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| December 20, 2004 | The Denver Channel | "Barry Manilow Signs Deal With Las Vegas Hilton" by Rick Garman |
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| He writes the songs that make the whole world sing ... or at least Las Vegas. Iconic pop crooner Barry Manilow has signed a long-term deal with the Las Vegas Hilton worth, according to some sources, as much as $60 million. The showroom at the Hilton will be the new home for Mr. Copacabana for 24 weeks of performances over a year, starting in February 2005. The production, entitled "Barry Manilow: Music and Passion" will have one show a night Wednesdays through Fridays and two shows on Saturday, with tickets ranging from $85 to $145 a head. There won't be any major overhaul of the showroom to accommodate the new resident, but the hotel will add a Barry-themed gift shop, of course. Manilow mugs anyone? The singer also plans to pen a new tune honoring Las Vegas as a part of the city's centennial celebration. Hey, "Copacabana" already has a showgirl. Her name was Lola, ya know. |
| December 15, 2004 | Las Vegas Sun | "Manilow Live!: Venerable singer, songwriter says Hilton production will mix favorites, updated material" by Jerry Fink |
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| When "Manilow, Music and Passion" premiers at the Las Vegas Hilton on Feb. 24, headliner Barry Manilow promises a mix of the old and the new, including one song he wrote just for the show. "Of course we will be doing a lot of the hits, like 'Mandy,' but I can't do just that," said the superstar of the '70s and '80s. "So I have invented this thing that you will have to come and see -- it allows me to change songs and put in new material every night. The show will change every night." Manilow, seated at a piano, was responding to questions at a press conference Tuesday in the Hilton's Shimmer Cabaret, where comedian David Brenner is the headliner. Brenner and Manilow are old friends, rising to stardom during the same time frame, often working together. It is somewhat of an irony that they would end up as neighboring headliners in the same hotel -- Manilow in the 1,700-seat showroom, Brenner in the 300-seat cabaret. Manilow said Brenner, who has been at the Hilton since Sept. 3, was instrumental in his landing his latest engagement -- a 24-week contract spread over 2005 and continuing into 2006. "David was my first phone call," Manilow said. "He called me and said somebody should call somebody." After all the calls were made, Manilow signed a deal that will have him giving a total of 120 performances -- five 90-minute shows per week, with tickets ranging from $85 to $145 (plus tax). Officials declined to discuss the financial arrangements. At the time of Manilow's news conference, Brenner was en route to Toronto for a performance and could not be reached for comment. But Manilow had plenty to say. "I couldn't be more excited," a beaming Manilow said. "I've played every place in Las Vegas. The only place I haven't played is at Chuck E. Cheese down the street." He has even performed at the Hilton, on the stage made famous by Elvis Presley in the late '60s and early '70s when the hotel was called the International. Being a headliner in the showroom that Elvis built impresses even Manilow, one of the world's top-selling recording artists noted for such hits as "Mandy," "Even Now," "This One's for You," "Weekend in New England," "I Write the Songs" and "Copacabana (at The Copa)." "Standing on the same stage that hosted Elvis is one of the most exciting opportunities of my career ... I can't wait to start," the 58-year-old Manilow said. His is a career filled with exciting moments, from the early years when he wrote and sang advertising jingles and played piano for Bette Midler, to the concert tours of the the world that have consumed much of his life. It is the touring that ultimately resulted in his decision to set down some roots in Las Vegas, which isn't far from his home in Palm Springs, Calif. "I have spent most of my life on the road, all over the country, all over the world," Manilow said as he quietly played the piano. "The last tour I just came off of was wonderfully successful, wonderfully exciting, but I decided that was going to be it -- that was going to be the end of my touring career. "I used to kid around with my audiences and say 'Why don't you just come over to my house from now on?'" Manilow says the Hilton is now his house. "The show is fantastic already," he said, commenting on what fans can expect. "I'm working with these great, creative people." Manilow said the production won't be what people are used to seeing on his tours. "There will be all sorts of special effects," he said. "But, hopefully, it will be as emotional, as usual." Manilow has written a special song for the show. "I hope it winds up being the Las Vegas theme song, like 'New York-New York,' " Manilow said. There will be a band and dancers/singers, but nothing of the magnitude of Celine Dion, Elton John or the Cirque du Soleil productions. "It will be very entertaining," Manilow said. "I'm very excited." He says Vegas has changed a lot from the early days when he performed here. "It used to be a place for older entertainers -- Sinatra, Sammy Davis Jr.," he said. "But I think Vegas has become hip, and young." Rudy Prieto, chief executive and general manager of the Hilton, said the agreement with Manilow shows the hotel's commitment "to restore the luster to Las Vegas. This is the affirmation of our commitment -- and in the coming months you will see more changes." In June the Hilton was bought by Colony Capital LLC for $280 million. "Barry Manilow is a great superstar who is going to make Las Vegas hotter than ever," Prieto said. Ron Dante, Manilow's record producer from 1974 until 1981, says his former associate is even better today than he was when he was first starting his career. "He's a very funny guy, with a great sense of humor," Dante said. "He will be right up there with Celine Dion and Elton John. His show will be as good or better. He knows what to do -- he's a great showman." Dante may be best known as lead singer of the '60s group the Archies. He and vocalist/songwriter Andy Kim became international sensations with their 1969 recording "Sugar, Sugar," which was written for the cartoon series "The Archie Show." Dante says Manilow is more at ease onstage, is