Search - Bette Midler :: Songs for the New Depression

Bette Midler does torch songs on her most underrated album

Lawrance M. Bernabo | The Zenith City, Duluth, Minnesota | 10/04/2003

(5 out of 5 stars)

"After the success of her first two albums, "The Divine Miss M" (#9) and "Bette Midler" (#6), her third album, 1976's "Song For The New Depression" (#27) was a disappointment. The album is certainly a departure from the mix of Forties Boogie-Woogie and R&B and the album does not contain a recognizable Bette Midler standard: the one single was a disco version of "Strangers in the Night," and while that went to #7 it was on the Billboard Club Play Singles chart. Still, along with "The Divine Miss M" and the soundtrack for "The Rose," I would contend that this album is one of the three essential Bette Midler albums from the Seventies. If you need a one-word description for the key style on this album it would be torch songs. Just list to "I Don't Want the Night to End." Add to this list the ballads "Let Me Just Follow Behind" and "Tragedy". For those who need camp, Midler provides "Mr. Rockefeller" and "Marahuana." My favorites would be the duet with Bob Dylan on his "Buckets of Rain" and her version of Tom Waits's "Shiver Me Timbers." As is usually the case, the Divine Miss M corrals some major talent to play on this album, including Todd Rundgren, Rick Derringer, Eric Weissberg, and Luther Vandross. This is not one of the first Bette Midler albums that come to mind, but most of her true fans know this really is one of her best, even if it is one of her most atypical."

Sweetly sad with just enough lightheartedness for balance

Terry Spencer | Lexington, KY United States | 10/24/2004

(5 out of 5 stars)

"Songs For The New Depression (1976) was the first Bette album to flop commercially. The mundane millions seem to like the ordinary so I assume this album was too good for the general public. Bette's best work, much like Cher's, has been the least acknowledged, not quite commercial endeavors. Not ironically, in the mid-eighties 10 years after it's release as a single "Old Cape Cod" was a jukebox favorite at an offbeat little bar in my town.



The strength of this CD lies in the gentleness of it's delivery. It is a must have for those of you wishing to hear Bette's talents in a sweetly lamentatory mode but there's enough of Bette's bawdy side to satisfy those who are attracted to her outrageousness. My most favorite of all her albums to date and the beautiful sadness of some of the songs such as "Let Me Just Follow Behind" (my favorite Bette 'song') make this an album I still haven't tired of 28 years later.



"

BETTEr days

J. Collins | 12/23/2000

(4 out of 5 stars)

"Bette's third album is a queer affair, in every sense of the word. Disco, novelty, folk and Pop tunes play leap-frog, with settings from Cape Cod to South of the Border. Stylistically, the music holds together, even if some of the lyrical concepts get a bit precious.Bette's "Strangers In The Night" is an instant classic of Disco, with a great vocal and dynamic rhythm section. "Songs..." has a nice collection of somber-serious moments as well: the bell-clear melody of "Tragedy," the feather-light vocals and flute of "Love Says It's Waiting." The medley of "Shiver/Samedi" is another noteworthy track.My only complaint about this album is Bette's El-Lay treatment of her vocals. Too often she substitutes breathy delivery for soul, or sings with a lazy disregard for the vocal lines as written. I think Bette is a wonderful vocalist, and "Old Cape Cod" is a prime example of her talent. But the theatrical tone of her delivery seems to emphasize cuteness ("Mr Rockefeller") over sincerity. If you can 'forgive' Bette her indulgences (the current TV show is one example), you'll have no problem enjoying "Songs From the New Depression." And if you (like me) think that Bette's older releases were sassier and more heartfelt than her recent recordings, this album is a fine choice.-stonedsoul"