Category Archives: Album/CD

Saturday, February 16, 2019

Why Springsteen Stopped Midler From Releasing Her Version Of “Pink Cadillac”

E Street Shuffle
Bette Midler Covers Springsteen’s Pink Cadillac
By Ken
POSTED ON NOVEMBER 26, 2018

Bette Midler Art

Mister D: I remember so vividly when I heard that Springsteen nixed this song, I was livid. I loved Bette’s version and I thought it should be a single right off the bat. It was after The Rose and she had built up credibility that she could sing rock and the blues with the best of them. I thought finally this would shut those DJ’s up who thought she was only a ballad singer, Of course, she substituted this song with “Beast Of Burden” which, frankly, outdid The Rolling Stone’s version and her onstage version was epic, She brought rock, cabaret, and theater and packed it into one hell of a cover version. But, the label made a mistake, in my opinion, by not releasing this first. I loved All I Need To Know and I thought it should have been the second single. I think the album No Frills would have sold more and not been such a disappointment. Now, I’m all Pissed Again!

Bruce is known for being exceptionally generous with his music, allowing other artists to cover and re-interpret his music with such frequency that it’s almost impossible to keep track of the various covers that are out there. ...  Read More

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Saturday, November 17, 2018

On this day in history, Bette Midler released the album, “Broken Blossom” November 17, 1977.

On This Day In History: Broken Blossom – Bette Midler – Album Was Released Nov 17, 1977

Bette Midler - Broken Blossom Mister D: What are ya’lls favorite songs from this album? Anybody remember when you first bought it? What was your first reaction to hearing it? On this day in history, Bette Midler released the album, “Broken Blossom” November 17, 1977. Broken Blossom is the fourth studio album by American singer Bette Midler, her second album release in 1977 and her fifth on the Atlantic Records label. Just as Midler’s three previous studio albums 

Broken Blossom ...  Read More

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Friday, September 21, 2018

Video: Bette Midler: Bootleg Betty: Waterfalls – Jimmy Fallon -2014

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Wednesday, August 22, 2018

This Day In History:  ‘The Rose’ Soundtrack Was Released August 22, 1979 A Few Months Before The Movie

In 1979, Atlantic Records releases the soundtrack album by Bette Midler to the movie of the same name, “The Rose”; Billboard 200: #12; 2 million copies; “The Rose”

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Sunday, June 3, 2018

A Brief Look At The Life Of Illustrator Richard Amsel – Did Some Of Bette Midler’s Iconic Album Covers And More

Salem House Press Illustrator of the Week: Another Look at Richard Amsel Author: awalkthroughsalem MAY 29, 2018 Bette Midler, Clams, Illustration

Amsel quickly found popularity within New York’s art scene, and his illustrations caught the attention of Barry Manilow, then a young singer/songwriter named who was working with Bette Midler, a newly emerging entertainer in cabaret clubs and piano bars. Manilow introduced the two, and it was quickly decided that Amsel should do the cover of her first Atlantic Records album. The cover, for The Divine Miss M proved to be one of the most ubiquitous of the year. More album covers and posters soon followed, as did a series of magazine ads for designer Oleg Cassini...  Read More

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Friday, May 11, 2018

Video: Old MTV News Clip On Bette Midler And An Album She Was Going To Write Herself

Bette Midler, Come Back Jimmy Dean
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Wednesday, August 16, 2017

Listen: Melissa Manchester Takes On “Ain’t That a Kick in the Head”