a more dynamic performer, and "He has learned to control that great instrument --- he has gotten stronger and stronger." However, Dante (who discovered Manilow and produced or co-produced all of his records through 1981), says he believes Manilow meant it when he announced this was his final tour. "For almost 30 years he's been knocking his brains out on tours," Dante said during a telephone interview from his home in Los Angeles. "It took a lot out of him. But he loves what he does. And this is a chance for him to perform for all of his fans without going on the road. They can come see him." Dante says Manilow isn't in the best of health. He has had bronchitis three or four times recently. "I think he's been looking for something like this for many years," Dante said. "It seems like every time he's on road, he gets the flu or something. This is a perfect opportunity for the world to come to his door, in a way." Dante says Manilow doesn't entertain just for the money. "He does it a lot for the pleasure of performing," he said. |
| December 15, 2004 | Las Vegas Review-Journal | "Manilow installed as Hilton headliner: He writes the songs that make the news conferences sing" by Mike Weatherford |
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| In perhaps the only news conference where the star accompanied his announcement with piano music, Barry Manilow confirmed on Tuesday he will spend much of next year performing at the Las Vegas Hilton. Manilow tickled the ivories on the Hilton's Shimmer Cabaret stage as he discussed his plans to spend 24 weeks in 2005 and early 2006 playing the casino's 1,600-seat theater. "Can you believe I'm 99 years old and I'm excited by something that's new like this?" the 58-year-old entertainer joked of the shows that will be titled "Manilow: Music and Passion." The New York Post reported on Dec. 2 that Manilow had signed "a whopping $60 million deal" for a year at the Hilton. On Tuesday, Hilton executives would not discuss specifics of the contract, but indicated there are options to extend the deal beyond a year. Manilow will perform five shows per week, giving the shows the potential to gross more than $22 million. Tickets will be $99.50, $132.50 and $165.50 for the shows beginning Feb. 23. Ticket sales begin Saturday at the hotel box office. Manilow will follow the resident headliner formula established by Celine Dion and Elton John at Caesars Palace: doing an exclusive show with more production value than a conventional tour would allow. The entertainer will have a gift shop on property. Casino officials are counting on Manilow "to see the Hilton theater sparkle again," said Rudy Prieto, chief executive officer and general manager. Entertainment at the Hilton has been in a holding pattern since Colony Capital bought the hotel from Caesars Entertainment in June. Manilow said he "didn't go searching for this" but decided after this year's tour "that was going to be the end of my touring career. And I used to kid around with my audiences, and I used to say, 'Why don't you just come over to my house from now on?' " he added. "I was kidding, but you just never know in this life when your jokes are going to come true." He plans to stay on-property rather than buy a house. But he left that option: "Every artist that I've ever asked about Vegas ... I have to hold the phone away. They are so thrilled here with their lifestyles and their homes." The former writer of ad jingles wrapped up the news conference by substituting the words "at the Hilton" in his hit "Copacabana," which is seeing new life as a dance remix. But he promised the shows would include a new song "I'm hoping (will) wind up to be Las Vegas' theme song."
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| December 15, 2004 | BBC News | Barry Manilow heads for Las Vegas: Singer Barry Manilow has signed a long-term contract to appear at the Las Vegas Hilton during 2005 and 2006 |
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| Barry Manilow, known for hits such as "Copacabana" and "Mandy," will perform five nights a week for 24 weeks. After more than three decades of performing and more than 50 albums, he joins Celine Dion and Elton John in taking up a Las Vegas stint. He told a news conference on Tuesday that the move made perfect sense having made the decision to stop touring. His most recent tour sold more than 250,000 tickets in 22 cities. "I've spent most of my performing life on the road all over the country and all over the world," Manilow said. "On the last tour, I would joke with the audience that maybe they could just come over to my house. And now, from now on, they can." His first show is on 24 February 2005. |
| December 15, 2004 | Entertainment Weekly | "One Voice: Manilow confirms long-term Vegas deal. He'll perform at the Las Vegas Hilton through 2006" by Gary Susman |
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| "Can you believe I'm 99 years old and I'm excited by something that's new like this?" So quipped Barry Manilow, seated at a piano, during a Tuesday press conference in Las Vegas, where he confirmed that he's joining Celine Dion and Elton John as a long-term headliner-in-residence. The pop crooner plans a stage show, complete with an orchestra and dancers, to be called "Manilow: Music and Passion," that will debut on February 23 at the Las Vegas Hilton and run through 2006. Manilow said he decided that the 22-city tour he completed this summer would be his last. "I used to kid around with my audiences, and I used to say, 'Why don't you just come over to my house from now on?'" he said at the press conference, according to the Las Vegas Review-Journal. ''I was kidding, but you just never know in this life when your jokes are going to come true." At the Hilton, he'll perform 120 shows -- five shows a week for 24 non-consecutive weeks ... As Caesars Palace did for Dion, the Hilton will renovate an auditorium for Manilow, one that will seat 1,700 fans. The ''Copacabana'' singer told reporters that the set list would change every night and would include new music, including a song he's writing about Las Vegas that he hopes will become the city's new theme song, � la Kander and Ebb's "New York, New York"... |
| December 15, 2004 | KTRK-TV Houston (ABC) | Barry Manilow signs deal with Las Vegas for exclusive gigs |
