something about seeing that face up close when he is performing that increases my joy at a concert about 1000 fold. And I scooped a drumstick left by Felix at the end of the show.

New York: A screw-up by Live Nation/Ticketmaster of biblical proportions because they messed up the seating arrangement on Ticketmaster when they sold the tickets (by stating the non orchestra was standing room only, which was not only false but likely deterred ticket sales) and again by changing the venue at the last minute to one that could not possibly accommodate the amount of tickets sold nor the configuration in which they were purchased. Our seating was disappointing but the guys seemed to know that there were many unhappy people and they cranked it up a notch. The gold lame Hammer pants were a nice touch. When Ruben walked out, the crowd was enthusiastic and appreciative in our applause but when Clay walked out the crowd was on their feet en masse. Decca Records was there. I hope they noticed that. Actually, I hope it was one of many things they noticed that night.

Clay can sing just about anything and he does it even better live. (The production on his latest CD is quite good but there hasn’t been a sound engineer yet who has been able to capture the magic of his live performance. )

He’s had me dancing and snapping my fingers to a big band version of It’s Only Make Believe. He’s had me holding my breath through a wistful version of Moon River. But , he sings with his whole body when he is singing contemporary pop and pop/rock. And by contemporary I don’t mean the Pro-Tooled crap that is out there now, just not standards of a bygone era.

I’ve already written a blog about my ecstasy over Boston’s More Than a Feeling (and would love to hear Long Time too, he can leave off the Foreplay if he wants ;-) But he also just nailed it on Heart’s Alone, Chaka Khan’s Through the Fire or Kenny Loggins’ Footloose. When he sang Footloose with a growled “you’ve got to turn me around”, it just got my heart pumping faster than it already was after dancing in my 3 inch Anne Klein heels. Wednesday night they had the crowd dancing so hard, I thought we were going to stomp our way right through the seven stories of that old Hammerstein Ball Room.

If he can nail such recognizable covers like that, why can’t someone write songs for him with that same spirit? Ballads and uptempo songs that can appeal to many generations with a contemporary sound. Aren’t there any other songwriters out there besides Rob Thomas who can write for a strong male voice?

I said in my Boston blog that I’ve had my taste of it after watching video and I can move on.

I saw three shows live.

I lied. I want more of it.

Decca Records was there at the New York concert. I hope they saw it all. They love of the fans, the incredible vocal talent and stage presence. The way the fans love to move to Clay prowling around the stage, moving to the beat. The way Clay seems to love it too.

So while David Novik is out looking for songs and songwriters to make my wish come true, I’ll just wait for my local PBS station to show Clay’s concert special and hope some smart TV producer puts Clay and Ruben on a summer variety show in 2011.

Heck, they could also show commercials of Clay selling Armani suits. Hasn’t any one noticed this man wears a suit as good as any model out there?

In the meantime, go ahead and watch this and I dare you not to head bob toward your monitor and tap your finger against your mouse.




Thanks, Clay. It was a blast. You can let Ruben have the bigger stool now. Yours is going to be so tall, you might get a nose bleed.







Tuesday, July 27, 2010

More Than a Feeling

The first time I heard that voice, I had more than a feeling that something good was going to happen to him. His voice is distinctive, strong and rich with texture. I suppose if I drank coffee, I could compare it to some blend but all I know is I’ve never heard anything like it. And seven years later, it’s even better. Maturity in both age and wisdom have enriched it. Experience has provided even more control.

People have said that they would pay him to hear him sing the phone book. I like to think I’m a little more discriminating than that, I always want to hear hear that voice wrapped around a good song.

But I think they use the phonebook example to demonstrate that he can really sing just about anything. And he probably can with the little quirks that are so very Clay Aiken. The fact that he sings the word love as low or that his accent creeps in when he sings Orleans' "Steel" the One. I find I sing along with his unusual pronunciations in my head, to the point where if I heard someone else sing it, I would feel that they were singing a stripped down version of the same song. What’s the matter with them? Don’t they know that last line of Crying is suppose to be sung Crah-ying?

