Customer Reviews

Maria Muldaur

5 star:		(32)
4 star:		(4)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

This is one of the very finest albums from the era that followed the great folk scare of the sixties. Maria Muldaur (nee D'Amato) had left the Kweskin Jug Band and was offered a shot at a solo album; this stunning collection was her debut. The album's biggest hit -- "Midnight at the Oasis," by Maria's pal David Nichtern -- wasn't originally on the list; it was added when the album turned out to need one more song. Good thing: Amos Garrett's guitar solo alone is worth the price of the entire CD.

And actually, so is every performance on every song; there's not a weak song, a weak arrangement, or a weak performance anywhere on it, and there aren't too many albums from _any_ era that you can say that about. Even "Long Hard Climb," which it seems every early-1970s singer tried to do at one time or another, comes off well here; Maria is probably the only artist whose recording of this tune stands up well over time. And that's the (comparatively) low point of the album.

The high point, in my own opinion anyway, is Wendy Waldman's "Mad Mad Me," which closes the album with what may be the most hauntingly gorgeous two minutes and fifty-three seconds ever recorded. But other tunes come mighty close: for example Mac Rebennack's sly "Three Dollar Bill" and Dolly Parton's sweet "My Tennessee Mountain Home." And listing the highlights of the individual instrumental performances would take up more room than I'm allotted here; Maria has always surrounded herself with the very best of musicians, and these are the best of the best. (Longtime readers of liner notes will recognize some familiar names: Bonnie Raitt's bassist Freebo; Paul Prestopino; a pre-"Thank You for Being a Friend" Andrew Gold; Bill Keith; the ubiquitious "Strings arranged by Nick deCaro." And lots more.)

Maria herself is, of course, the major highlight. Her vocal gifts defy expression in a short review; let it suffice to say that based on her voice alone, you'd (correctly) assume she was sexy as hell even if you had never seen her picture. And here's a paradox: her vocal performance is at its peak on this album, and yet she only got better after this. Go figger.

And make no mistake, she _is_ still turning out fine albums. But those of us who were listening to her in the early 1970s will always have a soft spot for this one. Great stuff.

This album has elements of country, folk, bluegrass, blues, pop, rock, even vaudeville, but it is ludicrous to attempt to classify this album as a whole. Somehow, all the disparate elements blend well to make for a cohesive album.

The album begins with a stunning cover of a Jimmie Rodgers (the singing brakeman) classic, Any old time. This is followed by the wonderfully evocative Midnight at the oasis, the song for which Maria is still best remembered for.

The third track is Maria's inspired bluegrass cover of My Tennessee mountain home. As Dolly is my favorite singer, it is hard me to say that Maria's version is superior, but it is. I've heard plenty of covers of Dolly's songs, but this is the best I've come across. Recently, it became the title track of a UK bluegrass compilation and blended in perfectly.

Among the other gems are a cover of Kate McGarrigle's The work song and the amusing Don't you make me high - but every track here is superb. At least, that's what I think, but my musical tastes are as eclectic as Maria's. If you only like one genre of music, you may find something here to enjoy, but you will probably not enjoy it all. For those with eclectic tastes, this is a masterpiece.

If I could get my money back for every lousy album I bought in the seventies, I'd be rich. But somehow I missed this one. My mistake.

The only song I'd ever heard Maria Muldaur sing was Midnight At The Oasis, which is, let's face it, a silly song, but a catchy one - and Muldaur's voice on it is unique and wonderful. But the song was so quirky that I wrote Muldaur off as one more lucky one hit wonder.

Wrong! This is an absolutely wonderful album from beginning to end. Her versions of Dolly Parton's "My Tennessee Mountain Home" and Kate McGarrigle's "Work Song" come across in an honest, downhome voice that reminds me of Iris Dement. On both "Don't You Make Me High (Don't You Feel My Leg)" and "Three Dollar Bill," Muldaur is sly, sexy and bluesy, and Dr. John's New Orleans style piano and the horn arrangements play off her voice pefectly. Great songs, great voice, great arrangements - what more could you ask for?

Those are my favorite songs on the album, but the rest are almost as good. If you have fond memories of "Midnight At The Oasis," buy this album immediately. This is one of those rare, rare albums where the rest of the songs are even better than the big hit.

