Posts Tagged ‘Cover Songs’

Tony Joe White: Bad Mouthin’

Wednesday, October 10th, 2018

Low, slow blues from Louisiana legend

It’s been fifty years since Tony Joe White stepped into the spotlight with his Muscle Shoals-infused debut Black and White, and its iconic single “Polk Salad Annie.” He continued to thread his southern roots through five decades of touring and solo albums, even as he wrote for and produced other artists. His trademark swamp sounds bubbled up in recent releases for Yep Roc, including 2013’s Hoodoo and 2016’s Rain Crow, but this third album for the label takes him down and low into the blues. The track list includes six originals, and five covers highlighted by John Lee Hooker’s “Boom Boom,” Luther Dixon’s “Big Boss Man” and a take on “Heartbreak Hotel” that’s more a withered admission than a repeat of Elvis Presley’s plaintive cry.

The backings alternate between acoustic and electric, the former offering crisp counterpoint to the weariness of White’s vocals, and the latter leaning on low electric guitar and the spare snare and bass drum of Bryan Owings. One might be lulled into experiencing the album’s crawling tempos as an expression of exhaustion, but the power in White’s voice is akin to the weight of a fully-loaded freight slowly pushing its way down the track. Stripping down to solo and spare duos lets the emotion of his rumbling vocals set the tone for his rhythm guitar, harmonica and lyrics. At 75, White’s putting everything he’s learned and felt into his music, singing in half-whispered exhalations that draw you into an intimate album of blues confessions. [©2018 Hyperbolium]

Tony Joe White’s Home Page

Cliff Westfall: Baby You Win

Wednesday, August 1st, 2018

Twangy throwback country with a clever, humorous edge

Native Kentuckian Cliff Westfall’s country songs harken back to the clever and funny writing of Roger Miller and Tom T. Hall. And though he’s relocated to New York City, he’s recruited like-minded country music players as his backing band, ensuring there’s plenty of twang behind his humor and wordplay. Westfall lists Chuck Berry as his favorite songwriter, and he exhibits the same sort of attention to detail in his lyrics, choosing his words in parallel service of story, meter and rhyme. The album opens with the honkytonk of “It Hurts Her to Hurt Me,” as Westfall tends to his romantic wounds with a self-delusional salve. He’s a relationship pragmatist, staring past criticism, content to be Mr. Right Now until Mr. Right comes along and he’s pushed out of the picture. The chugging “Off the Wagon” surveys a dysfunctional relationship whose blurry attraction wears off along with the booze and pills, and runs out with a lengthy, twangy instrumental.

Westfall’s protagonists have the self-awareness to know they’re playing the doormat. They expect to be left behind, and only occasionally think of their own feelings, as one realizes “more and more I love you less and less.” They suffer lies, wait for the other shoe to drop, and wallow in self-deception to avoid thinking about what they really believe to be inevitable. The romantic powerlessness and emotional resignation of the album’s lone cover, “Hangin’ On,” fits perfectly with the originals, and the use of pedal steel in place of the Gosdin Brothers’ acoustic guitar underscores the broken will of the lyrics. Bryce Goggin and Graham Norwood’s production is clean, but not so modern that it loses the spirits that inspire Westfall’s writing, and the assembled players offer up everything from honkytonk twang to the jazzy turn of “Sweet Tooth.” Fans of Rodney Crowell, Dwight Yoakam, Moot Davis, and the Derailers should take this out for a spin. [©2018 Hyperbolium]

Cliff Westfall’s Home Page

Vince Guaraldi: The Complete Warner Bros.–Seven Arts Recordings

Tuesday, July 31st, 2018

Guaraldi reconsiders Peanuts, wigs out, and returns to his piano

After a two year fight to break his heavy-handed contract with Fantasy Records, San Francisco pianist Vince Guaraldi was free to follow his muse, and be compensated fairly for doing so. His first outing, the self-released Vince Guaraldi with the San Francisco Boys Choir, failed to gain any traction, and he subsequently signed a deal with Warner Bros.-Seven Arts. Omnivore’s 2-CD set collects the albums that Guaraldi recorded for the label in 1968 and 1969, Oh, Good Grief!, The Eclectic Vince Guaraldi and Alma-Ville, and adds four previously unreleased bonus tracks to lead off disc two.