Vintage Vinyl News Listen: Melissa Manchester Takes On “Ain’t That a Kick in the Head” August 15, 2017 81gthfqqkyl-_sx425_ On Monday, =&0=& gave fans a taste of her forthcoming album, The Fellas, sharing the album opener and first single, “Ain’t That A Kick In The Head,” via her social media channels. Her rambunctious, horn-filled version of the song swings exuberantly from the rafters. “I wanted to invite the audience in, right away, to what the album and song was going to feel like,” says Melissa Manchester. The classic song was first recorded in 1960 by Dean Martin, who also performed it in the film Oceans 11 the same year. Manchester co-produced The Fellas with Robert Slack, Dean of Visual and Performing Arts at Citrus College in Glendora, CA. She is backed by The Citrus College Blue Note Orchestra, which is composed of students, alumni and faculty from the community college. More than 25 years after Manchester released Tribute, her 1989 album that honored the great female singers who influenced her, she turns the tables with The Fellas, a radiant tribute to the men, including Frank Sinatra, Nat King Cole, Johnny Mathis, Tony Bennett and Mel Tormé, and the iconic songs they made famous. Singing with a verve and emotional vulnerability that immediately captivates, the Grammy winner inventively reimagines these beloved standards. The Fellas – which will be released on September 8 via Manchester’s independent label, Long Run Entertainment, LLC – is available for pre-order now on Amazon. While it’s primarily a solo album, Manchester did recruit one very special fella to join her on The Fellas: Barry Manilow duets with her on a jubilant “For Me and My Gal,” a tribute to Gene Kelly and Judy Garland, who performed the 1942 movie’s title track. Manilow and Manchester met 40 years ago when they were young jingle singers trying to break into show business. Manilow introduced her to Bette Midler, who recruited Melissa to become a founding member of the Harlettes. Melissa will launch The Fellas with a performance/record release party at Birdland in New York City on September 11 and a September 22 performance with the Blue Note Orchestra at the James Armstrong Theatre in Torrance, CA. Proceeds from the gala fundraiser/CD release party in Torrance will benefit Art Attack, a charity founded by Bea Arthur that provides lessons and scholarships to young artists who wouldn’t otherwise have the opportunity. Manchester will also perform in Atlanta on August 28 at the “Concert For America,” which will raise funds for national organizations working to protect civil rights.Manchester’s remarkable career will be celebrated with the September 8 release of Through the Eyes of Love: The Complete Arista 7” Singles (Real Gone Music and Second Disc Records). The 43-song set of her singles (both A and B sides) includes such hits as “Midnight Blue,” the GRAMMY-nominated “Don’t Cry Out Loud,” the GRAMMY-winning “You Should Hear How She Talks About You” and the Oscar-nominated “Theme from Ice Castles (Through the Eyes of Love).” Melissa Manchester tour dates:
  • 08/19 – Las Vegas, NV – The Smith Center (2 shows)
  • 08/28 – Atlanta, GA – Ferst Center For The Arts – “Concert For America”
  • 09/11 – New York, NY – Birdland NYC – Record Release Party
  • 09/16 – Monroe Township, NJ – Monroe Township High School PAC
  • 09/22 – Torrance, CA – James Armstrong Theatre – CD release party/gala fundraiser for Art Attack
  • 10/12 – Franklin, TN – Franklin Theatre
  • 10/13 – Evans, GA – Hardin Performing Arts Center
  • 10/14 – Pawley’s Island, SC – Pawleys Island Festival of Music and Art
  • 12/03 – Denham Springs, LA – Forest Grove Plantation
  • 12/24 – Boca Raton, FL – Wick Theatre
  • 12/25 – Boca Raton, FL – Wick Theatre (2 shows)
  • 02/17 – Brookville, NY – Tilles Center
BetteBack October 31, 1998: Bette Midler Gets A Reunion Of Sorts (bootlegbetty.com) Review: Bette Midler’s “A Gift Of Love” (bootlegbetty.com) Rare Footage Captures Bette Midler’s 1971 Farewell Performance At NYC Gay Bathhouse (bootlegbetty.com) BetteBack April 23, 1975: Vito Russo Interviews Bette Midler (bootlegbetty.com)

BetteBack June 24, 1998: Liz Smith Compares Sandra Bernhard To Bette Midler ...  Read More

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Thursday, August 3, 2017

The 150 Greatest Albums Made By Women – No, Bette Is Not On The List But I Talk About It

Mister D: No, Bette Midler is not on this list at all, but I’m putting this up anyway, so you can see how she was slighted. The album missing is “The Divine Miss M, ” considered a groundbreaking album upon it’s release. Not only did it introduce us to one of our most enduring recording artist and stars, the penultimate entertainer of our generation, it redefined what a female vocalist album could be with it’s eclectic mix of genres. It is also chock full of hits and classic performances.

