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Barry Manilow isn't re-writing history. He's just
re-recording it. His last three albums have been covers
collections, devoted, respectively, to pop hits of the
'50s, '60s and '70s -- everything from "Are You Lonesome
Tonight?" to "It Never Rains In Southern California."
For the latest, "Greatest Songs of the Seventies," he
also recorded acoustic versions of his own '70s hits,
such as "I Write the Songs" and "Looks Like We Made It."
Manilow, 61, has
also reshaped the concert side of his career. Following
the example of Celine Dion and Elton John, he is cutting
down on his road time by doing most of his performing in
Las Vegas. His extended engagement at the Las Vegas
Hilton began in 2005, and will continue until at least
May. We spoke to him by phone, before one of the Vegas
shows.
Star-Ledger:
So are you working on your '80s album yet?
Barry Manilow: Not yet. I haven't been given the
go-ahead. These decade albums are all the brilliant idea
of (record executive) Clive Davis, and if he wants it,
I'd be very happy to do it. But in the meantime, on my
own, I'm writing an original album.
SL: Was
doing the '70s album a different experience for you,
just because the '70s were kind of your decade?
BM: Yeah, I think the '70s album was more
difficult. The 50s ... I'm an arranger, and arranging
songs like "Beyond the Sea" and "Sincerely" and "Venus"
... those are fun to do, because they're so far away
that I could play around with them. Then, the '60s ... I
still was able to put my stamp on those songs. But boy,
when I got to the '70s, I couldn't do that. You can't
f--- with "Bridge Over Troubled Water." You just do it,
and sing it. And that's what I found with every one of
those: "You've Got a Friend," and "He Ain't Heavy, He's
My Brother" and "Sailing." Every time I tried changing
things around, it hurt the song. The other difficult
part was redoing my own songs. I mean, how the hell do
you redo "Mandy"? I sat at the piano and said, "Well,
now what? I did this already." So, I came up with this
idea of doing, like, an unplugged version of it, and
even that was pretty complicated to do. So this was a
more challenging album than I had thought.
SL: What
has it been like for you, to do so much performing in
Vegas?
BM: I love it. Most of my life since the 1970s
... when we put a tour together, it was always months
away from home. At least three weeks, and then we would
take a week off, and then we'd go out for four weeks ...
and that was my life. I finally had just had it and
said, "I have to have my life back now." And right then,
they offered me Vegas. I still love hanging with my
band, and making music and all. So this Vegas thing was
a godsend. I can still make my music, play with the
audience, play with the band. Then I go home. I hang out
at home all day long, then fly here at night, and do my
show. Then I go home again.
SL: Where
is that home?
BM: I live in Palm Springs, and I fly home, every
night, from Vegas to Palm Springs. I mean, sometimes we
stay here. They've given me a really nice suite: it's
15,000 square feet, and it's got a swimming pool and a
lawn. And I built myself a little recording studio here.
I bring my friends, I bring the family. But whatever it
is, it's not the road, so I'm happy.
SL: Do you
keep changing the Vegas show, to keep it fresh?
BM: Oh yeah. Shows like the brilliant Celine Dion
show, and Elton's show, and all of these, they seem to
have gotten themselves into a hole, in my opinion,
because they're stuck with dancers, and production. Once
you've set that, you can't change -- maybe they can, one
song or something -- but most of the show is so
produced. If they changed a song, everybody would bump
into each other! I don't do that. Mine is very beautiful
to look at, and it is produced, too, but it still
enables me to change anything I want, every night.
SL: I
assume it's a different kind of show from what people
will see in New Jersey.
BM: What we're taking to New Jersey is a big,
blown-up version of what I do here. We've done it
before. We did it at Madison Square Garden, for three
nights, and had a ball there. And we did it in Atlantic
City, and Chicago.
SL: If you
do the '80s album, what songs would you do?
BM: I haven't even thought about it. At first, I
thought, "I can't." The '80s were all about ... what do
they call it? New wave. It was all about those groups
that stood on their heads. But when I looked up songs
that were Top 40 of the Year, for that decade, there
were a handful of songs that were beauties. There's
enough that I could probably play around with.
SL: You
said you were also working on an album of originals ...
BM: If Clive's not interested in doing an '80s
album, by that time I'll have my original album
together. It's edgier than anything I've done. It's not
piano-driven, the way all my ballads are. It's
guitar-driven. And every song, it's got a lot of ... I
hate saying rock 'n' roll, because I don't know whether
I can handle rock 'n' roll as a singer. But as a
songwriter I've been able to do that, and it's exciting. |