Music & Concerts
New Supremes deluxe reissue features classic alternate takes, live ’67 show
Founding member Florence Ballard heard prominently on ‘Supremes Sing HDH’
The Supremes (Photo courtesy Motown/Universal)
It’s been a particularly rich several years for Supremes fans as Universal (previously under the now-defunct Hip-O-Select imprint) continues its series of classic album “expanded editions” from Motown’s leading ladies.
The latest — perhaps the series’ best, although that’s a tough call — is the deluxe reissue of “The Supremes Sing Holland-Dozier-Holland: Expanded Edition,” a two-CD digipak that features the original album in both stereo and mono mixes, 12 alternate takes/extended mixes and a jaw-droppingly pristine recording of the group’s 1967 engagement at the famous Copacabana nightclub in New York where just a few years earlier, they’d recorded their legendary “At the Copa” album (itself reissued in deluxe format in 2012).
The album — named for Motown’s main songwriting team — features the Supremes’ no. 1 hits “You Keep Me Hangin’ On” and “Love is Here and Now You’re Gone” as well as a cover of Martha and the Vandellas’ hit “(Love is Like a) Heat Wave” (interesting, though the girls don’t capture the Vandellas’ fire; it illustrates beautifully how different the two groups were) and “Going Down for the Third Time,” one of the Supremes’ best deep album cuts (it was later the B-side to “Reflections” and sounds like it could have been a smash itself).
The 1967 Copa recordings are notable on several counts. One, they’re the final group appearances of founding member Florence Ballard who was officially ousted from the group soon thereafter and replaced by Cindy Birdsong. Two, while bootlegs have circulated of these shows among fans in recent years, they’ve either been very hard to come by and/or available only with distorted audio. Everything’s cleaned up just so on the new album and we get the pleasure of hearing Ballard and fellow Supreme Mary Wilson’s backing vocals surprisingly high in the mix (we hear them much more prominently than we do on the accompanying studio recordings although, even there, they’re prominent).
The Supremes in their last few years with Diana Ross (she left in 1970) were a mixed bag. There were still hits (although not nearly as many) in the post-Ballard era (“Love Child,” their joint albums with the Temptations), but it was never quite the same. Birdsong did an admirable job with big heels to fill (her singing was lovely) but she could never hope to match Ballard’s sassy persona and brassy vocals. There’s a reason characters inspired by Ballard — played by Jennifer Holliday and and Jennifer Hudson in the stage and screen versions of “Dreamgirls” — are the ones everybody remembers.
The second disc here, with the Copa material, gives us the chance to hear Ballard on classic Supremes live material, especially a mash-up of “Thoroughly Modern Millie,” “Second Hand Rose” and “Mame” we’d previously only known from the group’s 1968 “Live at London’s Talk of the Town” album with Birdsong (itself, admittedly, a gem).
Culled from the best takes from two shows, we also get an alternate version of “Put On a Happy Face” (a different take than the one on the Supremes 2000 box set),” an uber-rare live version of “My Favorite Things” (recorded on the Supremes’ Christmas album) and a blistering live version of their 1967 No. 1 hit “The Happening.”
Thanks to these wonderful reissues, we now have a much better picture of the Supremes’ true stage act throughout the ‘60s. For decades, all we had were the original “At the Copa” and “Talk of the Town” albums (both heavily edited), but it’s now possible to truly feel what the Supremes classic lineup was like live between the “Copa” reissue album, this 1967 Copa show on the new release and the bonus disc of the 2012 equally grand re-release of the “I Hear a Symphony” album which features a previously unreleased (and complete!) live performance of the Supremes at the Roostertail in Detroit.
It’s all dated in the most deliciously endearing way, a breath of fresh air in our exceedingly jaded and ironic era. The cheesy, Vegas-y string section, the reprises that are nothing more than a retread of the last several bars of music, the canned stage patter — it just all works the same way you never get tired of “Carol Burnett Show” reruns or other classic relics of the era. It’s just a bit raw too — Ross’s lead vocals sound a tad weathered by constant touring. There’s a gritty topcoat on the otherwise wonderfully syrupy vocals we hear her offer on the studio material here.
Even though these final moments with Ballard are bittersweet to hear, I’m still champing at the bit for Universal to continue this series into the Birdsong years. It will be amazing — one can only hope — to hear the full “Talk of the Town” live recordings as well as a proper reissue of the group’s “Farewell” 1970 album. Although most notable as the group’s final shows with Ross, it’s of greater historical note to me because it’s all we really know of the Supremes’ 1969 live act.