We’ve heard him sing pop, with either a ballad like his hit Solitaire or more uptempo stuff like Invisible. We’ve heard him take a pop song and give it a more new age production, like his haunting version of Broken Wings off the 2006 album, A Thousand Different Ways. . He offered up a wonderful blend of many contemporary genres with the original album On My Way Here. And this year, he’s bringing a big band sound to Tried and True classics like Mack the Knife and It’s Only Make Believe. (Even a rap parody he did in 2007 of OPP was actually pretty decent for a tall, skinny white guy.)

He's also written and recorded the very indie sounding Lover All Alone. I’ve referred to this song as heartache in the form of a poem set to music.



But a part of me has always wanted him to rock out a bit every once in a while. Not for a whole album or even in a new direction, his voice is too distinctive to compete in the Hinder Nickeldaughtry space. It would be a waste of talent. But he teased us a bit in 2004 by opening a concert with a U2 song and he nailed it. It left me hungry for just another taste, like that last dessert before the diet that you will finally conquer. The pop and pop/rock songs are more to my liking than a standard like It’s Impossible, even if it is sung by the best voice in the business.


Currently, he’s on tour with Ruben Studdard in a show that has brought the house down every night. They take the audience through four decades of music, combining solos and medleys with a comedic camaraderie that’s as funny as it is charming.


Last Friday, about two-thirds of the way through their set, it happened. They were in the middle of the 70’s medley, after a bunch of dance music. Wait! Is that Boston I hear through my headphones as I watch a piece of captured video? The volume button on my computer is begging for elevation. I have this album on my ipod and I still have the original vinyl. He starts More Than a Feeling and manages to hit an extremely low note before three seconds later transitioning into falsetto and then a full fledged Tom Scholz would be proud Drift Awaaaaaaay rock sing/scream! Holy vocal chords, Batman!

Tell me which male singers out there can sing Boston, Lover All Alone and Mack the Knife and do it all well, and where it’s just about the music. One Voice. Live. No spare parts needed.



OK, I’ve had my taste. And what a taste it was. It was like those breakapart Tollhouse cookies right out of the oven where you need to keep the milk handy because you’re eating the cookies while they are too hot. And you don’t even care about the stomachache that is headed your way or the chocolate all over your face. This Massachusetts girl is happy.

The concert plays until August 14th, with cities listed here and some potentially additional ones to be announced in the fall. I still have to wait until August 7th to lose myself in a familiar song. In the meantime, I’ll watch the video, close my eyes and slip away.


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Friday, June 25, 2010

Traveling the Tried & True Path on Pandora

You all know how much I adorePandora Radio and the whole idea of discovering music based on what your own likes and dislikes are without any "genres", "user ratings" or what's considered "cool" or "radio-friendly". Back in 2006 I first explained how Pandora works in Follow The Clay Path To New Music and since that first blog I always did at least one from each new Clay album: A Thousand Different Ways, and then two for One My Way Here Part 1 and Part 2 - and imagine my excitement when Pandora added in Clay Aiken's Tried And True.

To refresh your memories - from Pandora's About page:

When was the last time you fell in love with a new artist or song?

At Pandora, we have a single mission: To play only music you'll love.

To understand just how we do this, and why we think we do it really, really well, you need to know about the Music Genome Project®.

Since we started back in 2000, we have been hard at work on the Music Genome Project. It's the most comprehensive analysis of music ever undertaken. Together our team of fifty musician-analysts has been listening to music, one song at a time, studying and collecting literally hundreds of musical details on every song. It takes 20-30 minutes per song to capture all of the little details that give each recording its magical sound - melody, harmony, instrumentation, rhythm, vocals, lyrics ... and more - close to 400 attributes! We continue this work every day to keep up with the incredible flow of great new music coming from studios, stadiums and garages around the country.

With Pandora you can explore this vast trove of music to your heart's content. Just drop the name of one of your favorite songs or artists into Pandora and let the Genome Project go. It will quickly scan its entire world of analyzed music, almost a century of popular recordings - new and old, well known and completely obscure - to find songs with interesting musical similarities to your choice. Then sit back and enjoy as it creates a listening experience full of current and soon-to-be favorite songs for you.

You can create up to 100 unique "stations." And you can even refine them. If it's not quite right you can tell it so and it will get better for you.

The Music Genome Project was founded by musicians and music-lovers. We believe in the value of music and have a profound respect for those who create it. We like all kinds of music, from the most obtuse bebop, to the most tripped-out drum n bass, to the simplest catchy pop tune. Our mission is to help you connect with the music YOU like.
We hope you enjoy the experience!