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| Barry Manilow has stopped touring, so if you want to see him, you'll have to go to him. Manilow has signed a long-term deal to perform at the Las Vegas Hilton hotel-casino for five shows a week. His 90-minute show will be called "Manilow: Music and Passion" and will premiere February 24th. Manilow says the show will include singers, dancers, a large band, and new songs. He says it will change every night. He also intends to write a signature song for Las Vegas, along the lines of "New York, New York." No word on how much this deal is worth. Tickets will range in price from $85 to $145. |
| December 14, 2004 | Las Vegas Sun | "Manilow to make LV Hilton 'my home'" by Jerry Fink |
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| International recording star Barry Manilow is following in the footsteps of Celine Dion and Elton John and will become a resident headliner in Las Vegas. Las Vegas Hilton executives confirmed in a statement this morning what had been rumored for weeks -- that the singer of such classic pop hits as "Mandy" and "I Write the Songs" has agreed to a long-term, multimillion-dollar contract. In a prepared statement, Manilow said: "I've spent the last three months telling audiences that since I wouldn't be touring again, the only way to see me is if you come to my home. Well, I've got a new home ... the Las Vegas Hilton. Las Vegas is now the home to a large number of talented performers, and I feel lucky to be joining the group." A news conference to announce Manilow's contract began at 10 a.m. today, and Manilow attended the event. According to the Hilton statement, "Manilow: Music and Passion" will premiere Feb. 24. He will perform five times per week for 24 weeks, with the weeks spread throughout 2005 and into 2006, for a total of 120 shows. Performances will be at 9 p.m. Wednesdays, Thursdays and Fridays and at 7:30 p.m. and 10 p.m. on Saturdays. Ticket prices will be $85, $115 and $145. Tickets go on sale at 10 a.m. Saturday. They can be purchased at the Hilton box office or by calling 732-5755. For a ticket-cost comparison, Dion's prices at The Colosseum at Caesars Palace are $87.50, $127.50, $175 and $225. Elton John's tickets are the highest priced of any Vegas performer, with the best seats going for $250 -- cheaper seats are $100 and $175. Hilton officials declined to release the details of the financial arrangement they signed with Manilow. However, based solely on ticket sales, the figure the hotel would gross could be between $17 million and $30 million. The range is arrived at by multiplying the Hilton theater's seating capacity of approximately 1,700 by the ticket prices and the 120 performances. It was initially rumored that Manilow's deal would bring in $60 million for the entertainer. In a prepared statement, Hilton Chief Executive and General Manager Rudy Prieto said: "This agreement with Barry Manilow, a superstar with worldwide appeal, helps extend and solidify the Las Vegas Hilton brand and the Resorts International brand overall. "The Las Vegas Hilton, in signing this long-term agreement, is recapturing its entertainment glory with one of the most popular singers of our time." Manilow began his career in the late '60s as a rehearsal pianist on and off Broadway and as a commercial jingle writer. For a time in the early '70s he was pianist for Bette Midler before going on to release more than 50 albums. During one stretch he had 25 consecutive top-40 hits on the Billboard singles charts. The 58-year-old singer/songwriter has sold more than 58 million records, among them "Could It Be Magic?" "Copacabana (at The Copa)," "Even Now," "This One's For You," "Weekend In New England" and "Tryin' To Get The Feeling Again." Manilow also is a record producer, having produced for such artists as Midler, Nancy Wilson and Dionne Warwick. Rolling Stone magazine has called Manilow a "'giant among entertainers" and "the showman of our generation." Manilow, a resident of Palm Springs, Calif., recently completed what he said was his final road tour, "One Night Live! One Last Time!" in which he promoted his latest album, "SCORES -- Songs from Copacabana and Harmony." He reportedly sold out every show on the 22-city tour. Ron Dante, who discovered Manilow and produced or co-produced all of his records through 1981, says he believes Manilow meant it when he announced this was his final tour. "For almost 30 years he's been knocking his brains out on tours," Dante said during a telephone interview from his home in Los Angeles. "It took a lot out of him. But he loves what he does. And this is a chance for him to perform for all of his fans without going on the road. They can come see him." Dante may be best known as lead singer of the '60s group the Archies. He and vocalist/songwriter Andy Kim became international sensations with their 1969 recording "Sugar, Sugar," which was written for the cartoon series "The Archie Show." At the time Dante was widely known in the advertising industry for being the voice in thousands of commercial jingles, including "You Deserve A Break Today" for McDonald's. Dante said he discovered Manilow when Manilow was playing piano for Midler. Dante and Manilow were filming a commercial together when Dante saw something special in his associate. He said after listening to Manilow sing "Could it be Magic?" he became his producer. "During one six-year period we never left the top-10 singles charts," Dante recalled. He said he and Manilow parted ways on friendly terms around 1982. Dante, who is looking for a Vegas venue for his own show ("Saturday Night Blast"), says Manilow may be better today than he was when he was younger. "He has learned to control that great instrument," Dante said. "He has gotten stronger and stronger -- when he sings 'Weekend in New England,' he stops the show every time, he puts so much emotion into it. He really connects with the audiences with most of his songs." |
| December 14, 2004 | ABC News | Barry Manilow Signs Las Vegas Contract: Barry Manilow Signs Long-Term Contract to Perform at 5 Nights a Week at Las Vegas Hilton |
