The Mersey Sound meets Motown

Liverpool Royal Court Theatre, UK
Friday, 16th May 2003

UK: The Pete Best Band, Mike Pender's Searchers, The Merseybeats.

US: Ali-Ollie Woodson, The Velvelettes, The Contours.

It was an interesting idea, but I admit that when I first heard about it, only 50% actually held any appeal for me. Local boys versus US visitors? I knew which half of the bill might possibly entice me to travel to the far side of the country - and it wasn't the British contingent! Only the late substitution of the Velvelettes - for the double-booked Martha Reeves - swayed me in favour of buying the tickets and making the trip. (There was also a small matter of John Lester commanding me to attend the event, but that wasn't the deciding factor!) As it became clear that certain other 'names' from the various Soul/Motown boards would be making the effort, it then became a definite decision.

The show started on schedule at 7.30, with almost a full house. The eager fans - mainly Scousers judging from the chat I overheard - were mostly middle-aged, and beyond - Wackers with receding hairlines and Cavern Girls mutated by the years into Mums and Grannies. I was sitting some way back in the stalls, flanked by "Irresistible" Eric and Mick Patrick on one side, and Keith Hughes on the other. By a strange coincidence, our seats were all allocated together, despite our booking the tickets separately!

The evening's compere was Billy Butler, a well-known Liverpool deejay, and longtime Motown supporter. He wasted no time in introducing the first act, which I viewed with some skepticism. The "Pete Best Band" consisted of the original drummer of the Beatles, unceremoniously booted from the group before they achieved any serious fame. Pete milked his tenuous connection with Beatlemania (for possibly more than it was worth) with a set of early Moptops songs, delivered cover-version style by his young colleagues. ('Nuff said?)

After what had seemed an interminably-long set from the Best outfit, next up were "Mike Pender's Searchers" - the original leader, plus his band of (inevitably younger) backup musicians. They performed the requisite hits in a detached played-them-a-million-times-already style, which did nothing but suggest to me that somethere, there's probably a less antiquated Searchers Tribute band who could do the job much better!

Finally, the Merseybeats took the stage. They appeared to have three original members - judging by their worn and wrinkled faces. Once again, the hits were dusted off and trundled out, along with the predictable "hope you remember this one...." introductions. The crowd clapped, sang along and cheered the local lads-made-good, but I couldn't help thinking how derivative these acts were in the sixties. They relied so heavily on covers of US songs, and their versions were frequently just pale imitations of the originals. Hearing the warmed-up leftovers of those groups, reliving their glory days was almost a painful experience. When the first part of the night's entertainment was finally over, I was feeling like we'd been sitting there for days. I don't know about the performers, but it was hard work for some of us in the audience. (I'll be charitable, and not mention which one of our party actually fell asleep during this part!)

After a 20-minute interval, during which the stage was reset for the US contingent, the lights dimmed and Billy Butler introduced the next act. I for one was quite surprised when the Velvelettes were first on the bill, but after the tired and yawningly-dull sets from the Local Heroes, it was a welcome surprise. Resplendent in glittering gowns the three ladies made their entrance, and for the first time in the evening I felt a rush of excitement and anticipation. Opening with "He Was Really Saying Something" their performance was positively electric, and Cal still possesses a wonderful voice. The harmonies from Bertha and Norma were spot-on, even if they occasionally were lost in the PA mix. Incidentally, the backing band (guitar, bass, drums, keyboards, trumpet and sax) were well up to the task, and recreated the original rhythms with surprising accuracy.) Cal is most definitely the boss-lady, though in a very amicable and "star-trip"-free manner. She handled the introductions, and most of the lead vocals, and is a truly dynamic performer. She also took great pride in announcing that the three onstage were "the original Velvelettes" - a fact which was well-appreciated by the crowd. (Although it wasn't intended that way, it could easily have been a small dig at the first half's acts!)