Another album missing was Jennifer Warnes’ superb “Famous Blue Raincoat, an almost perfectly, pristine engineered album, from a great song interpreter. On this album, Ms. Warnes thrust cult pop icon Leonard Cohen’s songs into the mainstream. Another big slight by NPR. I own just about all these recordings, Female artists are my thing, and these two albums were glaringly omitted.

I own the majority of these albums and agree with most of the choices, however there are some that I wouldn’t include in this category and there are some on here that I think the contributors put on here just to give them the “coolness” factor. Anyway, it’s a great list, but I just get tired of Bette Midler being slighted as to her accomplishments in the recording field. I think I almost would have added “Live At Last’ because it finally almost captured the manic genius of her live shows. It was a watershed album. – Don

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NPR The 150 Greatest Albums Made By Women July 24, 20175:00 AM ET

This list, of the greatest albums made by women between 1964 and the present, is an intervention, a remedy, a correction of the historical record and hopefully the start of a new conversation. Compiled by nearly 50 women from across NPR and the public radio system and produced in partnership with Lincoln Center, it rethinks popular music to put women at the center.

The Roches, self-titled

150. The Roches The Roches (Warner Bros., 1979)

In the late 1970s, women across America sat in circles, speaking and listening intently. These simple acts of consciousness-raising were fundamental to second-wave feminism, throwing the light of everyday experience upon the false structures of sexism. The self-titled 1979 debut album by The Roches made consciousness-raising into music. It became a cult hit, turning Maggie, Terre and Suzzy Roche — New Jersey-raised siblings who embodied both cultural feminism and Greenwich Village boho cool — into sneaker-clad heroines of the folk scene. Self-written songs about pregnancy, work, family tensions, complex love and the feminine mystique gained clarity from the utterly clear, deliberately imperfect harmonies The Roches had mastered singing holiday carols in the street. Art-rock guitarist Robert Fripp produced The Roches, and is often credited for its uniquely intimate feel. But that’s wrong. His decision to mix these songs “in audio verité,” so that everything in the speaker hit the ear with equal weight, was inspired by the way the sisters made their music, sitting in that consciousness-raising formation and vocalizing into each other’s faces. Some male critics found The Roches startlingly intimate, but in its wryness and honesty, many women heard exactly what they were thinking. —Ann Powers (NPR Music)
Songs in a Minor by Alicia Keys

149. Alicia Keys Songs In A Minor (J Records, 2001)

Alicia Keys graduated from high school at age 16 with a scholarship to Columbia University. But she decided to pursue a future with a different Columbia instead — Columbia Records, the label who signed her at age 15. Like many black women artists who came before and after her, she had to contend with people who lacked respect for her as a creator and a person. As she toldThe New York Times in 2002: “So I’m working with them, and them being not receptive to the fact that I play. ‘Little girl, sit over there in the corner.’ Them being attracted to me, whatever, ‘Little girl let’s go to the movies, let’s go to dinner.'” Keys couldn’t work under those conditions, so she found a Queens basement and made her own studio there. When she took her finished records to Columbia, they didn’t like them. So she left and released Songs In A Minor with Arista Records. It reached No. 1 on the Billboard charts and secured Keys’ position as one of the most visionary composers of her time. A classically trained pianist raised on hip-hop in Hell’s Kitchen, Keys took varied influences — including Chopin (her favorite composer), Marvin GayeBillie Holiday — and, with them, crafted a distillation of her spirit. The album’s most enduring songs, “Fallin’,” and “A Woman’s Worth,” are perfect. And when we listen to them, we should take care to remember the story of the young woman who made them. She taught an entire generation of us to persevere, to know our stuff — and yes, to know our worth. —Jenny Gathright (NPR Staff) The Mosaic Project by Terri Lyne Carrington

