Tag Archives: Phoebe Snow

Thursday, March 29, 2018

Rare Audio: Gone At Last – Bette Midler & Paul Simon – Rehearsal Demo 1973

Mister D: Here is a rehearsal demo of Bette and Paul Simon singing his song, “Gone At Last.” Probably why she sounds so subdued. This started the infamous feud between them. He decided to go a different direction with the song and replaced Bette with Phoebe Snow. Bette didn’t know about it until she heard it on the radio. She did however incorporate the song in her legendary show, Clams On The Half Shell. She and Paul Simon reconciled in 1984 during the recording of “We Are The World” They performed recently together as duet partners at one of the annual Children’s Health Fund benefit.
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Saturday, January 19, 2013

BetteBack May 29, 1977: The Bette Midler/Paul Simon Feud

Independent Press May 29, 1977 Q: What’s behind the Paul SimonBette Midler feud? A: The Divine Miss M. and Rhymin’ Simon fell out over one of his songs, “Gone At Last,’ which s h e recorded with him. When the record was released, Phoebe Snow was the female lead, not Bette. “To this day I don’t exactly know what happened , ” Bette says. “One day the record came out but I wasn’t on it … I was very hurt.” Simon says simply: “I changed the concept with Phoebe and tried a gospel approach because she was perfect for it. Bette and I have no plans to do any work together.”
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Wednesday, December 12, 2012

BetteBack 1976: Bette Midler Attends Rock Promoter Ron Delsener’s Surprise Birthday Party (June 25, 1976)

Syracuse Herald Journal June 25, 1976 Rock impressario Ron Delsiner’s surprise birthday party at the U.S. Steakhouse brought out such music biz royalty as Bette Midler, Paul Simon and Phoebe Snow . .
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Sunday, December 2, 2012

Audio: Buckets Of Rain ~ Bette Midler


Buckets Of Rain (written by Bob Dylan) 

[Bette:] Ohh-oh, Ohh-oh, ah Sing to me baby, baby. Buckets, nuggets of rain.

[Bette & Bob:] Nuggets of rain, nuggets of tears. Got all the nuggets comin’ out of my ears. Nuggets of moonbeams in my hand. You got all the love, honey baby, I can stand. I been down, high like an oak. I’ve seen pretty people disappear like smoke. Friends will arrive, friends will disappear. You want me, honey baby, I’ll be here. [Bette:] Oh-oh, I’ll be here. Ooooooh. Sing to me baby, baby, baby. Buckets of rain. [Bette & Bob:] I like your smile and your fingertips. I like the way that you move your lips. I like that heavenly way you look at me. Everything about you is bringing me ecstasy. Little red wagon, little red bike. I ain’t no monkey but I know what I like. I like the way you monkey around. Stick with me baby and we’ll never be found. Life is heavy and life is sad. Life is a bust when you think you’ve been had. You lose, you must do and you do it bad. I do it for you, honey baby, ain’t you glad? [Bette:] Oh, Oh-oh, oh-oh-oh, ooooh. Bobby, Bobby, hey there Mister D, you set me free. Yeah. I don’t believe I really said that. [Bob:] “Hum, meany.” [Bette:] “Oooh, you don’t even know. You have no idea.” [Bob:] “I don’t want to know . . . . . You and Paul Simon should have done this one.”
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Saturday, November 24, 2012