So I decided to start my second exploration with one of the songs I've become addicted to on Tried And True - It's Only Make Believe. A quick check of the attributes for this song, Pandora lists:

  • jazz influences
  • acoustic rhythm piano
  • intricate melodic phrasing
  • busy horn section
  • thru composed melodic style
  • acoustic sonority
  • major key tonality
  • mid-tempo swing feel

And right off the bat, the first song Pandora chose to get a feel for what I like was a song by the Brian Setzer Orchestra. I love Brian Setzer! This song was Love Partners In Crime and the attributes they list are: jazz influences, demanding instrumental part writing, intricate melodic phrasing and busy horn section. Starting off great - thumbs up for me!

Next came - Van Morrison. Now everyone who knows me knows how I feel about Van Morrison - but who'da thunk he'd be the second song on my Clay Aiken It's Only Make Believe path? They suggested This Love Of Mine from Van's Magic Time album and it was one of two covers he did on that eclectic album.  It's also one of the few songs Frank Sinatra wrote the lyrics to. I can definitely hear the similarities to It's Only Make Believe. A quick check of the attributes and sure enough - it's got: jazz influences, mid-tempo swing feel, major key tonality and busy horn section but it's also adding in:

  • blues influences
  • dynamic male vocalist. 

Pandora does this to see what other attributes you might like so it can suggest additional music for you. One person may give this a thumbs down and after enough thumbs down to a blues influence, Pandora won't suggest any more. But for me? I'm a blues fan so of course, thumbs up! A quick click on the song title and it brings up additional information about This Love Of Mine. Similar songs . . . well in addition to Pick Up The Tab by Chris Cain Band and Ain't Gonna Worry No More by Wayne Hancock and How Sweet It Is by Michael Buble . . . two Clay Aiken songs show up . . . There's A Kind of Hush and Mack The Knife. Be still my heart . . . Clay and Van. Now that's a connection most people won't make but that's what is so fabulous about Pandora. It's about the music. Not the hype.

Continuing with the blues influence, the next song in Pandora's selection was You Are My Sunshine by Marva Wright, the Blues Queen of New Orleans, and she's terrific.  But Pandora is smart - and they move closer to the attributes we started with by now suggesting I Love Being Here With You. I know this song from one of my Diana Krall albums . . . but this was Queen Latifah's version and no hesitation - thumbs up for sure. I wasn't familiar with her album Trav'lin Light but a quick stop at iTunes added this terrific version to my iPod. Checking in on the song I can see we're back to the jazz influence, busy horn section and mid-tempo swing feel that I found irresistible in It's Only Make Believe.

Sugar Pie by Nelson Adelard is next up and keeps with the attributes originally discussed but also adds some r&b stylings. I've never heard of Nelson Adelard before but with Pandora it's easy to find out background information on the singers they have selected. Wow - how did I miss him? I love this guy but can't find anything on Amazon or iTunes . . . luckily I found his Official Website and was able to pick up some songs there. Now you see why I love Pandora? How else would I have ever heard of Nelson Adelard?

Roomful of Blues brings more blues and electric instrumentation to the mix and I love this next song, Jona Lee Again, it's a group I'm not familiar with (shame on me!) - so I clicked on them to find out more: A nine-piece outfit for the majority of their existence, Roomful of Blues was founded in Westerly, RI, all the way back in 1967, by guitarist Duke Robillard and pianist Al Copley. I really love them - and downloaded the whole Standing Room Only album from iTunes. What a great find!

Obviously there's a reason why I love It's Only Make Believe because song after song is getting a thumbs up and the next one is no exception . . .Duke Robillard. Guess what? He's a founding member of Roomful of Blues! OK - this is making sense. I couldn't buy When Your Lover Has Gone on iTunes but I was able to buy the mp3 from Amazon off the album, Swinging Session with Duke Robillard.

So my path is heading in a very interesting direction and because it's MY path - and mine alone - I'm probably going to get presented with different songs than another person might - even though we'll both start at It's Only Make Believe. It's all based on what I've given a thumbs up or thumbs down to. But I have to admit - I'm way more thumbs up than down on this ride I'm taking.

