The year was 1980, and Patti LuPone was starring as "Evita" on Broadway. She was en route to winning the Tony Award for Best Actress in a Musical, and cementing her status as a superstar. But there was another Patti LuPone performance taking place -- one that only a comparative handful people were aware of: Every Saturday night at midnight, for 27 weeks, after performing one of the most demanding roles ever, she made her way to Les Mouches – a legendary nightclub in New York City, to perform a solo concert...This was a one woman tour de force that -- until now -- only the lucky few who were on hand knew about.

All that will change when Ghostlight Records proudly releases "Patti LuPone at Les Mouches," a digitally-restored concert recording of LuPone's 1980 solo show. Ghostlight President Kurt Deutsch, along with longtime producing partner Joel Moss and co-producers Ben Rimalower and David Lewis, have culled performances from the venue's original board mixes, and assembled a recording that captures the raw energy and excitement of a once in a lifetime concert event, and a moment in time. Everybody who was anybody was there, from Andy Warhol to Steven Sondheim. It was literally the hottest ticket in town.

This music has never been released before, in any format.

LuPone's concerts at Les Mouches often featured unexpected song choices, from Patti Smith/Bruce Springsteen's 'Because The Night' to Bob Dylan's 'Mr. Tambourine Man.' LuPone mixed it up in a spirited assortment of familiar Broadway tunes, songs from 'Evita', and more. In addition to the abovementioned tracks, "Patti LuPone at Les Mouches" includes 'Rainbow High', 'Don't Cry For Me Argentina', 'Come Rain Or Come Shine', 'Not While I'm Around', 'Meadowlark' and more.

For more visit http://pattilupone.net.

Featuring the Tracks:

1. Intro
2. Latin from Manhattan / I Got Rhythm
3. I've Got Them Feelin' Too Good Today Blues
4. Love for Sale
5. Not While I'm Around / Come Rain or Come Shine
6. Meadowlark
7. Squeeze Me
8. Heaven Is a Disco
9. Downtown
10. Street of Dreams
11. Because the Night
12. Everything I Am
13. Mr. Tambourine Man
14. Rainbow High
15. Don't Cry for Me, Argentina
16. Look to the Rainbow
17. Superman (Wish I Could Fly)
18. It Goes Like It Goes
19. Thank Yous / I've Got Them Feelin' Too Good Today Blues (Reprise)
20. Goodnight Sweetheart

Album Produced by Kurt Deutsch and Joel Moss with co-producers Ben Rimalower and David Lewis

CD booklet includes photos and press clippings from the original 1980 concerts, as well as special liner notes from LuPone's collaborator David Lewis.

Digitally Restored from the Original 1980 Concerts!

"Anyone who thinks there are no volcanoes in Manhattan should check out Les Mouches any Saturday midnight in March. It is here at the witching hour that Patti LuPone fulminates, thunders and showers the room with sparks of her debut cabaret act." -- NY Daily News (1980)

"LuPone's night club act, which she performs at midnight, contains almost as much flash as does her performance as Eva Peron at the Broadway Theater, but it reveals her to be a far different person. LuPone, the cabaret artist, appears in a suit of tails dusted with sequins, and she is far more the hard-working minstrel lady in the tradition of Judy Garland and Liza Minnelli than femme fatale." -- The Arts (1980)

Don't cry for Patti LuPone--every New York street is a street of dreams for Broadway's raving, raging Evita. On Saturdays, when her show lets out, the tempestuous singer-actress travles downtown to Les Mouches to strut her hell-bent cabaret stuff. -- The Villager  (1980)

With a wide assortment of songs from Fats Waller to Bob Dylan, her taut, tight act, recently reprised at New York's Les Mouches, is highlighted by a presence filled with power, authority and confidence, which, she claims, are the result of theatrical training. Plus, its dazzling to hear her voice--which rings through a Broadway theater--adapt itself so well to a much smaller space. – GQ  (1980)

What is most special about this LuPone performance is the individual ingredients she brings to it. There is the fresness she had in The Robber Bridegroom, the Everyman quality she employed in Working and the fire of Evita. -- Curt Davis, New York Post  (1980)