In terms of both record sales and career longevity,
Barry Manilow is one of the most successful
adult contemporary singers ever. That success hasn't necessarily translated to respect (or even ironic hipster appreciation) in most quarters;
Manilow's music has been much maligned by critics and listeners alike, particularly the romantic
ballads that made his career, which were derided as maudlin schlock even during his heyday. It's true that
Manilow's taste for swelling choruses and lush arrangements often bordered on bombastic, but unlike many of his MOR peers,
Manilow wasn't aiming to make smooth, restrained background music -- he conceived of himself as a pop entertainer and all-around showman in the classic mold, and his performances and stage shows were accordingly theatrical.
Manilow dominated pop music during the latter half of the '70s like few other performers, spinning off a long series of hit singles (including 13 number one hits on the
adult contemporary charts) and platinum albums that essentially made the Arista label. The well began to run dry by the early '80s; no longer a superstar expected to deliver blockbuster hits,
Manilow was free to explore his long-held taste for
swing, pop
standards, and Broadway
show tunes, which dominated his albums from the mid-'80s on. He has continued to record steadily, and his popularity never completely eroded, as evidenced by the number three chart debut of his 2002 greatest-hits package, Ultimate Manilow, and the number one peak of his 2006 covers album,
Greatest Songs of the Fifties.
Barry Manilow was born
Barry Alan Pincus on June 17, 1943, in Brooklyn, and grew up in its low-income Williamsburg section. His father left the family when
Barry was two, and he eventually adopted his mother's maiden name of
Manilow. He began playing piano and accordion at age seven, and following high school, he was accepted to the prestigious Juilliard School of Music, which he paid for by working in the CBS mail room. From there, he became musical director of the CBS show Callback, and supported himself for the next few years by writing, producing, and performing advertising jingles (including high-profile campaigns for State Farm, Dr. Pepper, McDonald's, Kentucky Fried Chicken, and more).
In 1971, he met
Bette Midler, who hired him as her pianist, arranger, and musical director; he served as her accompanist on her legendary pre-fame tour of New York City's gay bathhouses, masterminded her first two albums (1972's The Divine Miss M and its self-titled follow-up), and debuted some of his original material at her Carnegie Hall show in the summer of 1972. Thanks to his gig with
Midler,
Manilow was able to land a record deal of his own with the fledgling Bell label, and his debut album, Barry Manilow I, was released in 1973. It didn't sell very well, and when Bell became Arista, label head
Clive Davis asked
Manilow to record a pop tune called "Brandy," which had been a U.K. hit for its co-writer, Scott English.
Manilow changed the song into a ballad and changed the title to "Mandy" (to avoid confusion with the
Looking Glass hit "Brandy (You're a Fine Girl)"); released on 1974's Barry Manilow II, "Mandy" became a number one hit early the next year. The Broadway-esque follow-up, "It's a Miracle," hit the Top 20, and a re-release of the Chopin-adapted ballad "Could It Be Magic" (from the first album) hit the Top Ten.
With his career thus established,
Manilow recorded an even stronger follow-up album in 1975's
Tryin' to Get the Feeling. "I Write the Songs" (ironically, written by
Beach Boys sideman
Bruce Johnston) became his second number one pop hit in early 1976, and with the title track also hitting the Top Ten, the album went triple platinum.
Manilow consolidated his emerging stardom with This One's for You, released toward the end of the year; it produced hits in the title track, the Top Ten "Weekend in New England," and the number one "Looks Like We Made It." In 1977,
Manilow released the concert double-LP
Live, which became his first and only number one album, as well as his biggest hit with sales of over four million copies. The same year, he won an Emmy for his first prime-time special on ABC (aptly titled The Barry Manilow Special); the network would air
Manilow specials for the next several years.
Even Now was another triple-platinum success in 1978; "Can't Smile Without You," the
disco-tinged "Copacabana," and "Somewhere in the Night" all hit the Top Ten, with the first two marking a departure from
Manilow's typical reliance on
ballads for his hits.
The first signs that
Manilow's run of success was in jeopardy came on 1979's One Voice, which -- although it sold well and produced a Top Ten hit in an unlikely cover of former
Mott the Hoople frontman
Ian Hunter's "Ships" -- didn't have the same consistency of craftsmanship as its predecessors. Released in 1980, Barry spawned
Manilow's last Top Ten hit, "I Made It Through the Rain"; though he remained a massively popular international touring act, and continued to place hits on the
adult contemporary charts for a few more years, the prime of his pop success was over. In 1984,
Manilow officially changed direction, recording an album of swinging, jazzy originals called
2:00 A.M. Paradise Café; it featured
jazz greats like
Mel Tormé,
Sarah Vaughan, Shelly Manne, and
Gerry Mulligan. Subsequent ventures like 1987's Swing Street, 1991's Showstoppers, 1994's
Singin' with the Big Bands, and 1998's
Manilow Sings Sinatra all explored various facets of
swing,
vocal jazz, and
traditional pop. In addition,
Manilow's stage musical Barry Manilow's Copacabana: The Musical premiered in 1994, and continued to tour the U.S. and U.K.; another musical, Harmony, was premiered in 1999.
Manilow's long relationship with Arista ended when he signed to the
jazz-oriented Concord label, for which he debuted in late 2001 with the concept album Here at the Mayflower, which continued his evolution into a pre-
rock pop stylist.
Manilow began to reenter the wider public eye in 2002, performing "Let Freedom Ring" at the Super Bowl pre-game show; aided by television advertising, Ultimate Manilow entered the album charts at a stunning number three position that March. A DVD release of the collection followed, as well as a two-disc set of live music called 2 Nights Live that had been culled from a weekend in New Jersey.
Manilow went back to the studio in 2005 to record a diverse collection of tracks from the 1950s with producer and music mogul
Clive Davis. The resulting
Greatest Songs of the Fifties, a labor of love, became a surprise hit and topped the charts in early 2006. A sequel,
The Greatest Songs of the Sixties, arrived at the end of that year and reached number two, which paved the inevitable way for
The Greatest Songs of the Seventies in September 2007. ~ Steve Huey, All Music Guide
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