148. Terri Lyne Carrington The Mosaic Project (Concord Jazz, 2011)

Some will say jazz, in a word, is improvisation. An equally appropriate word might be transformation: Each player comes to the gig with her arsenal of licks and voicings, but when the tune starts it’s all about reacting to and being inspired by one another, giving each other space to create and shaping the simultaneous offerings into a transmuted whole. Fittingly, “Transformation,” a cover of the Nona Hendryx track sung by Hendryx herself, set the tone for drummer Terri Lyne Carrington‘s formidable convention of female musicians. Nestled confidently between jazz and R&B, her album The Mosaic Projectwas at turns brainy, sassy, soulful and revolutionary — rather like the women it celebrated. Carrington’s project, which spawned a sequel album in 2015, remains a necessary intervention in a musical community whose presumed leading lights still allege that women don’t care for solos. (Tell that to Ingrid Jensen, or Esperanza Spalding, or the late Geri Allen, or any of the other women who played fine solos on this record.) It sounded like a communal metamorphosis, a circle of women passing inspiration —as rapper Shea Rose declared in “Sisters On The Rise” — “from a sister to another to another funky sister.” —Rachel Horn (NPR Music) Dolmen Music by Meredith Monk

147. Meredith Monk Dolmen Music (ECM, 1981)

In the early 1980s, when so much in the “new music” realm sounded jarring and almost self-consciously difficult, Meredith Monk took a different tack with Dolmen Music. With her voice, in its infinite permutations — gorgeous slides, ululations, breaths, cries, howls, drones — she navigated a landscape that seemed both familiar and strangely unfamiliar. We have all heard a woman’s voice, and women’s voices are as old as time. Dolmen Music is a timeless use of the voice, in all its power and enduring mystery. Monk also plays piano, and others provide additional voices, along with subtle percussion and violin. Of particular note, the late and legendary composer Julius Eastman supplies his deep baritone on one of the tracks, and some additional percussion. But the added instrumentation never eclipses the power of the voice on Dolmen Music, which sounds ancient and modern at the same time. You could imagine it as music for a medieval ritual, or music for a science fiction future. (You’ve probably heard Dolmen Music even if you think you haven’t: A sample from it features prominently on DJ Shadow‘s “Midnight in a Perfect World.”) In a just world, Dolmen Music would be as big as Led Zeppelin IV, but it is a great gift for those in the know. It is like a hidden passageway, ending in a door that mysteriously opens to a secret room. It is a method, inscribed in music, of linking the old with the new. —Geeta Dayal (Contributor) Flaming Red by Patty Griffin

146. Patty Griffin Flaming Red (A&M, 1998)

Today, Patty Griffin is best known as an all-time great American singer-songwriter. But for a brief period in the late 1990s, she also harbored serious rock ambitions. About the era during which she released her second album, the electrified (and electrifying) Flaming Red, Griffin said: “I always felt like I was a rock singer. It was all I listened to. I felt like, ‘Don’t call me a folksinger.'” Her stance and sound have both mellowed since 1998, but Flaming Red remains a testament to the fire simmering under all of her work preceding this album, and what came after it. This is the only album in Griffin’s catalog where her preternatural vocal control approaches an edge, opening up into exhilarating hollers and cracking into an unfiltered rock and roll scream. While many artists use an “unplugged” approach to get to the heart of their sound, at this early point in her lengthy and varied career, Griffin plugged in to find hers. —Katie Presley (Contributor) Moussolou by Oumou Sangare