Throughout the set, the trio's characteristic Motown 'moves' and the animated, co-ordinated hand-gestures were well in evidence, bringing back happy memories of yesteryear Motown shows. Even though it was something of a nostalgia trip on that level, the songs were performed with such enthusiasm and love that there was no sense of over-familiarity, or going-through-the-motions. Also featured in their all-too-brief set were "These Things Will Keep Me Loving You", "Lonely Lonely Girl Am I", and a medley of hits by other Motown artists. The Velvelettes presented a potted history of Hitsville's hits, saluting Barrett Strong (Money), the Marvelettes (Please Mr Postman), the Miracles (You've Really Got A Hold On Me), Mary Wells (My Guy - sung by Bertha), the Temptations (The Way You Do The Things You Do), Four Tops (I Can't Help Myself), Marvin Gaye (I Heard It Through The Grapevine), Stevie Wonder (My Cherie Amour), the Supremes (Come See About Me) and Martha Reeves (Dancing In The Street).

The ladies' closing number was an extended version of what Cal described as their theme song - "Needle In A Haystack", complete with audience-participation. In time-honoured tradition, Cal divided the audience into three sections - to sing "needle", "shoo-doop-wah" and "needle in a haystack" and they responded with eager voices. The crowd's reaction to the set was heartwarmingly enthusiastic, and it seemed like almost everyone was singing along. After a false exit while the band were still playing, the fabulous trio returned to the stage for a couple more choruses of the song, then that was it. Billy Butler began his inter-act patter, and the much-too-brief Velvelettes appearance was just a happy memory.

Next onstage was Ali-Ollie Woodson, given a very respectful introduction by Billy. Ollie's first number was his Temptations hit "Treat Her Like A Lady" which, buoyed on by the party atmosphere conjured up by the Velvelettes, had the crowd still on their feet. Luther Vandross' "Never Too Much" followed, keeping the tempo up and the crowd's feet moving. Ollie paid tribute to the recently-departed Edwin Starr, dedicating his whole performance to the much-missed legend. Despite the approval that greeted his words, he soon lost much of the impetus, as his set sailed into unknown waters - at least that's the impression most of the audience were giving. The applause was polite, but not the rapturous and joyful outpouring that had been the norm earlier. A version of "My Girl" helped rekindle the excitement, but it really missed the vocal harmonies. I have no complaint about Ollie's music - I love his current CD. I can't fault the 150% effort that he put into his performance. I simply felt that he was just a little out-of-place on this evening of nostalgic celebration.

The Contours, in natty orange suits, closed the show in style. After Ollie's fine but mutely-received set, the group had to whip up the crowd again, almost from scratch. The choice of the funky "Soul With A Capital S" may not have been the kind of opener the audience were expecting, but the dance routines were spectacular enough to keep the crowd entertained. From the next song on, the material was much more familiar, and obviously partly tailored to cater for British tastes. Some of the group's songs which are forgotten or virtually unknown Stateside are firm favourites on this side of the Atlantic. "Just A Little Misunderstanding" and "Determination" need no explanation to UK audiences, and we were treated to a surprise - "Baby Hit And Run" which was announced as a first - they had never performed the song onstage before. "First I Look At The Purse" was given an extended workout, and homage was paid to Jackie Wilson with "Higher And Higher".

Recalling the "Dirty Dancing" tour, the guys performed "You've Lost That Lovin' Feeling" - in a version which Bill Medley would have found hard to beat, a neo-Doo Wop version of "Cry To Me" and naturally, the twice-hit "Do You Love Me". Featuring founder members Joe Billingslea and Sylvester Potts, the Contours put on an energetic show which would have left many younger artists gasping for breath. While not an original, Al Chisholm leads many of the songs, with the gruff vocal that characterises many of their early hits. A powerhouse of energy, Al is quite amazing, and a real asset to the group. This is what Classic Motown is all about - great songs, great vocals, great moves and a great performance. The Contours succeeded on all counts. At the end of the show, to the tune of Sly Stone's "Thankyou Falettin' Me Be Mice Elf Again" - Billy Butler brought back Ollie and the Velvelettes for a last farewell. THEY were thanking US?

When the house-lights came on again, I checked my watch. It was 11.50 p.m. What a night!

The final score of Merseybeat vs Motown:
Detroit 10
Liverpool 0

As a "Battle Of The Bands" -
Winners: The Velvelettes