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POP MUSIC REVIEW : Reddy’s Vegas-Style Revue Proves Bit Heavy for Crazy Horse Intimacy

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“I Am Woman” established Australian Helen Reddy as one of the dominant female vocalists of the ‘70s and, beyond that, as a voice for an entire movement. But these days, the short-haired singer seems content to offer a Vegas-style revue. Many of her hits have been obscured by new, bottom-heavy arrangements or sliced and diced into medleys, while the bulk of her set focuses on marginal songs that work familiar themes for all they’re worth.

Furthermore, like many performers who find themselves having to gear down from arenas to clubs, Reddy mars her performance with gestures that are much too big for the room. In intimate settings, subtlety goes a long way. At the Crazy Horse Monday night, Reddy’s moves bordered on bludgeoning as she attempted to act out the words of her songs.

Still, if you could get beyond all that (not to mention the moth-eaten jokes), the Grammy-winning singer’s performance had its moments. Her voice is in good shape, with a clarity of tone that allows her to sound equally convincing at full and hushed volume.

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And Reddy’s band (which features women on two key instruments) was a highlight all by itself, as steady and solid as bands get. If only it had better arrangements to work from.

From the high camp, pseudo-burlesque of “Show Biz” to the cool jazz piano take on “You and Me Against the World,” much of Reddy’s show seems custom-made and showroom-ready for Reno, Tahoe and Vegas. Other songs, though, weren’t intended for the casino showroom/lounge lizard treatment and suffer in the transition.

“I Am Woman” was reduced to almost parody proportions by a funk-inspired arrangement and a rushed delivery. Once a rallying cry for an entire sex, it came across Monday as mindless sloganeering.

In an attempt to diversify and break new ground, Reddy told the crowd how her 16-year-old son has proved to be a major musical influence--and launched into what she referred to as “a rap song.”

The number, “Lost in the Shuffle,” was shapeless, with loud sax breaks and a squealing guitar part. Run D.M.C. has nothing to fear, and Reddy really ought to stick to what she does best.

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