Ok, I know I border on the obsessed with The Divine Miss M, but there are three reasons I chose this as my Gem Of A Jam entry. First, I am still in my "I miss New York" headspace and this album was on loop the last time I was there. Second, there is a six-degrees-of-separation from Phoebe Snow (previous entry), and third, 2 weeks ago this album was quietly re-released in a limited remastered edition by boutique music label Friday Music. But overall, it's a fucking great album. Period.
After two humongous albums and three tours: The Divine Miss M Tour (1972), the Bette Midler Tour (1973), and her Tony-winning, record breaking (and holding) Clams On The Half Shell Revue (1974) Bette took a much needed break (click for a brief pictorial below). Back in the recording studio Bette began piecing together the album she'd release in 1976 "Songs For The New Depression" (this makes 4 ridiculously great albums released that year, please see the Boz Scaggs, ELO, and Billy Joel G.O.A.J. posts).
Another classic Bette amalgamation of genre jumping, 'New Depression' would be the last non-live album for quite some time that included songs from Bette's Bathhouse days. This album served as two firsts for Bette: she debuted her skills as a songwriter and she sang a duet with poet laureate Bob Dylan of whose "I Shall Be Released" she covered on her second album. This album would also see her switching up her initial producing team of Barry Manilow and Arif Mardin. Barry was busy making a name for himself as a solo artist and Arif was busy redefining The Bee Gees' sound to discofied success, although he would still contribute co-production and arranging. Enter Moogy Klingman as Executive Producer and a small barrage of genius musicians--Todd Rundgren ("Hello It's Me" singer/songwriter) on guitar and vocals and a then unknown Luther Vandross.
Opening this record is a take on the Frank Sinatra standard "Strangers In The Night" that only Bette could pull off; a disco version that will make you wanna step in the name of love. Disco was just beginning to saturate the airwaves and Bette threw her hat in the ring. Peaking at #7 on the U.S. Dance Charts, it still holds up as a hell-of-a unique version and Bette does some of her best singing here. If you listen closely, you'll hear a young Luther Vandross on backing vocals!
That six degrees between Phoebe Snow and Bette I mentioned at the top: Bette does a cover of Phoebe's "I Don't Want The Night To End" to dreamy perfection here. Written by Phoebe Snow and included on Snow's debut album (see previous post), Bette and Phoebe's version are actually quite different, almost to the point of sounding like two different songs. Even some of the lyrics are different. I've singled out this track because this song is one that really conjures up a feeling and imagery of New York in the 70s for me. It's so dreamy, and Bette's panting reverb vocal is so evocative of a muggy 70s New York summer. I swoon.
"Mr. Rockefeller" is Bette's contribution as a writer to the album. A character song, the tune has Bette acting out a phone call. This is a great song to watch Bette perform live, as she did in her "Depression Tour" for this album. I've included a video of her performing it. This song actually might sound familiar to you Kanye West fans out there because he ingeniously (by Bette association) sampled it on his song "Last Call" on his debut album "The College Dropout."
"Old Cape Cod" is a gorgeous standard that echoes Bette's "Boogie Woogie Bugle Boy" sentiment. Actually, this song was recorded for "The Divine Miss M" album but never used and was remixed, along with "Marahuana" (album spelling) by Arif Mardin for 'Depression.' 'Cape Cod' has Bette again doing all the vocal parts, in the vain of The Andrews Sister. It's such a lovely version, and will make you want "lobster stew."
"Buckets Of Rain" has Miss M. in duet with Bob Dylan. What other artist aside from Bette do you know that can do disco and a country-blues thigh slapper in one album?! Bob Dylan has always served as a dream artist for Bette to collaborate with and here she got to work with him in the flesh. Their banter at the end of this track is especially humorous.
In another instance of mashing up, Bette does a stunning existential reading of Tom Waits "Shiver Me Timbers" a song that has become more a synonymous staple with Bette's catalog than Mr. Waits'. This song hits close to home for me because at its depth, it's a song about trying to get away--to some place of peace. We can all use that, and Bette breaks your heart sending the listener there.
The final installment of my "three reasons why I chose this album" is to plug a company I think is doing a fantastic service to these albums and artists from days gone by. Friday Music is boutique label that takes obscure albums and remasters and re-releases them on CD, Digital and even Vinyl mediums! Imagine my surprise when I discovered that "Songs For The New Depression" was re-released on July 29, 2014 in remastered form--this album hasn't seen a remaster since it was put out on compact disc 20 years ago--and technology has changed for sure. Do yourself a favor and check out their website and catalog of fantastic albums that they've re-gifted us music lovers! Oh, and pick up this Bette Midler Gem Of A Jam "Songs For The New Depression."