formative years of her career. These sensitive songs were taken mostly from her first album and present personal insights into a complex performer. | Melanie, finding the success she needed to reach the public in her unique way. Her hits are here... and so is; the truth. | personal, interpretations of her favorite songs... and her favorite songwriters. This side of Melanie opens even deeper insights into her emotions... Her womanhood. | Wonderland " It shows her whimsical imagination, yet below the surface they continue to reflect her serious concern about all forms of life in her world. |
Beautiful People In The Hour I Really Love Harold Johnny Boy Any Guy I'm Back in Town | Lay Down (Candles In The Rain) Peace Will Come (According To Plan) Good Book Nickel Song Babe Rainbow | Carolina On My Mind Ruby Tuesday Lay Lady Lay | Animal Crackers I Don't Eat Animals Leftover Wine |
As one of the symbols of the flower-power era, Melanie can be
seen in retrospect as reflecting some of the heights of the music
of that period. Who could fail to be impressed, indeed moved,
by the passionate intensity of he inspires revival of the Rolling
Stones' "Ruby Tuesday"? Or her own rueful lament "What
Have They Done To My Song, Ma?" with its nicely understated
sense of menace? With a singularly gutsy-to-tender range and addictively
appealing voice Melanie showed herself capable of imbuing her
own songs, as well as those of others, with a controlled but emotionally
charged power, often effectively edged with a note of shear desperation.
She could make her audience feel that every word was painfully
wrenched from the depths of he being.
Melanie was born in New York on 3rd February 1947 of a Ukrainian
father and Italian mother who had been a professional jazz vocalist.
Melanie enrolled as a student at the American Academy of Dramatic
Arts and, at around the same rime, was writing songs, sometimes
performing them in Greenwich village clubs and coffee houses.
The story goes that one day in 1966, believing she was about to
be auditioned for a bit part in a play, she found herself in the
wrong office. There she met recording executive Neil Bogart who
offered to hear her sing and play her guitar. He was sufficiently
impressed to sign her to Columbia and call in Peter Schekeryk,
a budding independent record producer. Her business meeting with
Schekeryk led to a rapidly developing personal relationship and
then to marriage.
After releasing only singles for Columbia, Melanie signed to the
Buddah label in 1968 and in May 1969 her first album 'Born To
Be" was released (later that year being repackaged as "My
First Album"). It resulted in her being invited to appear
at the now legendary Woodstock festival (sub-titled 'Three Days
of Peace and Music") in August 1969. The performance given
by the diminutive Melanie, with her Edit Piaf style voice and
her acoustic guitar, inevitably caught the spirit of the event
and endeared her to the crowd, Recording success was now assured.
The Woodstock experience inspired what became her first hit single
"Lay Down (Candles In The Rain)" which, backed with
the strong arousing gospel sound of the Edwin Hawkins Singers,
reached the No 6 slot in the US charts in April 1970.
Meanwhile, her second album, "Affectionately Yours"
had been released as her first LP was quickly re-issued, it was
now all happening for Melanie. Her acutely perceptive revival
of' "Ruby Tuesday" took No 5 position in the UK, her
next album "Candles In The Rain", went into the British
charts, stayed there for 27 weeks and peaked at No 5, and her
composition "What Have They Done To My Song Ma?" gave
the New Seekers a major hit in America.
More success followed and towards the end of 1971, she took the
No 1 spot in the US (on the Neighbourhood label newly launched
by Melanie and her husband) a novel piece "Brand New Key".
It shot up to No 4 in Britain and was, in fact, destined to be
revived five years later in the UK when the up-from-Zummerset
Wurzels adaptation for EMI, "Combine Harvester" became
a number 1 hit. Whilst "Brand New Key" was her most
commercially successful song and its parent album "Gather
Me" made it into the Top 20 in both Britain and the US, it
was released into a world drifting away from the flower-child
era, and through the 1970's Melanie's international fame slowly
began to fade. Most critics and fans see the late 1960's/early
1970's period represented on this album as her most potently creative
period though "Photograph", co produced by Ahmet Ertegun
for Atlantic and released in the States as late as 1976 was also
well received. There were a few further releases in the late 1970s
and throughout the 1980s and Melanie has since played at various
locations, mostly in benefit concerts, throughout the world.
This present compilation, "The Four Sides Of Melanie",
was first released by Buddah as a double-LP in 1972 with the four
vinyl sides representing different aspects of Melanie's character
and performances, Six of the opening seven tracks originally appeared
on one or other of her first two albums. Here you can sample the
sensitive heartfelt, writing and performing of her formative years,
including the delicately wistful "Beautiful People"
which had so readily captivated the Woodstock crowds, The next
tracks starting with the deservedly acclaimed "What Have
They Done To My Song Ma?", features some of her most significant
hits, including 'Lay Down (Candles In The Rain)" which she
wrote after witnessing the lighting of candles by thousands at
Woodstock in defiance of the drenching rain, the squelching mud
and the descending darkness.
Then we have four splendid examples of Melanie's sometimes idiosyncratic
interpretations of the work of other major song-writers chosen
from five on the original vinyl issue. She brings to Bob Dylan's
"Tambourine Man" an appealing evocative and haunting
quality, while having a contrasting approach to his "Lat
Lady Lay" which realigns, as is it were, with characteristically
wilful quirkiness. She gives a comparative straightforward and
thoroughly enjoyable rendition of James Taylor's "Carolina
on my Mind" and of course, we have her stunning version of
"Ruby Tuesday".
The final section of this collection, starting with A A Milne's
"Christopher Robin" illustrates her recurring inclination
to take capricious excursions into the realms of whimsicality.
At such times she seemingly sought to win the hearts of her audience
projecting herself as a cute, winsome and essentially innocent
little girl. At times this led to rather overindulgent performances
as witnessed by "Psychotherapy", one of two tracks from
the original album missed off this reissue due to lime constraints.
However the last song from this section "Leftover Wine",
serves as a well justified reminder that in addition to being
a highly accomplished songwriter, Melanie possessed singularly
distinctive voice which could be as eloquently gentle and tender
as it was passionate, vehement and even strident, all within just
one song, That in itself is quite an achievement.