145. Oumou Sangare Moussolou (Women)(Kartell/World Circuit, 1989)

Moussolou was the potent debut album from Malian singer Oumou Sangaré, who was just 21 years old when she recorded it in Abidjan, Ivory Coast. Her lyrics upended social norms: She criticized arranged marriages, polygamy and women’s general subservience to men — and promptly sold a reported 200,000-plus copies of the cassette across West Africa. (World Circuit picked it up for European distribution in 1991.) But Sangaré’s debut was not just notable for its topicality. By that point, she already possessed one of Africa’s soaring, golden voices, which she deployed with incredible confidence and skill. And within that cassette-length framework, Sangaré helped carve out a new path for West African pop. Rather than depending on drum machines and synths to sound “modern,” Sangaré and her arranger and bass player, Amadou Ba Guindo, framed her voice with a mix of acoustic and electric instruments, including the kamalengoni harp and the karinyan, a percussive metal scraper, in addition to guitar and violin. Nearly 30 years later, Moussolou retains all of its astonishing power and beauty. —Anastasia Tsioulcas (NPR Music) Last Splash by The Breeders

144. The Breeders Last Splash (4AD/Elektra, 1993)

How good must it have felt for Kim Deal to release the eclectic masterpiece Last Splash with her band The Breeders? Throughout the seven years prior to the album’s 1993 release, she had made influential (but not very commercially successful) music alongside Frank Black in the Pixies, a band in which she never received credit she deserved. While Pixies is often name-checked for inspiring the likes of Nirvana to embrace dramatic dynamic shifts, Kurt Cobain bemoaned that more of Kim’s songwriting wasn’t featured on their albums. But on Last Splash, The Breeders’ second album, Deal’s songwriting moved front and center (with some co-writing from her twin sister Kelley, who was also in the band), and what was once her side project became her main gig. It left no question about her talents, as the album sold more than Frank’s solo debut or any of the Pixies’ albums. The brilliant Last Splash was also built for shifting attention spans: Its short songs ranged from the cotton candy single “Divine Hammer” to a grungy, racing instrumental “S.O.S.,” which would later be sampled by U.K. big beat artist The Prodigy in its hard-driving international hit “Firestarter.” In the age of the baby doll dress, Deal confidently stepped out bare-faced, in jeans and a t-shirt, and with a smile that said that nothing could be more fun than leading The Breeders. —Kimberly Junod (World Cafe) Body Talk by Robyn

143. Robyn Body Talk (Konichiwa Records, 2010)

“I’ve got some news for you… fembots have feelings too.” That’s Swedish pop star Robyn for you, laying out the rules of gender politics via self-assured sing-talk proclamations, calypso synth and sparkling pop melodies. What’s especially interesting about this recording, her fifth in the studio, is how it became long-overdue recognition for Robyn, born Robin Miriam Carlsson. She had actually begun her pop music career at the age of sixteen and made her stateside breakthrough with the classic dance-pop tunes “Do You Know What It Takes” and “Show Me Love,” the latter of which she performed on Nickelodeon’s All That. After wresting control back from Jive Records, Robyn created Konichiwa Records in 2005 to keep her artistry alive and well away from corporate control. If she hadn’t done that, we likely wouldn’t have the Röyksopp-produced banger “None of Dem” that calls out heteronormativity, the glittering ’80s affair “Call Your Girlfriend” or the yearning-yet-empowering disco-pop gem “Dancing on My Own.” Body Talk is the outspoken dance record this pop world so desperately needed, one that burns with a futuristic light and, above all, one that most certainly does not “go gentle into that good night.” —Joni Deutsch (Mountain Stage) My Life by Iris DeMent