Guaraldi won a 1963 Grammy for “Cast Your Fate to the Wind” and was praised for his work with guitarist Bola Sete, but it was the 1965 soundtrack to A Charlie Brown Christmas that catapulted his music from jazz clubs into American households. He returned to the Peanuts canon for his first album with Warner Bros., revisiting eight selections with a quartet that included electric guitar, bass and drums. Guaraldi opens the set with a new recording of his most famous composition, “Linus and Lucy,” and its hurried tempo and electric harpsichord flourishes are more big city bustle than the joyous dance of the original.

The harpsichord steps to the fore to open the waltz-time “You’re in Love, Charlie Brown” falling back to vamp as Guaraldi solos on piano. The piano and harpsichord trade the spotlight throughout the album, with only “Great Pumpkin Waltz” and “Rain, Rain Go Away” given fully to acoustic piano. The band swings, and the piano and guitar solos add soul, but the electric harpsichord doesn’t provide Guaraldi’s touch the musical colors of the piano, and now sounds more like an anachronistic infatuation than a solid artistic choice. That said, the harpsichord doesn’t dominate to the point of distraction.

By the autumn of 1968, Guaraldi had grown out his hair and started jamming with the likes of Jerry Garcia. The San Francisco rock scene’s influence is heard both overtly and implicitly on his next album, as Guaraldi stretches out in new musical directions. Self-produced, and recorded over several months with a variety of drummers, bassists and guitarists, Guaraldi even included a string section on a few tracks. The opener has a pensive Latin influence, but with arching string lines that suggest grand landscapes, while the longer jams “Lucifer’s Lady” and “Coffee and Doe-Nuts” feature driving, progressive solos.

Stretching even further, a vocal cover of Tim Hardin’s “Black Sheep Boy” brings to mind trumpeter Jack Sheldon, but Hardin’s “Reason to Believe” shows off Guaraldi’s limitations as a singer. The harpsichord on Sonny & Cher’s “The Beat Goes On” sounds more like a primitive synthesizer than a keyboard, and the strings on the Beatles’ “Yesterday” sound like Muzak. Guaraldi plays thoughtfully on a cover of “It Was a Very Good Year,” and finds some life in his electric harpsichord on a swinging cover of “Do You Know the Way to San Jose.” The latter is offered here as a bonus track from the original sessions, alongside a alternate take of “The Beat Goes On” whose jamming improves upon than the album cut.

The renowned that Guaraldi had earned back with his first Warner Bros. album dissipated with the lack of response to the second, and the label brought Shorty Rogers on board to produce his third and final effort. Guaraldi also returned to acoustic piano and wrote the bulk of the album’s material, giving the album a coherency the previous effort lacked. Guaraldi warmed up with Rogers in the producers seat with an organ-based instrumental cover of Edwin Hawkins’ “Oh Happy Day” and the speedy original “The Sharecropper’s Daughter.” Neither were used for the the album, and are offered here as bonus tracks.

Alma-ville returns Guaraldi’s piano to the fore, opening with the Latin-tinged theme for Snoopy’s arm-wrestling alter ego, “The Masked Marvel,” and offering thoughtful variations on “Eleanor Rigby.” Colin Bailey’s cymbal work adds just the right push to Guaraldi’s right hand and Herb Ellis’ guitar solo on the original “Detained in San Ysidro,” and the rhythm section swings hard on a then-new arrangement of the title tune. Duke Person’s “Cristo Redntor,” previously recorded in definitive versions by both Pearson and Donald Byrd, is an album highlight, opening in a meditative mood before transitioning to a more lively tempo.

Sadly, despite Alma-ville’s focussed song list and deep artistry, its predecessor had sacrificed the label’s goodwill, and the album went unpromoted, leaving Guaraldi’s tenure at Warner Bros. to live in the shadow of his earlier work for Fantasy. Of his three albums for Warners, only the commercially successful Oh, Good Grief! remained in steady circulation, making this complete set the first widely-available retelling of Guaraldi’s quirky, but fruitful last recording tenure. A must-have for Guaraldi’s fans, and a welcome second chapter for those who’ve worn out their copies of A Charlie Brown Christmas. [©2018 Hyperbolium]

Vince Guaraldi’s Home Page

Barry Goldberg: In the Groove

Tuesday, June 26th, 2018

Deep in the soul pocket

Barry Goldberg has magic in his fingers. Early on, the Chicago-born keyboardist developed that magic in sessions with Muddy Waters, Otis Rush and Howlin’ Wolf; he backed Dylan in his first electric gig at Newport, played on the infamous Super Session with Mike Bloomfield, Al Kooper and Stephen Stills, and co-founded the Electric Flag. He carved out a career as a studio player, and recorded a solo catalog that began with 1966’s Blowing My Mind. He’s remained active as a producer and musician ever since, and now, nearly twenty years after his last solo release, he’s recorded a collection of blues, soul and rock that show off both his early musical influences, and the seemingly infinite reservoir of magic that still resides in his fingers.