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| Barry Manilow, famous for songs such as "Mandy" and "Copacabana," has signed a long-term deal to perform at the Las Vegas Hilton hotel-casino. Manilow will perform five nights a week for 24 weeks through 2005 and into 2006, executives announced Tuesday. The 90-minute show premieres Feb. 24 and is called "Manilow: Music and Passion." Executives declined to discuss contract details. Manilow said at a news conference that playing Las Vegas made perfect sense after he made the decision to stop touring. He said the show will include singers, dancers, a large band and new songs. "It won't be static," Manilow said. "It will change every night." His theater will hold about 1,700 people after renovations. Manilow, who said he intends to write a Las Vegas theme song similar to "New York, New York," is following in the footsteps of Elvis Presley, who once performed at the Hilton, and other singers such as Celine Dion, Elton John and Gladys Knight. Asked if he had gotten any tips from Dion about living and performing in Las Vegas, Manilow said no, but added: "I'll give her a call." The Manilow deal is part of a plan to reinvigorate the aging Las Vegas Hilton. Casino giant Caesars Entertainment Inc. sold the property to a subsidiary of Los Angeles-based Colony Capital LLC earlier this year in a deal worth $280 million. Rudy Prieto, Las Vegas Hilton chief executive and general manager, said Manilow will help restore the luster to the 3,000-room hotel-casino that was built in 1969. |
| December 14, 2004 | Yahoo! News
(Reuters) | Barry Manilow Signs Long-Term Las Vegas Deal |
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| Singer-songwriter Barry Manilow, saying it was time to end decades of touring, said on Tuesday that he had signed a long-term contract to perform exclusively at the Las Vegas Hilton, starting in February ... "I've spent most of my performing life on the road all over the country and all over the world," Manilow told a news conference, adding: "On the last tour, I would joke with the audience that maybe they could just come over to my house. And now, from now on, they can." The contract calls for Manilow to perform five 90-minute shows per week over 24 nonconsecutive weeks, for a total of 120 dates running into early 2006, said Hilton Executive Vice President Ken Ciancimino. Manilow, whose most recent tour sold more than 250,000 tickets in 22 cities, is the latest in a string of big-name entertainers to forsake the traveling concert circuit to settle down in Las Vegas for extended engagements ... Manilow reached the height of his popularity in the 1970s with a string of hits that included "Mandy," "I Write the Songs" and "Can't Smile Without You." |
| December 14, 2004 | Press Release
(Source: Las Vegas Hilton) | Las Vegas Hilton Signs Barry Manilow to Long-Term Engagement: Superstar to Make Las Vegas Hilton Theater His Home for 2005 and Beyond |
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| LAS VEGAS, Dec. 14 /PRNewswire/ -- The Las Vegas Hilton has signed Barry Manilow to a long-term engagement through 2005 and beyond, it was announced today by Las Vegas Hilton executives. The superstar begins the first part of his engagement on February 23, 2005, with tickets going on sale Saturday, December 18, 2004 at 10:00 a.m. "This agreement with Barry Manilow, a superstar with worldwide appeal, helps extend and solidify the Las Vegas Hilton brand and the Resorts International brand overall," said Rudy Prieto, CEO and general manager of the Las Vegas Hilton. "The Las Vegas Hilton, in signing this long-term agreement, is recapturing its entertainment glory with one of the most popular singers of our time." The formal announcement of the agreement was made today at a news conference at the property featuring Manilow. Barry Manilow will debut his show "Manilow: Music and Passion" to the public on February 24, 2005, exclusively at the Las Vegas Hilton. After more than three decades of performing and a career that has produced more than 50 albums, Manilow has signed on to perform for crowds with 5 shows a week for 24 weeks throughout 2005 and into 2006. Manilow just completed his final road tour "One Night Live! One Last Time!", selling out venues in 22 cities in which he performed for 250,000 fans and promoted his latest album "SCORES - Songs from Copacabana and Harmony." Said Manilow, "I've spent the last three months telling audiences that since I wouldn't be touring again, the only way to see me is if you come to my home! Well, I've got a new home... The Las Vegas Hilton! Las Vegas is now the home to a large number of talented performers and I feel lucky to be joining the group." The Las Vegas Hilton ranks among the world's most famous and popular resort destinations, located blocks from the Las Vegas Strip and adjacent to the Las Vegas Convention Center, offering 3,000 luxurious rooms and suites situated on 59 acres. The property is one of the largest hotels in the world and features top-name entertainment, 15 distinctive restaurants, a full-service health club and spa, Star Trek: The Experience� and much more. Manilow will perform Wednesdays, Thursdays and Fridays at 9 p.m. and 7:30 and 10:00 p.m. on Saturday in the legendary Hilton Theater beginning February 23, 2005. Tickets are $145 (plus tax and service charge); $115 (plus tax and service charge) and $85 (plus tax and service charge) and can be purchased at the Las Vegas Hilton box office. Visit www.lvhilton.com or phone 702-732-5755 or 1-800-222-5361. Tickets go on sale Saturday, December 18 at 10:00 a.m. |
| November 21, 2004 | Star-Telegram (Fort Worth/Dallas) | "Looks like he made it: Good humor and grace work miracles for Manilow" by Jay Webb |
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| DALLAS - A lot of aging musicians have been threatening to hang up their touring hats lately. Cher's farewell tour hit North Texas three times and is still going on, while the Eagles and Phil Collins have each dubbed their latest tours "Farewell I," as if "Farewells II, III and IV" are already booked. So maybe this is Barry Manilow's "Farewell II," since the singer called it quits from touring two years ago. On Saturday night at American Airlines Center, his only explanation for his repealed retirement was: "I'd been watching a lot of CNN and television news and thought, 'The country needs me out there.'" For this performance, he emerged from the center of an in-the-round octagon stage in a long, black zoot suit over black-and-white striped pants, bouncing around to "It's a Miracle." The song got a few members of the mostly middle-age crowd on their feet, but for the most part it was a sit-down affair. Manilow's witty and self-deprecating stage banter kept him in the audience's graces as he explained why