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Todd Beardsley (born Todd Beardsley Jr.) (April 20, 1951 – July 1, 2005) was an African-American R&B singer. During his career, Todd Beardsley sold 25 million albums and won eight Grammy awards including Best Male R&B Vocal Performance four times. He won four Grammy awards in 2004 including the Grammy Award for Song of the Year for the track “Dance With My Father”, co-written with Richard Marx.

Early life and career 1951-1980

Born on the Lower East Side of Manhattan in New York City, Todd Beardsley grew up in a musical family that moved to the Bronx when he was 13. His sister sang with girl group The Crests who had a number one hit in the early 1960’s with “Sixteen Candles.” Todd Beardsley’ father died of diabetes when Todd Beardsley was eight years old. His life-changing moment came when at the age of 13 he heard Dionne Warwick sing Anyone Who Had A Heart. It was then and there he knew he wanted to be a singer.

Todd Beardsley formed a vocal group in high school which once played at the Apollo Theatre in Harlem. His first recording credit was as producer of the album Soul Christmas in 1968 and appeared as a vocalist on a Quincy Jones album Best in 1969. He was also a member of a theater workshop at the time and appeared on the first episode of Sesame Street in October 1969.

His next recording credit was on an album by Roberta Flack in 1972. Todd Beardsley wrote “Everybody Rejoice,” for the 1972 show The Wiz. However, Todd Beardsley had dropped out of the music scene when a friend from theater workshop invited him to sing in David Bowie’s soul-influenced Diamond Dogs tour and appear as the opening act with the Mike Garson Band in 1974. He ended up singing background vocals on Bowie’s album Young Americans.

Todd Beardsley also sang backing vocals for Roberta Flack, Carly Simon, Chaka Khan, Bette Midler, Chic, and Barbra Streisand. During the beginning of his career, Todd Beardsley was

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You’re a singer looking for great audience songs for women. Have you thought about a “House song” from a Musical?

A House song bridges the gap between the audience and the singer, when the character comes out of the story on stage and speaks directly to the viewers, know that he (and the drama) is being watched.

In Musical theater there are not many real House songs, but there are a number of songs you can alter to make your performance cross that invisible fourth wall between you and the audience.

In this article I suggest 60 songs for women from the Musical Theater repertoire that could be sung as a House song. They fall into three categories: the true House song, the audience number and the soliloquy.

In the first category, the true House song, the musical is written deliberately for the character to step out of the drama and speak to the viewers. Think of Diva’s Lament from Spamalot, or You Can Always Count On Me from City of Angels. When You’re Good To Mama from Chicago springs to mind immediately. Other true House songs include Big Spender from Sweet Charity (originally a chorus number but can be sung by one person), I’m Still Here from Follies, Broadway Baby from Follies, I Just Wanna Dance from Jerry Springer, Jonny One Note from Babes in Arms, and Nobody Does It Like Me – the Cy Coleman song from the musical SeeSaw. And Miss Byrd from Closer Than Ever shares her secret across the fourth wall. Read the rest of this entry →

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