Wilson told the Blade in a 2017 interview the “Farewell” material was pretty much the group’s 1969 live show, i.e. it was not greatly altered for the Frontier engagement (which became the “Farewell” album), still I yearn to hear what the group sounded like on a “normal” night that final year together. They toured relentlessly that year — let’s hope series producers Andrew Skurow and George Solomon are eventually able to unearth some heretofore unknown 1969 live material or at least some alternate Frontier-recorded Supremes performances.
Also, do yourself a big favor and don’t get this release on a digital or streaming medium. The foldout digipak is gorgeous and comes with two booklets, both chocked with vintage photos. One features an amazing interview with Motown songwriter Lamont Dozier (of the title); the other is a reproduction of the Supremes’ 1967 tour program.
Music & Concerts
DJ Chanel Santini is bringing the heat and some gender-fluid diversity to XBIZ Miami
Pool party celebrates most charismatic personalities, creative artists in adult entertainment
Chanel Santini has crossed over to being a DJ, performing at clubs all over the country. Now known as Santini, they will be making music and hyping the pool party, DJ-ing at XBIZ, the conference for adult creators and digital players, in Miami.
Taking place on Monday to Wednesday, the event honors the most charismatic personalities and creative artists in entertainment.
“I am honestly so excited — getting to DJ in Miami Beach is literally a DJ’s dream!” Santini told the Los Angeles Blade.
“I thought it would be a good opportunity because I haven’t been around my industry peers in a long time. It’s a great event to network and show off the new me!” said Santini.
While Santini is unsure what music they will be playing, they want everyone to have a good time. “My goal is to ignite the dance floor and play great music that everyone will vibe to. My sound includes house music, bass house, tech house, and I always like to throw a little bit of hip-hop in my sets.”
Santini loves how DJ-ing brings people together.
“Music really ignites us all! It is so universal, no matter what language you speak. I think it’s the best high in the world when you play a banger track, and everybody on the dance floor screams loudly. You can’t describe that feeling until you’re up there on that stage.”
Santini describes DJs as the “modern rock stars” in today’s world.
“I always feel like such a superstar when I’m up on that stage. The best feeling is after my set when I have people come up to me and say, ‘Thank you for sharing that amazing music.’ That’s how you know that you’re a good DJ — I love when I get those types of compliments!”
While sometimes it’s hard to please everyone’s musical tastes, Santini endeavors to try! “You just have to go out there and give it your all and be the best DJ that you can be,” he noted.
Santini, who had previously identified as transgender, recently decided to transition back to being gender fluid.
“It’s definitely been a journey, but I’m definitely happier in my own skin now than I was. I don’t go by he/him pronouns. I don’t go by they/them either. I guess I just really don’t have a preference. Whatever you see me as is your opinion. I’ve learned over the years that I’m not trying to be one specific thing. I’m just Santini. I’m just me.”
Santini acknowledged they felt respected more when dressed as a woman.
“I think it’s just because femininity runs the world. When I started to de-transition, I felt like I had to just be a boy all the time. But I’ve realized over the years that I don’t need to stick to one specific thing. I am always gonna be feminine, and that’s OK.”
Recently, Santini has been embracing their feminine side more.
“I definitely feel more comfortable in female presentation, and more powerful when I’m on stage dressed as Chanel. I love DJ-ing in drag because there are so many straight male DJs in the world. It’s almost like a superhero when he puts on his cape! I think it makes me confident and stand out more as an artist.”
And because Santini loves makeup and fashion, they can incorporate that into their sets. “I’m not just bringing you good vibes and good music. I’m bringing you a show/ production!”
Santini is already working on big plans for the future.
“I’m opening up for a huge Pride block party in my hometown, Albuquerque, N.M., on June 12 and 13. It’s a two day festival and I’m super excited for this opportunity. I’m even hiring backup dancers and a choreographer.”
Santini plans to go “all out” for this show.
“It’s gonna be the biggest crowd that I’ve ever played for,” Santini enthused. “I’m putting my heart and soul into this performance, especially because it’s Pride in my hometown, and that means so much to me. I know the younger me would be so proud.”
Santini remembers going to Pride when they were younger and telling themself they couldn’t wait to be up on that stage.
“I’m truly living my dream right now, and I’m so excited for the future. The last 10 years of being in the adult entertainment business have been great and have given me major success. But I always knew that I didn’t want to be in this industry for long.”
Santini acknowledged that, in the recent past, it was a struggle.
“I’ve been trying to find myself and figure out what I wanna do next with my life. Now that I’ve found this passion for DJ-ing, it makes me want to go far in this business.”
In addition to being a DJ/artist, Santini is starting college next semester.