Mixing five new compositions and seven covers, Goldberg pays deep tribute to the music that primed his musical dreams. His mastery of piano, Wurlitzer piano and Hammond B-3 is matched by a musical sensibility weaned on the African-American programming of legendary Chicago radio stations WGES in the 1950s, and the Chess-owned WVON in the 1960s. The album opens with its lone vocal track, a co-write with vocalist Les McCann, “Guess I Had Enough of You.” Don Heffington and Tony Marsico lay down a heavy bottom end here, as Rob Stone’s harmonica and Goldberg’s organ add flourishes to McCann’s vocal riffing. It’s a solid opener to an album that is all about the groove.

Goldberg’s originals include the hard-swinging Hammond workout, “The Mighty Mezz,” the low blues “Ghosts in My Basement,” the jazz jam “Westside Girl,” and the relaxed funk of the title track. The covers are just as varied, including Milt Buckner’s late-night “Mighty Low,” Joe Sublett’s growling sax on Doc Bagby’s “Dumplin’s,” Goldberg’s boogie piano on the Cyclones’ “Bullwhip Rock,” a tough stroll through Sil Austin’s “Slow Walk,” titles from Johnny and the Hurricanes and the original northwest Wailers, and a rolling piano solo of Lead Belly’s “Alberta.” Goldberg selected his musicians as thoughtfully as his songs, and their expert touch is captured by Carla Olsen’s production and Johnny Lee Schell’s engineering, as they all venture together deep into the groove. [©2018 Hyperbolium]

Barry Goldberg’s Home Page

Michelle Phillips: Victim of Romance

Friday, June 22nd, 2018

1977 solo album provided Phillips a fetching turn in the spotlight

Upon the 1970 dissolution of the Mamas and Papas, three of the four members carved out solo careers, while Michelle Phillips departed the music world for a career as an actress. Five years later she edged back into the studio with the singles “Aloha Louie” and “No Love Today,” and in 1977 released this album, with production and arrangements by Jack Nitzsche, and backing from some of Los Angeles’ finest studio players. Singing material by Moon Martin, Alan Gordon, John Phillips, the Bee Gees, Scott Matthews & Ron Nagle, as well as a pair of originals, she sounds surprisingly self-assured and effortless for someone who’d mostly been away from the microphone for the previous seven years. Her reported lack of confidence in her solo voice proved unfounded as she showed off a command of a spotlight that was previously diffused by her talented groupmates.

Martin’s opening “Aching Kind” has a dreamy ‘70s feel, with Phillips’ double-tracked vocal gliding thoughtfully along the song’s self-reflective sorrow. Nitzsche gave her the full Crystals’ treatment, complete with Steve Douglas sax solo, for Martin’s title track, and added Drifters-styled triangle, castanets, strings and a baion beat to Phillips’ Mexicali-tinged “There She Goes.” There’s a ‘50s R&B feel to Martin’s “Paid the Price,” but with guitars that bring the song into the ‘70s, and both “Trashy Rumors” and “Woman of Fantasy” have a modern, jazzy edge. Among the album’s surprises is a reggae-tinged cover of Doris Troy’s “Just One Look” that predates\d Linda Ronstadt’s single, and closing out the original set is Scott Matthews & Ron Nagle’s sleepy “Where’s Mine.”

Real Gone’s 2018 reissue adds three session outtakes as bonuses, including Phillips’ original “Guerita,” the New Orleans-styled funk “Practice What You Preach,” and a second Bee Gees cover, “Had a Lot of Love Last Night.” Together with the ten album tracks, this collects all of the finished material from the Nitzsche sessions. The CD’s booklet adds new liner notes by Joe Marchese with a fresh interview with Phillips. At album length, Phillips showed how easily she could slip into a variety of styles without surrendering her Laurel Canyon roots. Following this album, she sang backup on a few projects, and recorded “Forever” for the California Dreaming soundtrack, but that was basically it. Phillips returned to acting, leaving this album as her sole full-length statement as a musical artist; a statement that will leave fans wishing there had been more. [©2018 Hyperbolium]