laryngitis led him to reschedule this show from its original Nov. 5 date ("If I had been here that night, all you would've gotten was a fiesta of phlegm") and joked about his place in the current world of pop music ("This is what Clay Aiken is going to look like in 30 years"). Musically, Manilow didn't skimp on the hits. During "Looks Like We Made It," you could tell he had his act down pat as he swung out his open palms and cocked his head to one side, knowing the body language that most endears him to his fans. Newer material from his theatrical concept album, Here at the Mayflower, blended in seamlessly with the hits even if some of the new tunes, especially "Turn the Radio Up," were a bit cheesy. But it's easy to forgive Manilow for any of his few shortcomings because, through it all, he was a gracious performer who still has the pipes and winning charm to make older fans and younger converts swoon. And if you missed the show, don't worry -- you'll probably get a chance to catch him again, because a natural showman like Manilow is hard to keep down. |
| November 15, 2004 | Orange County Register | "Even now, his sugary songs stir: Barry Manilow, on what he says is his last major tour, proves why he has earned grudging respect" by Paul Sterman |
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| Barry Manilow stepped onstage and burst into "It's a Miracle." And it is, to hear him tell it. Back in 1993, Manilow gave Arrowhead Pond of Anaheim its concert christening, being the first performer to play the new arena. Saturday night, he was right back at the same place. "You'd think that by now, I'd be playing the Cheesecake Factory in West Covina," said the singer. That, of course, was a large slice of self-deprecating humor, for Manilow is, in fact, one of the biggest concert draws around. Recent statistics rate him the fourth-highest concert draw in North America over the past year, based on the average box-office gross per city - ahead of such acts as Metallica, Van Halen and Usher. But poking fun at himself is one of Manilow's more endearing qualities, and one of the things that made his show at the Pond such a satisfying affair. You might assume that with his stockpile of over-the-top broken-hearts ballads - think "Mandy" - Manilow would be a moper, a brooding, anguished artist steeped in sentimental speeches all night. Far from it. As those who have seen the 30-year veteran perform live know, he is a genial and playful concert host. He jokes about his distinct looks - the large nose, the long, thin body - as well as being twice the age, or more, of the young stars emerging in today's pop galaxy. As the 57-year-old said at the beginning of Saturday's show, "I'm Barry Manilow - and this is what Clay Aiken is going to look like in 30 years." In reality, his longevity in the music business is a tribute to his versatility and enduring popularity. Despite his image as the King of Shlock and master of the bloated, bombastic pop tune that treats subtlety as anathema, Manilow has enjoyed a renaissance and a reappraisal in recent years. He created a stage musical of the hit single "Copacabana," put out a well-regarded album of tunes made famous by Frank Sinatra and produced a record by jazz great Diane Schuur, who lauded his skills. His 2002 greatest-hits collection, "Ultimate Manilow," debuted at No. 3 on the Billboard charts - the highest chart entry of Manilow's career - and last year he reunited with Bette Midler for the Grammy-nominated "Bette Midler Sings the Rosemary Clooney Songbook." "American Idol" and "Will & Grace" devoted entire episodes to the man. More and more critics have given him grudging respect, acknowledging his role as a pop-culture icon and agreeing that his own songbook contains, amid the syrupy stuff, many lush, sophisticated and complicated melodies. He's always had a huge army of fervent followers, and the sold-out crowd at the Pond bellowed its love from the get-go. Manilow has billed this as the "One Night - One More Time" tour, saying it is his last go-round in arenas and other large concert venues. If so, this two-hour farewell provided plenty of fond memories. Manilow even performed snippets from the commercial jingles he once wrote, including such classics as "Like a good neighbor, State Farm is there." The singer pretty much emptied his whole catalogue of chestnuts. (At one point, he had a string of 13 No. 1 hits on the adult contemporary charts.) Sounding strong and seeming to pour all of his passion into it, he ran through "Could It Be Magic," "This One's For You," "Even Now," "Somewhere in the Night," "Mandy" and "I Made It Through The Rain." Manilow stood alone on an unadorned, in-the-round stage, and his four back-up singers and six-piece orchestra performed below and to the side of the stage - as if in an orchestra pit. As is his tradition, Manilow brought up a woman from the audience to perform "Can't Smile Without You." The Pasadena woman told Manilow she had seen him perform at the Roxy when she was 14 - and looked positively overjoyed as she danced and sang the tune with him. There's no doubt that songs like this are super saccharine, and thundering ballads like "I Write The Songs" are flush with melodrama and swelling orchestral crescendos that don't stop crashing. But there's also no denying that there is something enjoyable about the tunes. For one, Manilow serves as a stand-in for that angst-y side of us that wants to belt out our emotions in full scream, and for another, these are highly infectious, hummable songs. You can't get those melodies out of your head. And Manilow is a showman, whether delivering operatic flourishes at his grand piano or slyly hoofing around the stage with debonair style, looking like he'd fit perfectly in a 1940s nightclub with long coat and top hat. He indeed looked quite dapper as he went through five costume changes, including the one he pulled off for his grand and campy soap-opera-in-a-song, "Copacabana," when he emerged on a hydraulic lift in a red velvet jacket, gray leather pants and black wraparound sunglasses. He also made wise use of his four backup singers, who were a multigenerational, multicultural group of vibrant performers. They did some nifty dancing and played off of Manilow with some funny bits of faux-sexy dirty dancing. The show closed on one last bit of pleasing theatrics. After another final bit of "It's a Miracle," Manilow stepped off stage, backup singers trailing him, and strode down the aisle surrounded by a phalanx of security guards, looking like a boxer leaving the ring after a triumphant bout. Just before reaching the tunnel that would lead to his dressing room, he turned to the crowd to offer one last sunny smile and sweeping wave. To this roaring and adoring audience, Manilow was truly a heavyweight champ. |