BetteBack 1976: Songs For The New Depression

Lawrence Journal World Women sparkle on new releases February 21, 1976 International Women’s Year may be a memory, but the women of rock and roll are still making themselves heard, and loudly. A spate of new albums by important women writers and singers has recently hit the stores, including new works by Phoebe Snow, Bette Midler and Joan Baez. Neither Phoebe Snow nor Bette Midler has released albums since 1974. For Ms. Snow, whose first record was one of the finest of that year, the interim has seen a lawsuit over her recording contract, a shift to a new label, marriage and the birth of her first child. Her sophomore effort, SECOND CHILDHOOD (Columbia PC 33952), is a sparkling two sides of music, featuring more of the impressive vocal and writing style which made her first album a hit. SHE WROTE all but three of the tunes on the new work, and sings them all with power and grace. Her voice spans four octaves; her slow-motion vibrato is dazzling on numbers like the Holland-Dozier-Hplland tune, “Going Down for the Third Time”; George and Ira Gershwin’s “There’s a Boat That’s Leaving New York Soon”; and particularly the old Billie Holliday number, “No Regrets,” which she performed in her Kansas University appearance last spring. Her style is smouldering and bluesy, with jazz inflections and improvisation. She can be lovingly awed, as in her own “Two Fisted Love” or scathingly sardonic, as on another of her compositions, “Cash In.” “Second Childhood” is an exceptional second album, one which should establish Phoebe Snow as a major singer-songwriter of depth, perception and sensitivity. BETTE MIDLER, after a flashy, brassy 1973 debut and a disappointing second album, took a two-year recording vacation to recover from the rigors of an overnight success that was seven years in the making. Her third album, SONGS FOR THE NEW DEPRESSION (Atlantic SD 18155), is an improvement over her second effort; although fragmented in style, it gives her an opportunity to work out in a number of different modes, behind the lush production of Moogy Klingman. She sings an oddly refreshing disco version of “Strangers in the Night,” only to moan a long, langurous rendition of Phoebe Snow’s “I Don’t Want the Night to End,” which falls short of Ms. Snow’s crisp original. Her double-tracked vocals on the Patti Page tune, “Old Cape Cod,” are stylized and interesting, as are her perkier efforts on her own “Mr. Rockefeller” and Bob Dylan’s “Buckets of Rain.” The latter features Dylan in a duet with the Divine Miss M; the result is a rocking, rollicking version that cuts Dylan’s original for sheer energy and feeling. JOAN BAEZ recorded her 1975 hit album “Diamonds and Rust,” in an effort to recoup the losses her less commercial efforts had run up. The album, and single of the same name, were big sellers, prompting her solo tour at year’s end, before she linked up with Dylan and his Rolling Thunder Revue. FROM EVERY STAGE (A&M SP-3704) is a recreation of her joyous return to the concert arena. Backed by an excellent quartet, she shines on old and new material. Her voice, as always, is her finest instrument. She has a high, clean soprano, tineed with vibrato, that draws all the emotion from a lyric. Her a capella rendition of “Swing Low Sweet Chariot” is breathtaking on this double album. She sings standards (“Joe Hill,” “Love Is Just a Four-Letter Word,” “Blowin In the Wind”), newer numbers (Dylan’s “Forever Young”) and songs she had not previously recorded, such as Dylan’s “Lily, Rosemary and the Jack of Hearts,” Kenny Loggins’ “Please Come to Boston,” and Emmylou Harris’ “Boulder to Birmingham.” It is a comprehensive work, featuring all facets of Ms. Baez’ long, full career and is a must for her fans, both old and new.
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Friday, November 2, 2012

BetteBack 1975: Paul Simon Dumps Bette For Phoebe Snow…”Gone At Last”

Newark Advocate Rolling Stone’s Random Notes September 4, 1975 Plans to release the Paul SimonArt Garfunkel collaboration single, My Little Town, have been shelved. Simon’s new single. Gone at Last, features Phoebe Snow singing the high parts that Bette Midler was supposed to have sung until, as we heard it. the Divine Miss M and the Rhymin’ Mr. S had a difference in opinion.
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Wednesday, October 24, 2012

BetteBack 1975: What’s That Song?

Mister D: Of course the song below turned out to be “Gone At Last.” However, it never appeared as a single nor on her album. She was rudely surprised to find that Paul Simon had cut her vocals out and redid the song with Phoebe Snow. This led to a long-standing feud which came to an end during the recording of We Are The World in 1984 ~ Paul Simon’s duet with Bette later appeared as a bonus track demo on his CDStill Crazy After All These Years(?) Times-Picayune Rolling Stone ~ Random Notes Thursday, June 5, 1975 The gospel song Bette Midler sings in her Broadway show was written by Paul Simon and will be on her next album
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