Screamin’ Jay Hawkins: Are You One of Jay’s Kids? The Complete Bizarre Sessions 1990-1994

Monday, June 18th, 2018

Screaming hot in the 1990s

To many, Screamin’ Jay Hawkins career consists of his 1956 release “I Put a Spell on You,” and the coffin from which he arose to perform on stage. His theatrical, macabre image may have been novel, but his records were anything but novelties. Oddly, despite the single’s healthy sales and its iconic stature in the rock ‘n’ roll canon, it never made the charts, leaving Hawkins, technically, a no-hit wonder. But hitmaking wasn’t Hawkins’ musical metier, as he followed the beat of his very distinctive drummer with songs like “Constipation Blues” and “Feast of the Mau Mau.” And when he connected with Bizarre label owner (and subsequently manager and producer) Robert Duffey in 1990, the goal was to just let Jay “be Jay,” rather than overtly court commercial success.

Hawkins showed off his range of rock, blues and R&B on three albums for Bizarre, Black Music for White People (1991), Stone Crazy (1993) and Somethin’ Funny Goin’ On (1994). The material includes originals from both Hawkins and Duffey (including the latter’s memorable “I Am the Cool”), covers that mine Hawkins’ first-person knowledge of 1950s music, and Tom Waits’ “Heart Attack and Vine,” “Ice Cream Man” and “Whistlin’ Past the Graveyard.” Hawkins’ mojo was in full flight throughout his time with Bizarre as he hollers, growls and wrestles the songs into submission. The backing bands, assembled from talented local rock and blues players (including the Beat Farmers’ Buddy Blue) backed Hawkins’ howling vocals with hot rhythms, wild guitars, tight horns, and fat saxophones.

Manifesto’s 2-CD set gathers together all three of Hawkins’ albums for Bizarre, adds five previously unreleased tracks, and a sixteen-page booklet with full-panel album cover reproductions and liner notes by Chris Morris. Highlights include the piece-of-mind “Ignant and Shit,” the tribal Bo Diddley beat of “Swamp Gas,” a schizophrenic take on “Ol’ Man River,” a fevered cover of Ray Charles’ “I Believe,” an energetic run at “Everybody Knows About My Good Thing” (retitled “Call the Plumber” here), Duffey’s purpose-written “Rock the House,” homages to Sherilyn Fenn and the Long Island Lolita, Amy Fisher, and spoken word passages that echo Hawkins’ on-stage monologues. Of the three albums, the grittier production of the third has aged the least, but all are worth hearing! [©2018 Hyperbolium]

Buck Owens and the Buckaroos: The Complete Capitol Singles – 1967-1970

Tuesday, May 15th, 2018

Stupendous second chapter of Buck Owens’ career at Capitol

Omnivore’s previous set on Owens’ groundbreaking Capitol singles is now joined by a companion volume that catalogs his expanding reach as an artist. The commercial dominance of his initial rise to fame – which included twenty-two Top 40 hits and thirteen consecutive chart toppers – was unlikely to be matched, and yet this second collection rises to the occasion, both commercially and artistically. Of the eighteen singles Owens released across these four years, all but two made the Top 20; of the two misses, “Christmas Shopping” charted #5 on the holiday list, and only the internationally-themed instrumental “Things I Saw Happening at the Fountain on the Plaza When I Was Visiting Rome or Amore” missed entirely. Fifteen of the A-sides reached the Top 10, and six topped the country chart.

More importantly, the late ‘60s found Owens branching out from twangy Bakersfield country with innovative pop touches. He opened 1967 with the back-to-back #1s “Sam’s Place” and “Your Tender Loving Care,” dipped to #2 with “It Takes People Like You (To Make People Like Me),” and climbed back to the top with 1968’s “How Long Will My Baby Be Gone.” He scored three more chart toppers in 1969 (the originals “Who’s Gonna Mow Your Grass” and “Tall Dark Stranger,” and a cover of Chuck Berry’s “Johnny B. Goode”), and just missed the top spot with 1970’s “The Kansas City Song.” Owens joined Hee-Haw in 1969 and continued to chart throughout the 1970s, but with the passing of Don Rich in 1974, his interest in a music career quickly declined. After a pair of albums and a handful of mid-charting singles for Warner Brothers he basically retired from releasing music for more than a decade.