142. Iris DeMent My Life (Warner Bros., 1993)

When Iris DeMent released her 1992 debut album Infamous Angel, the first of a pair produced by Jim Rooney, country and folk music was rattled by a fresh voice packed with such honest and raw emotion that it commanded full attention. DeMent’s follow-up album, My Life, released the following year, picked up where she left off, and in turn solidified her as one of our most captivating singers and songwriters of our time. My Life is the antithesis of a party album, though, given that it’s filled with introspective songs and relatively sparse arrangements. But whether she’s singing about a failing relationship (“You’ve Done Nothing Wrong”), the passing of a parent (“No Time To Cry”) or emotional struggles (“Easy’s Gettin’ Harder Every Day”), DeMent’s moving album inspires listeners to lean in and listen close to every word. —Linda Fahey (Folk Alley) Ys by Joanna Newsom

141. Joanna Newsom Ys (Drag City, 2006)

Any fan of Joanna Newsom knows that to love her is to defend her. Her acolytes find ourselves defining her by what she is not: Not a waif, not an ethereal woodland sprite, not even really a folk musician. This habitual defensiveness is most common among music critics, who, in our eagerness to subvert a popular narrative, may have inadvertently kept it alive. But the truth is that Newsom long ago shook off the easy and obvious tropes that she initially accrued as a folk-adjacent female harpist. And that transformation began with her sophomore album, Ys. “Ys” is the name of a mythical Breton city that sank into the sea, and Ys is as mysterious and enchanting as its namesake. Across five sprawling epics, it’s all there — Newsom’s arresting warble, her dazzling musicianship, her exquisite melodic sense — but Ys is grander and more ambitious than her previous work. Composer Van Dyke Parks provides radiant orchestrations for material that is as dense and rewarding as any literary text. Newsom’s medievalist predilections notwithstanding, Ys is a deeply contemporary work, intent on enfolding us in a world of the artist’s own invention. In doing so, it shows us not what Newsom isn’t, but what she remarkably, audaciously is. —Amelia Mason (WBUR)

140. Norah Jones Come Away with Me (Blue Note, 2002)

At a time when the music industry was increasingly plagued by piracy and saw rapid declines in album sales, the debut album by a twenty-something old soul (who also happened to be a sitar master‘s daughter) was an unlikely success story. Norah Jones‘s distinctive voice, laced with a mellow smoke that might have originated at either the cabaret or honky-tonk, was immediately a force to contend with. On Come Away With Me, released by the storied jazz label Blue Note, she sang Great American Songbook standards like “The Nearness of You” and country classics such as “Cold Cold Heart” with rare, unhurried intimacy. Still, most of the album comprises original material, with Jones penning the memorable title song — a lovely, country-tinged waltz — and a few others. It earned her a major-category sweep at the Grammys, and in 2005, the album notched more than 10 million copies sold — a feat that made Jones the last artist to achieve diamond status for another seven years. —Rachel Horn (NPR Music)

All Over the Place by The Bangles

139. The Bangles All Over the Place (Columbia, 1984)

The sunshine-y MTV world of the ’80s was made for The Bangles ...  Read More

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Saturday, September 10, 2016

Bette Midler Re-Issuing Remastered ‘The Divine Miss M,’ Mentoring on ‘The Voice’

