Popjustice Battle of the Legendary Divas - THE CHER SHOW!!!

#45
Stoney End (1971)
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High Score: 9.5 @Disco Blister
Low Score: 5 @Riiiiiiiii
Average Score: 7.605


With 6 entrants in this competish it's amazing that Dame Babs is only now losing her first one. And what a tune it is.

By 1970 Barbra Streisand was the biggest female entertainer in the world. She'd won 4 Grammys, 2 Golden Globes, an Emmy and a Best Actress Oscar for her first ever starring role (Which we'll come to later) but the times they were a changing and it became apparent that her particular mix of Great American Songbook favourities, Broadway standards and comedy shtick was not going to continue to fly in the era of rock and soul and singer songwriters. It was determined that Babs needed to give herself a more contemporary image. It was time to drop the MOR albums for the parents and aim to make pop that the kids would buy.

Her first attempt in 1969 hadn't gone well. The album What About Today featured songs by the likes of Lennon/McCartney, Paul Simon and Jimmy Webb but her Broadway origins can't be disguised and she flounders with the contemporary material (So say the critics. I own this album (Obvs) but haven't played it in forever. Meant to do so before I wrote this but ran out of time. I'll revise that tomorrow and report back). It flopped only reaching #31 becoming her first ever album not to be certified either Gold or Platinum.

Her next attempt was far more successful. Stoney End released in 1971 was a collection of songs written by some of the coolest new talents in the industry and importantly produced by the young hip Richard Perry who went on to be one of the most successful producers of all time (I mean he gave us THIS). From Joni Mitchell, Randy Newman, Gordon Lightfoot and especially Laura Nyro who wrote the title track and 2 other featured songs the whole package was a triumph. It went to #10 and sold over a million copies.

The song had had quite a long history before finally becoming a hit. Originally recorded by Nyro herself in 1967, the impossibly gorgeous actress Peggy Lipton (Rashida Jones' mum) and young future Legendary Diva Linda Ronstadt with her band The Stone Poneys but it took Babs to take it into the charts.

The single reached #10 becoming only her 2nd Top 10 hit ever and redefining Streisand as contemporary popstar.

She went on to rule the next decade with five #1's three of which are featured are here but how much longer will they stay in???

 
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#44
Get Happy (1950)
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High Score: 10 @Baby Clyde
Low Score: 6 @abael @soratami @Disco Blister @Remorque
Average Score: 7.623


Thirteen year old Judy Garland was signed to Hollywood's biggest studio MGM in 1935. 15 years, 28 films and innumerable diets, drugs and dry outs later she made her final appearance for them in a minor musical called Summer Stock.

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Luckily, whilst the film is no great shakes her final scene is one of the most iconic numbers in musical history. A prime example of what made her such a star in the first place and enabled her to at least go out on a high.

It almost didn't happen. Having been fired and replaced from 3 of her previous four films an overweight and frumpy looking Garland was cast here opposite Gene Kelly as a farmer (???) who allows show folk to use her barn to rehearse. They fall in love or some gubbins. She was typically struggling with all kinds of health problems throughout filming and the end result would have been mediocre at best. Three months after they'd wrapped it was decided that Judy needed a extra musical number, Get Happy.

Rested and 20 pounds lighter she looked and sounded sensational (Hilariously nothing at all like she had through the rest of the film). It became one of her most celebrated numbers and the only thing about the film that anyone remembered.

I could write a 10,000 dissertation on everything that is magical about this number. I may not be a huge fan of her voice but in just a hat and jacket Judy exudes more star power than a million meat dresses ever could. She knows that less is more. A wink, a raised eye brow or the simple tip of a hat is all she needs to keep an audience transfixed. Surrounded by a medley of bizarrely brownfaced homosexuals, just a quick click of the fingers or shrug of the shoulders says more than a million hair flips or twerks. You can't take your eyes off of her for all the right reasons.

That look of confusion then frustration that crosses her face around the minute mark when all the hands are impeding her and then the triumphant smile as she bats them away. It's show biz genius. I could watch it all day (Have done so about 20 times whilst doing this write up). I became totally obsessed with Old Hollywood at the age of about 12. This kind of thing literally makes me so happy I could cry.

Anyway I get that I'm basically stanning over the performance rather than the song but in this case you cannot separate the two. It was written by Harold Arlen & Ted Koehler and 1930 and originally sung by 20's legendary diva Ruth Etting (Played by none other than Doris Day in 1955's Love Me Or Leave Me).

It's totally joyous and I can't believe I was the only one to give it a 10. Maybe you were all put off by this appalling news but that's nothing compared to the tragedy about to befall this rate tomorrow!!!



LEGENDARY DIVA COVERS

Apparently Doris did a version but I can't track it down anywhere so that just leaves Ella (Obvs).


 
#43
Don't Rain On My Parade (1968)

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High Score: 11 @DominoDancing 10 @Daniel_O @Eric @Filippa @Baby Clyde
Low Score: 2 @soratami
Average Score: 7.670


Don't Rain On My Parade you say Babs? Well it seems that @soratami wasn't listening, but we'll come to the Nicky Arnstein of this rate later!

A 19 year old Streisand became an overnight Broadway sensation in 1962 when she appeared as Miss Marmelstein in the musical I Can Get It For You Wholesale but it was her next (And last) Broadway show that went down in showbiz legend.