But in the mid-to-late ‘60s, Owens was still accelerating. As he and the Buckaroos had shown with their 1966 Carnegie Hall Concert album (and reaffirmed here with the 1969 live take of “Johnny B. Goode”), the group was one of the hottest bands in the land. The singles featured here include the talents or Don Rich, Doyle Holly, Tom Brumley and Willie Cantu, as well as later members Jerry Wiggins and Doyle Curtsinger, and numerous sidemen. Perhaps most startling is the inclusion of smooth backing vocals from the Jordanaires and the Nashville-based Anita Kerr Singers on several tracks, and strings are heard on both A-sides and flips, including “Big in Vegas.”

Owens authored a seemingly inexhaustible supply of great songs, and by the mid-60s he’d begun expanding beyond the classic Bakersfield Sound. The acoustic guitars of “It Takes People Like You” and “How Long Will My Baby Be Gone” weren’t unprecedented, but the songs’ moods, particularly in Owens’ vocals, were new. Owens love of ‘50s rock ‘n’ roll is heard on “Christmas Shopping,” there’s fuzz guitar on the waltz-time “Who’s Gonna Mow Your Grass,” and Earl Poole Ball adds organ to the intro of “The Kansas City Song.” Rather than hoarding his best work for A-sides, Owens often complemented his hits with interesting flips, including the transfixed vocal of “That’s All Right With Me (If It’s All Right With You)” and the funereal “White Satin Bed.”

Owens found terrific chemistry with protege Susan Raye on several hits, including the Johnny & June-styled sass of “We’re Gonna Get Together,” the harpsichord-lined fairy tale “The Great White Horse,” and the terrifically stalwart B-side remake of Owens’ “Your Tender Loving Care.” Omnivore’s double-disc includes 18 singles (A’s and B’s), ten in mono and eight in stereo, mastered from original analog sources by Michael Graves at Osiris Studio. Scott B. Bomar’s liner notes are accompanied by detailed session notes, photos, and picture sleeve and label reproductions. This is a stupendous second chapter, showing Owens and the Buckaroos in full artistic and commercial flight. It’s every bit as essential as the first volume, and will leave fans eagerly anticipating the third and final Capitol chapter. [©2018 Hyperbolium]

Buck Owens’ Home Page

Johnny Mathis: Raindrops Keep Fallin’ on My Head

Thursday, April 26th, 2018

Johnny Mathis updates his groove for the 1970s

When Johnny Mathis first paired with producer Jack Gold for 1970’s Sings the Music of Bacharach & Kaempfert, it seemed like an opportunity for an update. But the double album’s combination of previously released recordings of Burt Bacharach songs with new recordings of older Bert Kaempfert material failed to align Mathis with the new decade’s music. This second collaboration takes a bolder approach in its song selection, bringing Mathis up to date, while still maintaining lush arrangements to surround his inimitable vocal styling. This was less an attempt to cross him back over to the pop chart than an acknowledgement that the crafting of pop hits had expanded to a new generation of songwriters.

Mathis’ continuing affinity for Bacharach and David’s material led him to cover the album’s title track (a 1969 hit for B.J. Thomas), “Alfie” (a 1966 UK hit for Cilla Black, and a 1967 US hit for Dionne Warwick) and “Odds and Ends” (a 1969 adult contemporary hit for Warwick). Stretching out, he included material from Jimmy Webb (“Honey Come Back,” an R&B single for Chuck Jackson in 1969, and a country hit for Glen Campbell the following year), George Harrison (“Something,” Harrison’s first A-side and chart topper), Rod McKuen’s “Jean” (an Academy Award nominee and a #2 single for Oliver), and a pair of tunes from the film Midnight Cowboy, the latter of which are surprisingly good fits for Mathis.

Fred Neil’s “Everybody’s Talkin’” dated back to 1967, but with Nilsson’s version having been a hit in 1969, it had gained new currency. Mathis’ strong vibrato, supported by plucked strings and a free-spirited flute, pushes the song beyond the introspection and melancholy of Neil’s and Nilsson’s earlier versions. The theme song from “Midnight Cowboy” is performed with lyrics written by the album’s producer, turning John Barry’s haunting instrumental into a stalwart statement that echoes the drama of Ferrante & Teicher’s hit single. At its most contemporary, the album samples George Harrison (“Something”) and Paul Simon (“Bridge Over Troubled Water”), the latter closing out the original album’s track list.

