Roanoke Times
Copyright (c) 1995, Landmark Communications, Inc.
DATE: WEDNESDAY, June 28, 1995 TAG: 9506280019
SECTION: EXTRA PAGE: 2 EDITION: METRO
SOURCE: MARK MORRISON STAFF WRITER
DATELINE: LENGTH: Medium
To begin with, there are four Boyz II Men - Nathan Morris, Shawn Stockman, Wanya Morris and Michael McCary - who get equal cuts of the ticket price right off the top.
Then they carried a seven-member band, which paled by comparison to Mary J. Blige's entourage, but more on her later.
As the headliners, the Boyz still had the biggest sound from their (relatively) small band, which matched the big stage show they mounted, featuring explosions, fireworks, costume changes, the highest of high-tech lighting, four dozen roses, on-stage rain and even a Houdini-like disappearing trick.
It's funny, though, because really what makes Boyz II Men special are their four smooth and splendidly blended voices. Strip away all the smoke and mirrors from their concert Monday and it was still their singing that was most impressive.
As a vocal group, they are so in sync that they are more like one voice that is somehow able to harmonize with itself. Just smooth.
Of course, the audience of 7,080 didn't seem to mind all the pyrotechnics and such, squealing on cue for every little whiz, boom and bang.
It was definitely a squealing crowd.
And, of course, what helps sell Boyz II Men is love and sex and romance. Wholesome they may be, but in concert they threw just enough pelvic thrusting at the audience to keep the teen screams coming without becoming lewd or offensive. If anything, it was all sort of silly.
In fact, the fevered pitch often grew so fevered that the noise drowned out the Boyz. This was especially a problem almost anytime bass-voiced Michael McCary got the microphone to himself.
Also, if there was any criticism to aim at their nearly two-hour set, it was that sometimes the band's volume was pumped up too far and overpowered the vocals.
Otherwise, the Boyz were highly entertaining throughout. Clearly a group in control of its domain, each member handed out a dozen red roses during the song, ``I'll Make Love To You.'' During another song, ``Water Runs Dry,'' it rained. They played all their other showstoppers, too, including ``It's Hard to Say Goodbye to Yesterday,'' ``On Bended Knee'' and ``End of the Road.'' And in the end, they climbed aboard a four-chaired lift that ascended above the stage, exploded and the collapsed without the Boyz inside.
After an exit like that, there was no need for an encore.
Second on the bill was Mary J. Blige. Talk about overhead.
Blige carried with her a band and dance crew that numbered 16. The result was a busy stage show with a lot to watch and a lot of movement, particularly from the six dancers who busied themselves around Blige throughout her hour-long set.
But here again, it was Blige's singing that was the real attraction, not the frenetic pace of things around her. Indeed, she was actually more effective on the less groove-driven numbers, like ``Sunshine'' and ``Real Love,'' when she could be more soulful and where her voice came out more to the front of the mix.
By comparison, opener Montell Jordan was more low-key. As an opener, he didn't get the luxury of a live band to back him, so he had to sing along to a tape of pre-recorded music. Even so, he still had along four dancers, and sported a different outfit for just about every song he played. He made the best of the situation and turned in a lively performance highlighted by his hit, ``This Is How We Do It.''
by CNB