In 1974, I was 16 years old and I got a temporary job working in the auto section of a newly-opened K-Mart near my house. My job was to lug cases of motor oil in from the garage to the sales area, as the special offer (in the middle of the oil shortage) was cans of oil for a measly ten cents each.

While I was lugging crates, I got to hear this album possibly 100 times over two weeks, because the auto stereo section, which was right next to the oil display, had exactly one eight-track tape for demos. And this album, "Maria Muldaur," was it.

(To make matters worse, one of my "co-workers" was a lecherous middle-aged cretin who found the rather suggestive song "Don't You Feel My Leg" to be unbelievably hilarious. He would go out of his way to call female employees over to the eight-track machines and play this song for them just to see their reaction. Fortunately they all thought this guy was a jerk.)

I can honestly say that even though I think at one time I had this entire album memorized from repeated plays at the 8-track machine, and while I'm sure I never wanted to hear the darn thing again for years after that little episode, I can also honestly say that I never really got tired of hearing these songs.

Muldaur's is an amazing voice, a kind of "link" between the worlds of folk, blues and jazz. Her unique phrasing and sense of what "needs to be" at any point of a song is what makes her interpretations of these tunes special.

Personal favorites on this album: "Mad, Mad Me," Wendy Waldman's bizarre, almost threatening love song; "Three Dollar Bill," "Don't You Feel My Leg" and "Midnight at the Oasis."

Also, it should be noted that Maria Muldaur (along with Linda Ronstadt) was one of the first people to recognize the amazing songwriting talents of the McGarrigle Sisters. Her version here of their "Work Song" is still the definitive one.

In the ensuing 30 years, Muldaur has ventured into blues, rock, fanatical Christianity and more. In each genre, her voice has left a remarkable impression. This album is proof that it has always been unforgettable.

Maria Muldaur is simply one of the great singers of all times. She is at once totally natural, naive and a genius without knowing it. She could sing anything and make you love it. If you buy this album, beware: Like a great book, you will not be able to put it down or switch to something else. I once drove from Texas (Laredo, on the Mexican border) to Nashville, Tennessee, and it was the only cassette I played == going and coming. She is beyond heart, beyond soul. I don't know if there's a word that's been invented yet to describe the voice she has. Maria, marry me!

And by golly, Maria had herself one in 1973 (though I know that Maria had been on other albums before this, as part of a band). This album is full of contrasts. It is so much FUN, yet has a lot to offer musically. The arrangements are unusual, yet spectacular. And her voice just goes all over the place--yet it works beautifully. If I ever used the word "rollicking" to describe an album--this would be the one. I'm glad I finally found this one (or, should I say, that this one finally found me). Now I have the great pleasure of getting caught up with everything else she has done over the past 30+ years. I'm usually slow to catch on, but I'm always so grateful whenever I do. It always makes me wonder who or what else I have missed, and if I will ever find those (or, of course, if they will ever find me)...

Maria Muldaur has the sweetest voice I've ever heard! Her virtuoso phrasing and tone change are pure delight. Tunes of special note on this album include: Midnight at the Oasis, Don't You Make me High (Don't You Feel My Leg) and Three Dollar Bill.

If you like acoustic country blues you'll love this Cd.
I first ran accross the album in it's vinyl form back in the 1970's
I looked for quite sometime before I found the cd version of it.
And everyone I have played the album for has went out and got their own copy of it.
So do yourself a favor.
One other thing you might want to look at her Richland Wowman and Sweet Lovin' Ol Soul albums and according to the liner notes of the Sweet Lovin' cd there will be one more album in this trilogy called Naughty,Bawdy & Blue

This is one of my FAVORITE albums of all time. This album never ever gets old. I have no idea what the style or genre is but I love it. Theres nobody like her. Every song is Excellent. She is a true romantic. She creates tones and sounds with her voice that are highly unusual. I feel totally relaxed when I hear her tunes.

I was so thrilled to find this cd on amazon.com. I listened to my copy of this album so frequently over the last 25 years the vinyl is badly scratched. Glad to know I can finally hear it clearly again. Listening to Maria's unique voice sing this delightful assortment of songs will put any listener in the best of moods.