Producers had been trying for several years to get a musical based on the life of iconic Vaudeville star Fanny Brice staged. It now seems inconceivable that anyone other than Barbra could play the role but big names such as Mary Martin, Anne Bancroft, Eydie Gorme and Carol Burnett had all turned down the role before it was offered to Streisand. The rest is of course history. A well known up and coming singer at the time this was the role she was born to play and the one that turned her into a huge star. Within a month of the show opening her debut album won the Album of the Year Grammy. 1964 was a good year for Babs.

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The show was a giant hit running for 3 years and it's star also appeared in the West End version for a while (Before leaving when she became pregnant). It unfortunately came up against and even bigger hit Hello Dolly at the Tony's so lost in all 8 categories it was nominated for (The reason Babs doesn't have a proper EGOT).

By 1967 Streisand was a stage and recording huge name so it was time to accomplish her childhood dream of becoming a movie star. The film version of Funny Girl became one of the last big budget studio musicals of the era and won Barbra the Best Actress Oscar for 1968 in a shocking, but well deserved tie with Katharine Hepburn. She caused a controversy by accepting her award in a see through pajama outfit.



The sensational version of Don't Rain On My Parade that we're scoring here comes from the film and is quite simply one of the most jaw dropping, barnstorming performances ever recorded. She doesn't just vocally sing the shit out of it but from the way she bites into that very first line shows how the very best singers are great actresses as well. This is a song that doesn't work at all unless you sell it and Barbra is selling this as if her life depends upon it. She's not requesting that no one pisses on her chips she's demanding it, using every trick in the book to get her point across. Ella's long gone masterclass aside this is the most astounding performance in the rate. Just the vocal variety, control and astounding syncopation alone should warrant a high score. @DominoDancing understandably gave it a very worthy 11. @soratami gave it a 2.

I have it on good authority that single score tanked this song by 10 whole places.

But I'm not angered by this ridiculous mark as I can only feel pity for anyone whose heart doesn't fill with joy as one of the worlds great voices belts out that final note.




LEGENDARY DIVA COVERS

There's a reason there aren't many covers of this. It's really fucking hard.

Here's Judy and Liza making a hash of it.



Dame Shirley's got the range but the hideous arrangement ruins everything.



Even my beloved Ella comes a cropper. A tune this complicated in the first place does not need jazz improvisation and sometimes a melody should just be left alone

 
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Damn these background stories are good, @Baby Clyde ! AND very educational, which I thank you for. I thought I knew quite a lot, but I now understand ignorance was just being bliss.

I’ve gotten an ”Oh, NOW I get it” light bulb moment so many times during the results, that it almost makes me sad that I didn’t have the info on certain songs before I gave my points! Like, say, on Get Happy. Sure I knew the song, too well, so it didn’t excite me at ALL when listening to it once again. But now that I learned about the context I see and hear it with different eyes. Now I know and see what a triumph it was for Judy! Had I known that before rating I sure would’ve taken that into account. The same with Babs’ Parade.

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Being an ignorant fool I’ve said that in the end we’re rating the songs here, and I’m quite sick of many overplayed classics so I’ve given many low scores based mainly on that, and yes it’s often been justified as that’s what we see these rates as. But actually this rate is equally much about context. It teaches us why some songs are classics or if not classics, personal triumphs or shoulda-be-classics.

Would be interesting to know how much the voters points have changed during the results rundown, I don’t think I can be the only one.

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Oh no, not my beloved Don't Rain On My Parade, one of my favourite show tunes of all time!
Thank you for sharing those covers @Baby Clyde, because they really highlight how perfectly performer and material match on this song, Barbra puts so much energy into it, which is so important here. Judy's and Ella's style don't work well at all, and while Shirley's constant oversinging at least means her delivery has some oomph, it really is a weaker version in every single regard as well.
 
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Damn these background stories are good, @Baby Clyde ! AND very educational, which I thank you for. I thought I knew quite a lot, but I now understand ignorance was just being bliss.

I’ve gotten an ”Oh, NOW I get it” light bulb moment so many times during the results, that it almost makes me sad that I didn’t have the info on certain songs before I gave my points! Like, say, on Get Happy. Sure I knew the song, too well, so it didn’t excite me at ALL when listening to it once again. But now that I learned about the context I see and hear it with different eyes. Now I know and see what a triumph it was for Judy! Had I known that before rating I sure would’ve taken that into account. The same with Babs’ Parade.

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Being an ignorant fool I’ve said that in the end we’re rating the songs here, and I’m quite sick of many overplayed classics so I’ve given many low scores based mainly on that, and yes it’s often been justified as that’s what we see these rates as. But actually this rate is equally much about context. It teaches us why some songs are classics or if not classics, personal triumphs or shoulda-be-classics.

Would be interesting to know how much the voters points have changed during the results rundown, I don’t think I can be the only one.

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Thankyou. Whilst I've been on this pop music forum for the last 15 years it's well known I avoid almost all discussion of modern releases. This shit is my jam. I'm basically only doing this rate so I can talk about all the greats of the past, even if I'm often just talking to myself.

Totally get that hardly anyone is going to understand the context of most of the songs here but I'm old and time has come to pass on all my info to the younger generation lest it be forgotten forever.

Just think, in years to come when people are eulogising on here about the legendary careers of Dua Lipa and Jess Glynne at least they'll be 50 odd pages of Barbra, Judy, Ella and Lulu to put everything in perspective.
 

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