Next song with a big thumbs up was Keb' Mo' and Wake Up Everybody. This brought back some more r&b influences (and another trip to iTunes) to pick up the entire Peace...Back By Popular Demand which is an album of 10 protest and peace songs from the 1960s and 1970s. For me, a hippie who participated in my fair share of protest marches - this album as a gorgeous rending of some important songs like The Times They Are A Changing and Imagine with some wonderful soul-jazz-funk added to them. Am I glad to have discovered this gem!

After my quick trip to iTunes I'm about ready to try another song off Tried and True. I chose What Kind of Fool Am I - which in general terms seems quite different from It's Only Make Believe. But a quick check of the attributes of this song and I see that there are many similarities as well:

  • jazz influences
  • laid-back swing feel
  • intricate melodic phrasing
  • through composed melodic style
  • prominent percussion
  • acoustic rhythm piano
  • major key tonality
  • orchestral arranging

So my journey starts with Ketty Lester and Lonely People Do Foolish Things. Ketty Lester is a wonderful singer who had a hit in the early 1960s with Love Letters but who's career never really took off. What a treat for Pandora to start off with this little gem who's additional attributes were: r&b influences and vocal-centric aesthetic

Next up is Brian Setzer (remember him from my previous path with It's Only Make Believe?)! This song is Lonely Avenue from the album Songs From Lonely Avenue . . . A Soundtrack to an Unwritten Film . . . an ode to film noir - great album. Lots of similar attributes and of course, thumbs up from me. I love his version and the guitar solo is fabulous.

Beyond the Sea - but not Bobby Darin's version - is up next. Matt Belsante - that's a name I'm not familiar with. He's a young man - only 26 now and this song is from his album Blame It On My Youth, recorded when he was only 23! He has a kind of Michael Buble feel to him but I find his voice and style more authentic. I picked up a couple of tunes off this album from iTunes.

Ohhh - this is fun . . . Harry Nilsson singing Makin' Whoopee!  off his A Little Schmilsson in The Night album and just terrific. It's got the usual attributes but also some new ones: string section beds; a light swing groove and orchestral arranging. I just had to pick up this tune!

Oh look . . . Linda Eder is up next singing This Time Around from her It's No Secret Any More album. Yummy - Linda's version was one my father absolutely adored and played all the time. He discovered her late in his life and her music brought him great pleasure. No hesitation - thumbs up for me!  I guess possibly because Linda's voice is theatrical - the next suggestion is a bit too Broadway for me with Pal Joey's Happy Hunting Horn - but that's an easy fix. Click thumbs down and move on to Bonnie Raitt's Everything That Touches You. This song adds to the jazz influence and string bed attributes with acoustic rock instrumentation and acoustic rhythm guitars. Thumbs up and I'll be eager to see what this new song does to my path . . . but not tonight as I'm ready to close Pandora down for the evening.

I know I'm going to be continuing on these musical journeys discovering fabulous old and new music - old and new artists -- familiar and unfamiliar singers -- all from the kernels there were It's Only Make Believe and What Kind of Fool Am I. And what better way to end this blog than a performance of What Kind of Fool Am I by Clay Aiken at Bringing Broadway Home.



Next trip down Pandora I think I'll check out where Unchained Melody and Mack The Knife lead me. This is addictive!

DISCLAIMER: The photos of Clay Aiken have nothing, zero, nada to do with Pandora or singing these songs or anything . . . they are just simply gorgeous and begged to be used! Thank you to Diana Levine, photographer.


Wednesday, June 23, 2010

Destiny's Child Part 3

Two years ago when I started the Destiny’s Child blog that has turned into a Destiny’s Child series, I marveled at what some may think is just a bunch of coincidental events. While I do believe in the occasional coincidence, there’s something to be said for a series of intertwined events, days apart or even decades apart that set your life on a path of higher learning or bigger experiences. I believe life is a series of fateful events influenced by our own decisions and commitment. That feeling of coincidence is really just reinforcement of the fate that awaits you. Or there may be an event that seems like part of every day life that will eventually reveal itself as a connection between past and future.

