Quinn Lemley | Burlesque to Broadway

Go To Artist Page

Recommended if You Like
Bette Midler Cher Diana Krall

More Artists From
United States - New York

Other Genres You Will Love
Pop: Pop/Rock Rock: Adult Contemporary Moods: Mood: Upbeat
Sell your music everywhere
There are no items in your wishlist.

Burlesque to Broadway

by Quinn Lemley

Seductive ride: big band, Broadway, Standards, pop & R & B. With a sizzling 10 piece big band, she "brings to burlesque something it rarely had before: great songs & first class singing. This album is itself a milestone" Will Friedwald, Wall St Journal
Genre: Pop: Pop/Rock
Release Date: 

We'll ship when it's back in stock

Order now and we'll ship when it's back in stock, or enter your email below to be notified when it's back in stock.
Sign up for the CD Baby Newsletter
Your email address will not be sold for any reason.
Continue Shopping
Buy 2 or more of this title's physical copies and get 10% off
Share to Google +1

To listen to tracks you will need to update your browser to a recent version.

  Song Share Time Download
1. Overture
2:03 $0.99
2. Let Me Entertain You
1:58 $0.99
3. The Stripper
1:29 $0.99
4. Ten Cents a Dance
2:59 $0.99
5. My Heart Belongs to Daddy
2:39 $0.99
6. My Man
2:13 $0.99
7. Girls Night Out
0:39 $0.99
8. That Terrific Rainbow
6:01 $0.99
9. Boom! Boom!
4:32 $0.99
10. Don't Rain On My Parade
3:06 $0.99
11. I Wanna Be Evil
2:50 $0.99
12. Big Spender
1:46 $0.99
13. You Don't Own Me
1:45 $0.99
14. Mr Kiss Kiss Bang Bang
1:40 $0.99
15. Bang Bang
2:07 $0.99
16. What'll I Do?
2:28 $0.99
17. She's a Lady
3:41 $0.99
18. When You've Got It, Flaunt It
3:00 $0.99
19. The Mega Mix
3:53 $0.99
Downloads are available as MP3-320 files.


Album Notes
Burlesque To Broadway is a touring show in casinos and theaters across North America. It's a celebration of the female icons that went from Burlesque, Broadway and Beyond using The Art Of The Tease to become legends. Backed by a red hot 10 piece big band with some of the best New York City musicians, Quinn and her "girls" take you on a sizzling ride with one show stopping hit after another.

Will Friedwald of The Wall Street Journal says, "
It's one thing - and a very important thing at that - to keep a great tradition alive. It's also one thing to celebrate a long-venerated show business heritage - and remind people that it existed to begin with. But it's something else entirely to take that very same tradition and enhance it and to endow it with something it never had before. That's what Quinn Lemley has done with Burlesque To Broadway: she's made burlesque better than it ever was. Quinn Lemley brings to burlesque something it rarely if ever had before: great songs and first-class singing.

Note that all the major songs that are about burlesque are never actually from burlesque shows, but from Broadway and Hollywood representations of the form. Rodgers and Hart wrote at least three classic songs inspired by burlesque: "That Terrific Rainbow" and "Zip!" (from Pal Joey), which Quinn has sung elsewhere), "Ten Cents A Dance" (from Simple Simon), and Sweet Charity's "Hey Big Spender" is another classic show tune on the subject. (The latter two actually describe girls in a taxi dance hall rather than a burlesque show, but close enough.)
Indeed, even this album is itself a kind of milestone: up to now, burlesque is not the sort of art form that even belonged on any kind of an audio recording; you certainly couldn't capture the magic of the great dancers in a purely aural medium, and the comics' jokes wouldn't be particularly effective in that context. Yet Quinn has now made burlesque into a medium that is as enjoyable on an audible level as much as a visual one. (And I say that knowing full well that Ms. Lemley has considerable to offer in the purely visual department as well.)

"Let Me Entertain You" has become a veritable anthem of burlesque, notwithstanding that it was written for Broadway and not actually for burlesque (in Gypsy, it serves as a musical illustration of the transformation from child star to stripper queen, from Shirley Temple clone to Gypsy Rose Lee, in fact). Quinn's rendition is certainly, as she promises, entertaining. She cleverly underscore's the famous line, "I want your spirits to climb," with an ascending modulation, both of which are metaphors for other things that start to rise (and not just the temperature) whenever one of the great burlesque queens went into action.
Other songs explore other moods: "The Stripper" is a surprise - who knew that the classic David Rose instrumental actually had lyrics? The song is another anthem that is to the burlesque ballerina what "Swan Lake" is to classical dancers.

"My Heart Belongs To Daddy" had Mary Martin making her Broadway debut in a bathing suit and fur coat in a way that was quite inapposite to both Peter Pan and Maria Von Trapp; Quinn has injected the Cole Porter classic with a shot of Henry Mancini-esque excitement - the song could be called "My Heart Belongs to Peter Gunn." In a similar crime-and-spy vein comes "Mr. Kiss Kiss Bang Bang," an unused alternate theme from the James Bond movie Thunderball. In songs like these - none more so than "Bang! Bang!" - the drama is heightened even further and the tension between boy and girl becomes a battle of the sexes with rather lethal weapons.
It's to Quinn's credit that she makes her point with songs drawn from a wide range of styles and traditions; not just Broadway and Hollywood but different pop genres, like Tom Jones's strutting and defiant "She's a Lady." Likewise, "You Don't Own Me," is regarded by some as a pioneering feminist battle cry. Quinn's treatment of "I Want to Be Evil" is quite possibly the first version that isn't offered in imitation of the song's famous originator, the legendary Eartha Kitt. But as with the late, great Eartha, Quinn uses it as the perfect expression of a femme fatale with a sense of humor about herself, as much innocent as she is "evil."
Conversely, the iconic French chanson, "My Man," shows us a very different woman in a very different situation, one who's vulnerable and scarred, a casualty of this war. Yet "Don't Rain on My Parade" takes us to the opposite extreme, depicting woman who's so full of self-confidence that she can't possibly be real. (And, as Quinn well knows, both represent different sides of the great female comic and torch singer, Fannie Brice, the first being her actual signature song, the second being written to illustrate a moment in her life in the Broadway biography Funny Girl.)
"If You've Got It Flaunt It" wasn't written for either a dance hall hostess or a strip tease star, but rather is an ode of empowerment written by Mel Brooks for The Producers in which he encourages every woman to let loose her inner diva. Like "Boom Boom!" it shows us that this tradition not only cuts through virtually every strain of pop music, but, in fact, is alive and well in the 21st Century.
In her first number, Quinn Lemley paraphrases the legendary Gypsy Rose Lee in the famous anecdote about how her grandmother schooled her to make an "audience beg for more... and then don't give it to them." Yet as Quinn notes, she loves her audiences far too much to ever reneg on such a serious promise. In the selfsame "Let Me Entertain You" she guarantees us all a "real good time," and like all of her promises, she makes good on it. Yes sir!"



to write a review