Robert Cristagau
From anybody else, the second live album in under four years would have me charging unfair trade practice. From Bette it has me begging for intros–which rarely forthcome on a concert-flick “Soundtrack” that plays better on screen than turntable. Streisand’s claque is right-she’s a sloppy singer, which without the diversionary shtick of Live at Last sometimes matters. On anything she’s perfected in the studio, for instance. Or when she expresses herself all over “Stay With Me” or “Fire Down Below,” good notions that suggest cabaret may be her musical calling after all. “E Street Shuffle” she can handle–maybe because it has a plot. C+
Unknown
Bette Midler has arrived. First she is a smash in The Rose, earning an Academy Award nomination. Then she follows that with Bette Midler in Divine Madness, a film version of her concert tour. And this is the album from that film.
And you really get your money’s worth. For instance, there are 14 songs, rather than the usual 10 or less. And there’s Bette Midler in top form. This gal still delivers her trash with class.
Establishing just where she’s coming from, she opens with an old pre-war (WWII, not Vietnam) jivejazz-swinger called “Big Noise from Winnetka.” There’s that big band sound, that frenetic beat, mixed with that certain delight and warmth which are Midler trademarks.
The thing about Bette Midler is not that she recreates this old standard, but rather that she discovers it anew and brings it forth fresh and with surprised wonder.
She follows this blast of an opening, maybe the best cut on the whole album, with another fast, hot, driving number, “Paradise.” But then she switches gears with Harry Nilsson’s meditative “Shiver Me Timbers”.
She rounds out side one with a funky “Fire Down Below” and a wailing, bluesy “Stay With Me Baby.”
Side two opens with a gentle, moving little melody called “My Mother’s Eyes” (which was cut from the film but which now is making its way up the singles chart).
But then she shifts gears again with a medley. She begins with Bruce Springsteen’s “E Street Shuffle,” moves smoothly into Bobby Goldsboro “Summer (The First Time)” and then ends with that rock golden ager, “The Leader of the Pack.” She creates a little musical epic of love and discovery.
The album finishes with a blending of Mick Jagger’s “You Can’t Always Get What You Want” and Bob Dylan’s “I Shall Be Released.”
The thing about Bette Midler is her amazing range. She takes material from the 1940s, from such widely varying stylists as The Rolling Stones, Bob Seger, Goldsboro and Dylan.
And each song is touched by something special which is Bette Midler. She approaches each song with respect and intelligence – and with humor
Madness it may be. Divine it certainly is. Bette Midler at her exuberant best.
Charlotte Dillon: All Music Guide
The legendary singer Bette Midler began her amazing recording career in the early ’70s, and it is still going strong three decades later. She did this second live album, Divine Madness, a year after her staring role in the well-remembered film the Rose. Music fans that enjoyed the soundtrack from that movie should find Divine Madness just as pleasing and touching, since, like the Rose soundtrack, there are a number of emotional songs on this album, such as “My Mother’s Eyes,” “Stay With Me,” and “I Shall Be Released.” There are some upbeat music samples here to be had as well, including “Boogie Woogie Bugle Boy” and “Leader of the Pack.” Throughout the nine tracks this album offers, Midler’s vocal prowess shines in ballads and carries through strong in high-spirited songs.