A few months ago, I decided to change jobs. I had heard of a new job opportunity at an iconic international company that would allow me to work in an industry that has always fascinated me. The word on the grapevine was that it is extremely difficult to get hired at this organization. I networked hard and was able to secure a phone interview which ended with an appointment for an onsite interview. Thirty minutes after I hung up the phone, I received a call from my daughter at college. She is studying Public Relations and had to create a mock press release based on an assigned company and she had emailed it to me for review. I opened my email and saw the logo of the company that had just invited me onsite. I had four more events like that happen to me in a ten day period of time. Coincidence? Or was this my own personal version of The Force?

Earlier this week, a number of entertainers who were either native to Raleigh, North Carolina or who had a deep connection to the North Carolina Theater in Raleigh performed at a benefit concert. Performers included Broadway legend (and former NCT director) Terrence Mann along with Broadway singer/actress Lauren Kennedy. Also in the “cast” were actress Sharon Lawrence, and singers Quiana Parler and Clay Aiken-Multi-platinum recording artist, Broadway actor and Raleigh’s unofficial tourism ambassador.

He opened the show singing Home from The Wiz. How appropriate. He talked about sitting in the Memorial Auditorium for the first time, while watching a production of Big River starring Marty Moran as Huck Finn. Years later Clay was invited to play Sir Robin in Monty Python’s Spamalot on Broadway. The actor preceding him? Marty Moran. I discussed that Circle of Life in Destiny’s Child Part 1.

There was a lot of talent in this benefit concert that night. But in the video and audio of the show, a few things were clear to me. First, Clay can sing anything. Fans have always laughed that he can sing the phone book but he seemed determined to prove it. He dueted with various performers and easily slid from Broadway singer to pop singer depending on song and partner. As Nan said, she watched three different Broadway songs from three different shows and saw three different singer/actors. He embodied the song and morphed that embodiment to suit the mood. He sang traditionally and then he played with his voice as if it was an acoustical guitar and a trumpet all rolled into one. In Those Magic Changes from Grease, he seemed to be having a jamming session with himself and all of the Clays were thoroughly enjoying it.

And then there was his performance of Mack the Knife. This is such a strange song, it’s about a killer sneaking around slitting people’s throats and yet it's performed with this jazzy flair. What does this have to do with Destiny? Clay sang this song on American Idol in 2003 in the show that put him in the final. He needed to nail the performance, they had changed the words to his previous song at the last minute and he had stumbled a bit. That night found a young man on stage who was feeling the pressure to nail it.Sing it big and they will like it. This week it was the seasoned professional who sang a sadistic song with a sassy, grooving ease. He felt no pressure to nail it because he owned it the minute he opened his mouth.





As an aside, what is UP with his voice? The man has always had a voice better than 90 percent of the singers out there and it improves when he’s live on stage. But 2010 Clay? His voice is even better technically and the notes are effortless as always but there’s something more there now. I feel a joy and abandonment in his singing that I haven’t seen in a few years. I was thinking about it today as I was driving home from work (at that iconic new company that ultimately hired me last month). He sings with a sense of freedom to explore and experiment. He sings with no pressure, likely born from working with a new record label that finally, in his own words, gets him. He sings with hope. Does he sense the hand of destiny too?

So what else did our sister Destiny have in store for him this week? Sure, he stood on that very stage three months ago as he recorded a PBS special that had a smashing premiere in Chicago this month and will be airing on PBS stations nationwide in August. Interesting, but by itself probably a mere coincidence at best. But the memory, the event, the intersection of dream and reality began a lot earlier. It began when a 17 year old Clayton entered a regional performance competition and stood on that Raleigh stage in a sparkly blue vest and sang a song that was too big for most adults. He sang it with little nuance, just the “all in” naiveté of a teenager, but the judges rewarded him for the raw talent of it all.

Fast forward (or flashforward as Clay said that night) fourteen years to that very spot where the untamed wild pony had impressed a group of local educators and parents. He’s a household name now, about to embark on his ninth tour in seven years. He returned to sing that same song, not because he had a choice but because there was no other choice. He had to close that circle. I’m sure Miss Destiny has a few more waiting. I wonder if he has an aunt named Emmy.




Many thanks to GBB, Fountaindawg, Brightstar and toni7babe for their talents and treasures in the pictures and film clips on this blog. Check out Destiny’s Child Part 1 and Destiny’s Child Part 2 to see this amazing life.

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