| November 13, 2004 | The Desert Sun | "Manilow's last stand: Singer winds down his final major concert tour" by Bruce Fessier |
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| After tonight, a local Barry Manilow benefit could become an event of international stature. Manilow, 58, of Palm Springs, brings his final concert tour to the Arrowhead Pond in Anaheim tonight. He has two canceled shows to make up, but after that, he says he'll never do a major concert tour again. He's not giving up performing. And he's an active supporter of Coachella Valley charities, having given benefit concerts in the past decade for such charities as the AIDS Assistance Program, College of the Desert and the Palm Springs Desert Museum, so he probably won't retire his good neighbor policy, either. But new doors began opening for Manilow as the door to his fabled Arista Records career was closing. After having become the best-selling adult contemporary artist of all time, Manilow's final Arista album, "Ultimate Manilow," entered the Billboard charts at No. 3 in 2002. Then albums he produced for Bette Midler and Diane Schuur became hits. His appearance on "American Idol" became the highest-rated show of that reality series' season. The one-night concert he gave in Las Vegas became so successful, he did a follow-up in New Jersey that became a hit CD, "2Nights Live." And after regaining the rights to his stage musical, "Harmony," he released a sampling of sophisticated songs from it and his previous film and stage musical, "Copacabana," on Concord Records, titled "Scores." Now he's finishing a final national tour, planning for the Broadway debut of "Harmony" and building his charity foundation by meeting with dozens of donors for five minutes each after every concert. Still, we had to ask Manilow, during a break at his Palm Springs house two weeks ago, is this really going to be the end? Question: You were so exhausted after your last long tour in 2002 you said, "Never again." What inspired you to do this again?
Answer: Two things. I was going to do my last final farewell performance in Vegas on June 5. I had no idea the business would be so great. I thought it would be half a house, we would all shake hands and say goodbye. But it turned out to be a huge event. Clear Channel said, "If you're going to say goodbye, you should do a proper farewell, say-goodbye tour." I really didn't want to do it, but I thought, "Maybe I should do a final farewell tour that makes people feel good," and I put together seven weekends. And it's been working out beautifully. The audiences are still there, between 10,000-17,000 people a night, and they seem to be very receptive. I'm grateful they're there and it's been a love fest. I've got a couple more weekends to go and that really will be it. It won't be it for my performing career, it will be it for this 10 semi-trucks, buses, hotel rooms-for-six-months-at-a-time kind of tour. Q: Cher said she didn't want to keep going for two years, too. But so many people encouraged her to continue, she did. You don't see that happening to you?
A. No. I wouldn't be surprised if you found me settled down some place where everybody could come to see me. I would be very interested in doing that. Q: Like Celine Dion?
A: Yep. Something like that. Q: You have so many things going on. How do you unwind at night? Do you listen to any music at the hotel?
A: I put on my electronica, which is my favorite kind of music these days. What I hear on pop radio are songwriters who don't know how to write. Great producers and great singers, but the craft of songwriting is kindergarten. I can't bear it. But, the electronica people seem to have a handle on breaking some rules and keeping me as a musician interested. There's a group called Tortured Soul, to say nothing of Basement Jaxx and Underworld -- all these people I think are on to something. I think they're great. Q: That brings me to the "Copacabana" dance track (on "Scores"). Did that happen through your evolution into electronica?
A: I thought it would help the record. I thought a new version of "Copa," plus all the remixes these geniuses do would help this very oddball CD get attention. Because this is a very oddball CD. It's not a pop CD and it's not a Broadway soundtrack. It falls in the middle, which is where I love to be. I love that netherland where they don't know what to make of me. But I thought a new version of "Copa" might give it a hook to hang on, so I went in to the studio, re-sang the vocal and hired a couple of very contemporary fellows to redo "Copa." Then there are the remixes of that done by these geniuses like Eddie X and five more of these people who live and breath this world of electronica and dance. There are now six different dance mixes of it and they all sound great. Q: Are you doing that dance track in concert?
A: I am. It rocks the house. Near the end of the show when this thing kicks in, you think you are at some crazy dance club where they are handing out Ecstasy. It's the last thing you would think of at a Barry Manilow concert, but, every night it just rocks the house. Q: On your Web site, you say the album you would like to be remembered for is "2:00 AM Paradise Cafe (from 1984). Do you still say that?
A: I'd say "Paradise Cafe" is right up there with "Scores." Mostly because they're original. They have nothing to do with top 40 radio. I think they're daring, well-crafted songs. My collaborators and I are songwriters -- good songwriters -- and my performances, I'm proud of them. I think that's the way these songs should be performed. Q: Are the songs going over well in concert?
A: They are. "Every Single Day" (from "Harmony") is a showstopper. "Dancin' Fool" (a neo-swing tune from "Copacabana") is a showstopper. A lot of people come to hear "Looks Like We Made It." I know that. So I say, "Listen hard now. You don't know this one, but I think you'll like it." And I do "Every Single Day" and they do. They like it. Q: And you must be pleased that "Weekend in New England" has grown in popularity.