Billboard Bette Midler Re-Issuing Remastered ‘The Divine Miss M,’ Mentoring on ‘The Voice’ 9/9/2016 by Billboard Staff 2016-06-15_5-33-59 Bette Midler fans are getting a second chance to find out where it all began on Oct. 21 when Rhino Records will unleash a two-CD remaster of the singer’s iconic 1972 debut album, The Divine Miss M. The special edition includes the remastered album, a bonus disc of singles, outtakes, demos and new liner notes written by Midler. A digital version will also be available, as well as a 1-LP vinyl format with the remastered original album (co-produced by Barry Manilow) and original album artwork. “I began being called The Divine Miss M around 1969, when I made my first appearance at the Continental Baths, a gay bath house located in the basement of the Ansonia Hotel, at Broadway and 74th Street in New York,” Midler writes in the liner notes of her nickname. “My best friend, Bill Hennessy, a hairdresser I met on Fiddler on the Roof, called me that for years. It was my first night at the Baths, and before I went on, the owner, Steven Ostrow, stuck his head into the dressing room and asked how I wanted to be introduced. I said, ‘Just tell them I’m divine!’ And that’s how it started.” In addition to the top 40 hits “Do You Want to Dance” and “Friends” and the top 10 hit “Boogie Woogie Bugle Boy,” the second disc has nine additional tracks including the single mixes for “Friends” and “Chapel of Love” and a version of “Do You Want to Dance” mixed by album co-producer Joel Dorn. There are also five unreleased songs: an alternate take of Superstar (co-written by Leon Russell and Bonnie Bramlett), demos of “Saturday Night” and “Mr. Freedom and I” and the original 1972 versions of “Old Cape Cod” and “Marahuana.” Midler won the Grammy Award for Best New Artist following the 1972 release of the album. Blondie, Mumford & Sons, Bette Midler & More Added to New York David Bowie Tribute Shows In other good news, Midler has been tapped to serve as a mentor on the upcoming 11th season of NBC’s The Voice. The Divine Miss M: Deluxe Edition track list: Disc One: 1. “Do You Want To Dance” 2. “Chapel Of Love” 3. “Superstar” 4. “Hello In There” 5. “Am I Blue” 6. “Friends” 7. “Daytime Hustler” 8. “Leader Of The Pack” 9. “Delta Dawn” 10. “Boogie Woogie Bugle Boy” 11.“Friends” Disc Two: 1. “Chapel Of Love” – Single Mix 2. “Boogie Woogie Bugle Boy” – Single Version 3. “Do You Want To Dance” – Single Mix 4. “Friends” – Single Mix 5. “Old Cape Cod” – Earliest Recording & Mix 6. “Marahuana” – Earliest Recording & Mix 7. “Superstar” – Alternate Recording * 8. “Saturday Night” – Demo * 9. “Mr. Freedom And I” – Demo * ( *Previously Unreleased)

  • BetteBack September 27, 1989: Midler Will Not Sing In Court For Her Lawsuit Against Ford
  • Bette, A Judge On The Voice? Don’t Do It!
  • Bette Midler: Divine Intervention on tour
  • Good News Dept: The Divine Miss M Re-Issue
  • BetteBack December 14, 1973: Bette Midler Hits Sophomore Slump
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    Friday, September 9, 2016

    You Can Pre-Order The Deluxe Divine Miss M CD Now – Release Date: October 21st (Details In Article)

    The Deluxe Divine Miss M CD 71G1FCG37yL._SL1500_ Track Listings Disc: 1 1. Do You Want To Dance? 2. Chapel Of Love 3. Superstar 4. Daytime Hustler 5. Am I Blue 6. Friends (Session 1) 7. Hello In There 8. Leader Of The Pack 9. Delta Dawn 10. Boogie Woogie Bugle Boy 11. Friends (Session 2) Disc: 2 1. Chapel Of Love (The Single Mix) [Remastered] 2. Boogie Woogie Bugle Boy (The Single Version) [Remastered] 3. Do You Want To Dance? (The Single Mix) [Remastered] 4. Friends (The Single Mix) [Remastered] 5. Old Cape Cod (Early Version) 6. Marahuana (Early Version) 7. Superstar (Alternate Version) 8. Saturday Night (Demo) 9. Mr. Freedom And I (Demo) Product Details Audio CD (October 21, 2016) Number of Discs: 1 Label: Atlantic Catalog Group ASIN: B01LT8OEIA BetteBack October 17, 1973: How’s She Doing? Great, You Bette! Concert Review: Bette Midler is in town – and boy do we know it! (Leeds) Bette Midler Talks About ‘It’s The Girls’ Album 2014 BetteBack September 29, 1973: Every Gay Blade’s Fantasy

    What “The Divine Miss M” Re-Issue Could Look Like (One Man’s View) | BootLeg Betty ...  Read More

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