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Fever! Live At The London Palladium Live

4.0 out of 5 stars 1 customer review

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Product details

  • Audio CD
  • Format: Live
  • Label: Sanctuary
  • ASIN: B002DHBP3Y
  • Other Editions: Audio CD
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 665,732 in Music (See Top 100 in Music)
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Product description

Recorded at the London Palladium: 20th March 1977. Tracks: 1. Love For Sale, 2. Misty, 3. Make Believe, 4. I'm Not In Love, 5. Have a Good Time, 6. Mr Wonderful, 7. Why Don't You Do It Right?, 8. Sing A Rainbow, 9. You Gotta Know How, 10. Everything Must Change, 11. Fever, 12. I Don't Want To Play In Your Yard, 13. Rodgers & Hart Medley: Who Are You?/Where Or When/Glad To Be Unhappy/It Never Entered My Mind/Falling In Love With You/Bewitched, 14. Mack The Knife, 15. The Folks Who Live On The Hill, 16. Lover, 17. Here's To You.

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Format: Audio CD
To her followers' chagrin Miss Peggy Lee made no studio albums between 1975-79, understandably exhausted after her copacetic collaboration with Paul McCartney on LET'S LOVE and then the ambitious Leiber-Stoller custom song cycle MIRRORS. This uncommon live set, originally marketed by Polygram and latterly reissued in an expanded edition, documents the missing years during which trouper Peggy Lee toured extensively in America, Canada, Japan and the UK and programmed in a special nod to British listeners not only the obligatory "Fever" with no exclamation point but also the far choicer "Folks who live on the hill."

She was a perfectionist given to dithering and approved only two live recordings for commercial release during her lifetime: the legendary 1961 Basin Street East gig (actually spliced together from several nights' best takes) and this March 1977 concert before a polite but slightly bewildered audience (in this edit she does not sing "Is that all there is?"). Insiders treasuring BEAUTY AND THE BEAT! or TWO SHOWS NIGHTLY will already know the former was fabricated from Miami studio sessions, the latter dithered over for decades because of Peggy Lee's ongoing concerns regarding sequencing and final mix.

What is presented here is very typical late (post-Capitol) concert Lee: the voice beginning to fray, the consummate interpretative artistry of an acting singer/singing actress, an absolutely infallible sense of rhythm (born to the clickety-clack of the Dakota railyards) and hipster jazz chops fully intact.
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