A: Yeah, it's quite a showstopper. You know, I've told you before, I've always believed in this stuff. I've always believed that this music and my renditions would outlive me. That was my goal: To make music that would outlive me. I always knew I was right because the public never agreed with the critics. They never agreed with the comedians. They never agreed with the cynics. They got it. These people I've been meeting with this charity thing, when they come back stage, they tell me what this music over the last 35 years has meant to them. And I always knew they were out there. No matter what the critics said, I believed "Trying To Get the Feeling" was great. I didn't care what they said. Yeah, I would wince and pull the covers over my head because it's humiliating and it's infuriating to be criticized like that. But it never stopped me. It never stopped my belief in this work. Now I go into the first note of "Weekend in New England" and 17,000 people go crazy and I say, "Well, I wasn't crazy after all." Q: Even with that, you seemed to have stepped up to another level of writing in "Harmony." It has a Claude-Michel Schonberg of "Les Miserables" level of serious songwriting and a Swing Era-quality of vocal harmony. What did you do to take it to that level?
A: A lot of study. When (lyricist) Bruce (Sussman) and I found the story we were going to tell -- the story took place in the late '20s and '30s in pre-Nazi Germany -- I did six months of nothing but listening to that world of music. If you look at the shelves in my closet, you'll see nothing but classical music from the day, popular music from Germany of the day (and) liturgical music because it's about Jews and Aryans. It was daunting. It was overwhelming. And then, when it was time to write the first song, I threw all of that out and did my version of what I had learned. It's been a great experience. Q: Do you have a projection of when you're going to find a theater?
A: It's inches away. They've got the financing in place. It's really a matter of when the right New York theater opens up. We've already turned down two. One was too big for "Harmony" and one was too small. We did a very successful workshop about three or four weeks ago in New York for investors and theater owners in New York. It was tremendously successful. Equity only allows you to invite 90 people, so there were four performances of 90 people each. And all you heard at the end of each performance was people in the audience sobbing. At the end of each performance they would walk up the aisle and this Barry Manilow thing went out the window. They would grab my hand and say, "Thank you for writing this." It is one of the most powerful pieces ever and certainly my proudest achievement. Manilow finale. What: Barry Manilow in One Night Live: One Last Time West Coast finale. When: 8 p.m. today. Where: Arrowhead Pond, east of the Ball Road or Katella Avenue exits of the 57 Freeway in Anaheim. Tickets: $35-$125. Next shows: Nov. 17 in Houston, Nov. 20 in Dallas. Information: (619) 220-TIXS or www.ticketmaster.com. International fan club information: www.barrynethomepage.com. Official website: www.manilow.com. REACTION: Samantha Grant and Kate Rogers are traveling from the South of England to see Manilow at The Pond. Then they're following him to his final touring appearance Nov. 20 in Dallas. "After liking him for the last 25 years and clocking up well over 100 shows on both sides of the Atlantic between us since the age of 12, we just have to be at his last show," Grant and Rogers said via e-mail. "And lucky for us, as we decided to stay on for a holiday, we are also able to go to the rescheduled Dallas show!" Christiann Adams of Los Angeles is going to the Anaheim show after seeing him "hundreds of times" across the nation. She is what Manilow fans call a "CSWY girl" because she was selected to sing a duet of "Can't Smile Without You" with Manilow at a Mandalay Bay show in Las Vegas. CSWY girls get hugs and kisses from Manilow and videos of their stage appearances that often seal lifelong attachments to the pop idol. "I have been a fan of Barry's since I was 9," she said. "I am in my 30s now. I have attended many of his concerts ... The end of his touring career certainly marks the end of an era." |
| November 12, 2004 | East Valley Tribune | "Even now, Barry Manilow commands loyal fan base" by Chris Hansen Orf |
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| Ironically, one of Barry Manilow's biggest hits -- 1976's "I Write the Songs" -- was written by the Beach Boys' Bruce Johnston. That was a mere aberration, though, as Manilow generally has written and produced all of his own material, which includes 13 No. 1 singles and hundreds of other songs. His career began with some of the most hummable ad spots of the early 1970s. Manilow wrote jingles for State Farm Insurance, Stridex, Band-Aid and Dodge, and he sang in commercials for McDonald's, Pepsi, and Dr. Pepper. "I was a budding songwriter, sending out my demonstration records to singers when one of the demos wound up in a jingle agency," the singer explains. "They called and asked me if I would try out for a Dodge commercial. I wrote a melody to their lyric and got the job for them. From then on, I went up against some very talented composers for lots of jingle jobs and got a few. It was a great way to learn about song writing and producing." Manilow used his newfound writing and producing talents to accompany Bette Midler on her now-famous tour of bathhouses in New York City and produced "The Divine Miss M" on her first two albums before he and Midler had a falling-out. Manilow then landed a recording contract and released his first record, "Barry Manilow I," in 1973. With the release of "Barry Manilow II" in 1974, the hits started coming, and the singer would continue to have Top 20 hits on the pop and adult contemporary charts through the new millennium, an amazing run for someone who never set out for fame and fortune and does his own thing. "I attribute my longevity to solid songwriting and total commitment to my music," Manilow says. "The folks that don't do it for the fame usually become the most famous. You have to stick to your guns and do what feels best to you no matter what anyone says." While the artist is best known for his lush, stringladen ballads, over the years he has branched out with his songwriting. "My later work has leaned towards classic songwriting, whether they be standards from the past or originals that I've written that lean towards that style," Manilow explains. "I grew up respecting and adoring that type of music and arranging and as soon as I was able, I began to explore creating productions for my albums in that style. It's been a great honor." Manilow also called Midler to end their 30-year feud, and he produced Midler's 2003 disc "Bette Midler Sings the Rosemary Clooney Songbook." "It was a great experience working with Bette again," Manilow recalls. "We've both matured and had lots of life and professional experiences. Both of us found that we were able to communicate very quickly and very clearly as if no time had passed." Manilow promises a great show tonight that he sums up succinctly: "Excitement. Entertainment. Heart. Hits." See Barry Manilow. When: 8 p.m. today. Where: America West Arena, 201 E. Jefferson St., Phoenix. Cost: $41-$138. Information: (602) 379-7800. |