Real Gone’s 2018 reissue adds five contemporaneous singles and B-sides, with material that stretches from a wonderfully crooned take on Coots and Lewis’ 1934 standard “For All We Know,” through Bachrach & David’s “Whoever You Are, I Love You” (from the musical Promises, Promises), Bert Kaempert’s “Night Dreams,” and Gordon Lightfoot’s “Wherefore and Why” and “The Last Time I Saw Her,” the latter pair with arrangements by Perry Botkin, Jr. Although the album cracked the Top 40, and “Midnight Cowboy” climbed to #20, the artistic revitalization outweighed the commercial impact, and buoyed Mathis’ recording career well into the 1980s. [©2018 Hyperbolium]

Johnny Mathis’ Home Page

Peter Rowan: Carter Stanley’s Eyes

Thursday, April 26th, 2018

Peter Rowan returns to his bluegrass roots

Folk musicians gain a part of their artistic lineage through the literary tradition of the songs they learn and the generational artists with whom they play; and bluegrassers often trace their roots more formally through the apprenticeships they serve. Like many, Peter Rowan can document his lineage all the way back to Bill Monroe, who hired him as a Blue Grass Boy in the early 1960s. In addition to employment and teaching, Monroe introduced Rowan to Carter Stanley, whose voice and songs provided Rowan a second foundational stone. That 1965 meeting is the subject of this album’s title song, and from the awakening essayed in the song’s spoken verses, it’s clear that that personal connection informed everything Rowan has done ever since.

In that “ever since,” Rowan’s branched out from traditional bluegrass with folk, rock, Tex-Mex and even an album of Hawaiiana, but here he assembles a classic lineup of guitar, mandolin, fiddle, banjo and bass, adding snare drum and other percussion only sparingly. He offers three originals (including “Wild Geese Cry Again,” as retitled “Drumbeats on the Watchtower” by Ralph Stanley), but the bulk of the set list is crafted as an homage to his influences, drawing on songs written by Charlie and Ira Louvin, Carter and Ralph Stanley, Lead Belly, Bill Monroe and A.P. Carter.

The material spans a wide variety of misfortune, sorrow and redemption, including children’s tears, fateful train rides, broken hearts, lonesome nights, last chances, dark endings, hopeful hereafters and enduring spirits. Rowan sings both solo and in tight harmony with his bandmates, evoking the mystic longing of Carter Stanley. The pickers include fiddler Blaine Sprouse, guitarist Jack Lawrence, banjoist Patrick Sauber, and mandolinists Don Rigsby and Chris Henry. The picking is clean and lively, without being overly flashy, and one can only hope that Rowan takes this material and some of his bandmates on the summer bluegrass circuit! [©2018 Hyperbolium]

Peter Rowan’s Home Page

Juliana Hatfield: Sings Olivia Newton-John

Wednesday, April 18th, 2018

Charming and heartfelt tribute to Olivia Newton-John

Born in 1967, Juliana Hatfield was seven years old when Olivia Newton-John scored her first U.S. pop chart topper, “I Honestly Love You.” Newton-John scored again with the follow-up singles, “Have You Ever Been Mellow” and “Please Mr. Please,” and though she continued to chart adult contemporary, it took her three more years to climb back to the top of the pop chart with 1978’s John Travolta duet “You’re the One That I Want.” Hatfield, known for her work with Blake Babies, the Juliana Hatfield Three and solo has “never not loved Olivia Newton­-John,” and it shows in the endearing performances and song selection of this tribute album.

In addition to heartfelt interpretations of Newton-John icons that span 1974’s “I Honestly Love You” to 1981’s “Physical,” the song list includes several deep fan favorites. “Totally Hot,” which stalled out at #52 in 1979, is deftly recast as buzzing Suzi Quatro-styled glam rock, and the pop-country “Dancin’ Round and Round” is taken uptempo and backed by hard-charging guitar and drums. The album reaches an emotional peak with “Please Mr. Please,” as Hatfield pours every last drop of the emotion she must have felt as an eight-year-old bonding with her first artistic idol.

Hatfield has internalized these songs and their artist in a thousand bedroom and car singalongs, and filters them through the original artistry they helped inspire. The contentment of “Have You Never Been Mellow” retains its optimistic mid-70s introspection while being deepened by Hatfield’s additional decades of life experience, and “Hopelessly Devoted to You” could just as easily be Hatfield singing about Newton-John as it was Sandy singing about Danny. This is a treat for fans of both Newton-John and Hatfield, and the only thing missing are some Grease photo cards to stick inside your locker. [©2018 Hyperbolium]

Juliana Hatfield’s Home Page