You Have One Guess As To My Assessment of Barry Manilow's New '80s Cover Album
When it comes to American popular music of the past few decades, there probably exists no easier target for scorn, mockery and abuse from a certain percentage of disapproving music fans than Barry Manilow. For this reason, I feel more like a bully than I'm comfortable with for even taking on this topic, especially given the fact that there's nary a chance for me to have anything positive to say about Manilow's latest covers album, the extravagantly titled Greatest Songs of the Eighties. I'll do my best to stay away from creatively barren cheap shots at Mr. Manilow, but other than that I can't make any promises.The most immediate problem with this release is that not only do very few of its selections even flirt with a potential status as the decade's finest; at least a couple of them distinguish themselves only by their nearly inarguable placement at the bottom of the '80s barrel. I'm curious, for example, about exactly who among us would seriously contend that "I Just Called to Say I Love You" or "Arthur's Theme" in any way deserves the superlative of "greatest." Oh, I'm sure those people are out there, and I may just hear from them, but I still don't believe the unique tastes of Manilow's fans could explain such elevation of sub-mediocrity. Uh-oh, my internal bully alarm just went off.
In case you're wondering, I have listened to at least significant portions of every track on the album, and though I suppose Manilow fans will be far from outraged by a perceived lack of quality, I also doubt they'll count this among their "Greatest" easy listening experiences. After all, there are no daring or even interesting choices here, and the arrangements suffer from a self-sameness and similarity to the source material that suggest complacency if not downright cynicism on the part of Manilow in even cutting this record. I just strongly feel that "tributes" such as these will only encourage those already inclined to dismiss '80s music as disposable at best to further broadcast their distorted views. Of course, even I'm happy to admit that "distorted views" can be highly relative things.
Album Cover Photo Courtesy of Arista Records
Comments
First, I have to ask… when you say you listened to excerpts from this album… what exactly do you mean? If you mean you wen’t over to Amazon.com and listened to to the little 30 second teasers over there, that in no way makes your assessment of this CD fair. Also, if you mean, you actually heard a complete track or two… it’s still unfair.
You need to hear the whole thing before you can be totally fair.
That being said, I’m an ’80’s kid… lived and breathed it, and, while I don’t disagree that these songs can hardly be considered the greatest of the decade, they are great choices for Manilow’s voice and style, and they all reached the top of the charts in their time. Face it, as Mr. Manilow himself has said, there’s no way the skinny, white, Jewish boy was gonna be able to pull off Michael Jackson’s “Rock With You”.
I never cared for Rick Astley, but I love Manilow’s take on “Never Gonna Give You Up”. I could stand Christopher Cross’ high-pitched, nasal whine but Manilow does a better than fair version of “Arthur’s Theme (Best That You Can Do)”. He never went to extremes with the arrangements, though he is a gifted arranger, out of respect for the originals. The one song where he did do something unexpected was “I’ve Had The Time of My Life” from the Dirty Dancing Soundtrack. He turned into a ballad, and a beautiful one at that. “Have I Told You Lately” may not have the soul of the Van Morrison original, but it is full of heart. Journey’s version of “Open Arms” will always be my favorite, but Manilow does a wonderful job with it as well. And his duet with Reba McEntire on “Islands In The Stream” surpasses the Kenny Rogers/Dolly Parton original, in my opinion.
I think your assessment is far too cynical and slanted by the fact that Manilow has been such an easy target with harsh critics. Lighten up a bit and listen to the entire CD before criticizing it next time.
Please don’t assume all of Manilow’s fans love this album.
Many of us hate it -
- Are thrilled Barry’s obligations to Clive Davis are finally fulfilled …
- And can’t wait for Barry to come back into the recording studio to create some new music again.
I, for one, am still playing “Here At The Mayflower”.
Thank you, Brenda. I’ve been a little afraid to be quite that bold about my opinion for fear the more devout among us might ex-communicate me, but I share your opinion…mostly.
I do enjoy his duet with Reba much more than the original version, and though I still hear Steve Perry in my head, Barry’s version of Open Arms is growing on me rapidly. As for Rick Astley’s Never Gonna Give You Up, I was all set to HATE it, cause I hated the original, and I’ll be darned if Barry didn’t turn it into something heartfelt and entertaining. It’s actually one of my favorites on the album.
As for “I Had The Time of My Life”, I think Barry went in the wrong direction with his re-arrangement. The ballad form loses its urgency, and that creates a serious uphill battle for the lyrics to achieve. I’d classify that one as a definite *miss*. But then, I’m also ready to cut him some slack. Barry’s working with two other arrangers on his album for some reason. I’m not moving quickly to lay the blame for this second -rate product at his door.
To be quite frank, it wouldn’t surprise me if Barry didn’t like the idea of doing this one at all and Clive all but forced the issue. He hasn’t been as excited about it as he has the last two in conversation in the concerts or on tv. My husband and I agree, it shows in the end product. Barry’s music is usually so heartfelt. But his heart doesn’t seem to be in this one so much.
Like you, I’m glad the contract with Clive is fulfilled. I’m itching to hear something fresh and original again.
Both seeing and hearing Barry’s delivery of these songs lends to schmaltz. However all of these songs with the exception of ‘Open Arms’ and ‘Have I Told You Lately’ are number 1’s~like it or not…
What? How could a any collection titled Greatest of the Eighties not include Switchin’ to Glide by The Kings? Then again, maybe it’s better that it flew under the radar. Makes me kinda shudder to think about how Barry might cover it.