“I’m gonna get my degree in audio engineering,” Santini enthused. “I can’t wait to start producing my own tracks. I especially can’t wait till the day I’m headlining a major festival! I know with a little bit of patience and hard work that I can get there! I just have to continue believing in myself.”
Santini wanted to thank all of their fans for their support. “Truly, if it wasn’t for them, I wouldn’t be able to fund my art in the way that I have. I’m truly grateful. And I’m excited for the future!”
Music & Concerts
Gaga, Cardi B, and more to grace D.C. stages this spring
Shake off your winter doldrums at a local concert
D.C. shakes off its winter blues this spring as the music scene pops off. We all know the big star is coming: Lady Gaga will perform at Capital One Arena on March 23. But plenty of other stars, big and small, will grace D.C. stages, including many LGBTQ and ally artists.
March
3/15, 9:30 Club, St. Lucia – Indie electronic music project known for its synth-pop sound, which blends ‘80s influences with electronic and indie rock elements.
3/31, Lincoln Theatre, Perfume Genius – Indie/pop singer/songwriter Mike Hadreas, also known as Perfume Genius, has toured with a full band, but he is stripping things back for this tour.
April
4/8, Capital One, Cardi B. Cardi B, from New York, unapologetic and proud, is the first solo female artist to win the Grammy Award for Best Rap Album. This year, she’s on her Little Miss Drama Tour, in support of her second studio album, “Am I the Drama?”
4/13, Lincoln Theatre, The Naked Magicians. Australia’s The Naked Magicians are two performers who deliver live magic and laughs while wearing nothing but a top hat and a smile.
4/18, Capital One, Florence and the Machine. Longstanding indie rock back from Great Britain, much-loved for lead singer Florence’s powerful vocals. On their Everybody Scream Tour.
4/16, Capital One, Demi Lovato. Singer/songwriter from Texas, who came out as nonbinary, is traveling on her “It’s Not That Deep Tour.”
4/21, The Anthem, Calum Scott. Platinum-selling gay singer/songwriter Calum Scott released his latest project, Avenoir, last year. Scott rose to fame in 2015 after competing on Britain’s Got Talent, where he performed a cover of Robyn’s hit “Dancing on My Own“.
4/26, Atlantis, Caroline Kingsbury. American queer pop musician from Los Angeles. She released her debut album in 2021, and has two additional EPs. She’s played Lollapalooza 2025 and All Things Go 2025, as well as gone on a co-headlining U.S. tour with MARIS. Shock Treatment is her latest EP.
4/26, Anthem, Raye. This bisexual artist, known for her current chart-topping “”Where Is My Husband!” single, blends pop, jazz, R&B, and more.
4/30, Union Stage, Daya. This bisexual singer/songwriter is on her “Til Every Petal Drops Tour,” touring the album of the same name that was released last year.
May
5/1, The Anthem, Joost Klein. Eurovision comes to D.C. in Joost Klein: Originally a Youtuber, he was selected to represent the Netherlands at Eurovision in 2024 with his song “Europapa.” He released a new album on New Year’s Day.
5/1, Fillmore, MIKA. MIKA is on his Spinning Out Tour. Born in Beirut and raised in both Paris and London, MIKA sings in multiple languages and has co-hosted Eurovision.
5/7, 9:30 Club, COBRAH. Clara Christensen, is a Swedish singer, songwriter, record producer, and club queen, making electronic dance music.
5/19, Atlantis, Grace Ives. New York-born singer/songwriter, known for her high-energy synth/electronic, bedroom-pop-style music.
June
6/2, The Anthem, James Blake. English crooner got big from his self-titled debut album in 2011. He won two Grammys and just released his 7th album,Trying Times, in March.
Music & Concerts
Washington chorale kicks off Christmas with vibrant program
‘Thine Own Sweet Light’ concerts planned
The full Washington Master Chorale will return for its annual holiday concert tradition with “Thine Own Sweet Light” on Friday, Dec. 19 and Sunday, Dec. 21 at St. Ann’s Catholic Church (D.C.) and Church of the Epiphany (D.C.).
The concert will feature the rich sounds of the 50-voice, a cappella chorus performing lush, seasonal choral music inspired by the theme of light. Highlights include Edvard Grieg’s “Ave Maris Stella,” Eric Whitacre’s “Lux Aurumque,” and Christopher Hoh’s “Holy, Holy, Holy is the Lord God of Hosts.” The program will also present a new work by Barcelona composer Josep Ollé i Sabaté, along with charming holiday folk songs and seasonal favorites.
For more details, visit the Washington Master Chorale website.
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