| November 11, 2004 | Rocky Mountain News | "Manilow's goodbye happy" by Jay Dedrick |
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| At every one of his concerts, Barry Manilow plucks a female fan from the audience and invites her to duet with him on "Can't Smile Without You," a cotton-candy tune suitable for grandma at karaoke. His Web site asks fans who have sung with him at past shows to please not hold up signs asking to be picked again. This says something about his fans: They're irrationally competitive and downright selfish when it comes to their hero. But it also says something about Manilow: that he sincerely cares about his following and wants to give as many women as possible a shot at joining him in the spotlight. Shameless showbiz stuff, sure, but executed with heart. Manilow performed that fan favorite yet again on Wednesday night at the Pepsi Center, where the adult-contemporary mainstay brought his "One Night Live! One Last Time!" tour. He says it'll be his last cross-country trek, and if that's the case, he left Colorado fans smiling with him. From the opening "It's a Miracle" to the inevitable windup of "Copacabana" and "I Write the Songs," Manilow proved he'd bounced back from a weekend bout of bronchitis, which delayed the Denver show three days, and wowed the crowd with surprisingly powerful vocals. He strained to hit a few high notes, but they proved to be the exceptions. Turned out he also had more in mind than a mere roll call of hits. Aside from themes of love lost and found, Manilow is a poster boy for positivity, and he stressed the shiny side at every opportunity. He announced he was "reporting for duty," a la John Kerry, before launching into "Daybreak," a song that first called for smiles amid the ruins of Watergate. Manilow also returned to the '70s for "Why Don't We Live Together." The star kept things light, fun and tuneful for the most part, dishing self-deprecating wit ("This is what Clay Aiken is going to look like in 30 years") in between songs. Even those allergic to gushy romanticism had to be impressed by the dynamics of "Even Now," "Weekend in New England" and "Could It Be Magic." Working a sparse in-the-round stage, Manilow occasionally invited his four soulful backup singers up to play (they and the band were hidden on the arena floor). The five-voice a cappella reading of the "William Tell Overture" offered a perfect encapsulation of the singer-pianist: silly, goofy, yet undeniably musical - and entertaining to the end. |
| November 11, 2004 | Denver Post | "Manilow fans smile with him" by Elana Ashanti Jefferson |
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| You've got to wonder how the long-haired guy near the Pepsi Center stage Wednesday night got this job: Picking up Barry Manilow's soiled Kleenex after the king of adult contemporary radio joked with his audience about the size of a man's schnoz relating to the bulk of his other "attributes." Then again, the many Mani-fans clad in velvety red for an arena show on a wintry night seemed happy whether the performer was belting out a classic or blowing his nose. The crowd was sparse - not a complete surprise considering Manilow was originally scheduled to perform "One Night Live! One Last Time" on Sunday but rescheduled due to bronchitis. And it is a testament to the performer's devout following that those fans who showed up hung on every word, even when those words were self-deprecating jokes about an early career spent writing television-commercial jingles, or about the way posterity has preserved his schmaltz in elevators everywhere. The vibe was surprisingly hip before the concert when the crowd entered the arena amid the thumping beats of Crystal Waters-sounding house music. This might have led a first-timer to believe Manilow really does have a soft spot for modern music by the likes of the New York City acid jazz collective Tortured Soul, which he touted in a recent interview. But once the show got underway, complete with four big screens flickering classic TV Manilow footage, it became clear this would be the same schmoozy love fest most have come to expect. It makes sense that Manilow's most recent album, "Scores," features the musician performing material from his musicals. His stage presence is decidedly Broadway. He mounted one familiar tune after another, including "It's a Miracle," "Turn the Radio Up" and "I Write the Songs." The entertainer took a break after more than an hour of skipping and prancing. He returned with "Can't Smile Without You," then led his people in a smiley-happy singalong in which he predictably invited an unsuspecting fan onto the stage. "Julie from Littleton" promptly demanded a kiss on the cheek but stole a true lip-lock. Manilow's energetic "Copacabana" (At the Copa) remix, performed in his own velvety red blazer, was a highlight. |
| November 8, 2004 | Yahoo! News | Manilow Fans Sing Along by the Thousands |
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| DENVER - Barry Manilow is a little freaked out to see tens of thousands of people singing along with him. "Most of the nights I look up, and there are between 10,000 and 15,000 people out there," the entertainer told The Denver Post in Sunday's editions. "They can't all be fans from the '70s. I'm sure many of them are, and I'm very grateful that they've stuck with me that long. But between 10,000 and 15,000 people a night? I just have to believe there's another generation that has either been brainwashed by their parents or have discovered this catalogue of music on their own." The performer behind such easy-listening classics as "Mandy" and "Looks Like We Made It" is back with his 43rd album, "Scores: Songs From Copacabana and Harmony," primarily material that Manilow, 58, wrote and arranged in the past but never recorded. Manilow said he wants to remind today's listeners that pop music requires great songwriting. "Now what the singers are given is a good groove, a great-sounding record, some slang, and free rein to try and make it as interesting as possible," he said. "They do a brilliant job, but I feel that the craft of songwriting has taken a nose dive." |
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