Jessi Colter
125
Audio CD
21 Angebote ab 14,52 €

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Hersteller ‏ : ‎ 101 DISTRIBUTION
Label ‏ : ‎ 101 DISTRIBUTION
ASIN ‏ : ‎ B00FZ0PU2I

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Binder Herbert

Gute Saengerin

Rezension aus Deutschland vom 14. Februar 2020

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schoene Musik

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JordanJasper

A MUST for Colter "Completists"

Rezension aus den Vereinigten Staaten vom 15. November 2012

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This semi-deluxe 3-fer release of Jessi Colter's final three Capitol albums is a highly welcomed and somewhat surprising affair, even coming on the heels of BGO's recent reissue of her first three "classic" Capitol discs (I'm Jessi Colter, Jessi, and Diamond in the Rough). The release of these three albums is "surprising" (to my mind) because, as much as Colter's first efforts for the legendary "tower" at Hollywood & Vine documented the reasons why she became one of the biggest-selling female singer-songwriters of the mid-1970s, the last three document some of the reasons why that stardom vanished into the comparative shadows. While the final three Colter offerings on Capitol were apparently soon forgotten and lost to all except those who remained diehard fans and those who continued to play vinyl LPs, the work itself did not (and does not) deserve to be forgotten. In fact, one of the albums on this 3-fer (1977's 'Mirriam') is every bit the artistic equal of its terrific trio of predecessors.

This import by BGO (distributed here by 101 Entertainment) has been competently remastered and nicely repackaged, though clearly not remastered from the original Capitol session tapes. Even so, the sound is clear, strong, and sparkling and the packaging of this 2-CD set is a nice tribute to Colter. The smart little insert/booklet features all the appropriate musical and production credits for these records and a few nice photos one would not otherwise ever see again, unless one owned the original LPs. The booklet notes are an admitted improvement over the awful liner-notes for the previous Colter 3-fer, but there are still some big errors. For example, the writer refers to the 1978 'Cowboy' album as a "self-penned ten-track album of all new material" when, in fact, it was the only album of Jessi's six Capitol discs which did not feature a single self-written song, and most of the material was hardly new. Beyond a few examples of poor reasearch, the notes do cursory justice in terms of summarizing Colter's interesting career. The reasons for her somewhat abrupt disappearance from the solo recording scene have not been well-investigated, but the answers are there if one cares to look for them. The three albums themselves tell the story, following on the heels of Colter's monster-success in 1975 and 1976 as a solo artist on the Billboard Pop and Country charts, and as part of the iconic "outlaws" project with Jennings, Willie Nelson, and Tompall Glalser. Let's have a look at the albums:

MIRRIAM -- Released in September 1977 (NOT, as the booklet here asserts, on January 1st, 1977!), Capitol record execs had been eagerly awaiting a new set of songs from Jessi, particularly after her previous sets had all been chart-dominating money-makers. Nevertheless, Colter surprised her label with a set of 10 abjectly spiritual Christian songs that ran the gamut from mystic meditation to full-Gospel worship and some "dark night of the soul" moments, too. In one interview, Waylon Jennings revealed (and Colter's longtime producer, Ken Mansfield, concurred in his books) that Capitol did not want Colter's spiritual album. They recognized its quality, but were afraid of the radical genre departure. Colter, who believed passionately in the work, dug her heels in and insisted. Capitol relented but, according to Jennings himself, they abandoned the album in terms of promotion and "broke her heart." If true, it is a real shame because, apart from the fact that Colter had more than earned her "keep" on the Capitol roster, she presented them with a work of breathtaking beauty and originality. Still under the auspices of Mansfield's Hometown production unit, at the time, 'Mirriam' presents Colter at her most raw and compelling best, albeit in a much different context than "I'm Not Lisa" or "What's Happened to Blue Eyes." But the songs on this album are passionate love-songs, too, and this should hardly have surprised label execs, if they had possessed any vision in her regard. This is a pure, roots-deep, swampy, romantic, swinging "Jessi Colter album" -- perhaps her most quintessential. The top-flight team of usual Jennings/Colter musicians is on-hand: Richie Albright (who co-produced w/ Mansfield), Ralph Mooney, Barney and Carter Robertson, Sherman Hayes, Jim Gordon, Mac Johnson, etc. Colter is in absolutely superb voice as she takes the listener on a deeply moving musical journey from familial affection ('For Mama') to upbeat swamp-Gospel ('Put Your Arms Around Me'), declarative faith ('I Belong to Him' w/ Roy Orbison on backing vox), rafter-raising joy ('There Ain't No Rain') astonished, almost sensusal, devotion ('Consider Me'), and even a knockout Gospel-chant set to a mesmerizing Indian raga loop (album-closer 'New Wine'). The record was perhaps ahead of its time; big-name country artists who ventured into Gospel usually did so by reinventing old hymnal favorites and standards, and then chiefly as side-projects. Colter, however, was bringing all of her original talents to bear on this major release and it holds-up as well as any of her first three Capitol records. Its mediocre performance on the charts (topping at at No. 29) may be a testament to a risky thematic "switch", but shame on Capitol for not even marketing this gem of a record to Christian radio, where she could easily have taken her place alongside powerhouse original spiritual writers like Dottie Rambo. Today, Colter's beloved and fabulous 'Mirriam' would be hailed as a roots masterpiece. Instead, according to Waylon Jennings, the disapproval of Capitol bosses essentially soured his talented wife's outlook about the industry for good. "She was pretty much over it all, after that," he remarked in an interview given a few years before his death. This unfortunate happenstance would perhaps explain her final two Capitol releases:

THAT'S THE WAY A COWBOY ROCKS AND ROLLS -- At first glance, this 1978 disc might strike some as "payback" by Capitol execs to Jessi for presenting them with the 'Mirriam' conundrum the previous year. The album-cover alone is about as worlds-apart from 'Mirriam' as you could ever get. All of Jessi's previous records featured album artwork that presented her as the strikingly beautiful but serious (and even a bit mysterious) star that she was. Here, Colter is kneeling in some sort of tent or wigwam, bedroom-eyed, cleavage popping, propped against pillows, and tugging suggestively at the strings of her ... um ... rawhide brassiere. Without question, this had to have been one of the cheesiest (and HOTTEST!) album-covers of the 1970s. (I bought this LP as a kid and my mother jokingly warned me not to let my father see the cover). Once again, however, Capitol may have missed the mark entirely in terms of marketing the beautiful star, because that cover might not have been too appreciated by Colter's legions of conservative female fans. It's a pity, because this album is underappreciated, though for far different reasons than 'Mirriam.' The theme here is obviously cowboys and the Wild West, and the line-up of songwriters is nothing to sneeze-at (JJ Cale, Guy & Susannah Clark, Johnny Cash, Neil Young, Tony Joe White, Fritts & Oldham). Moreover, Jessi (born and raised in Arizona) had serious Western cred, if anybody did. The songs are solid, but the production (here under the auspices of Jennings and Albright) seems lackluster and the sound is at times annoying canned ... almost tinny. This record never gets much of a whip-crack going and Jessi, for her part, pretty much coos and sighs through the entire proceedings. Given her immense talent as primarily a vocal "stylist," I am surprised that she did not rise just a bit more to the occasion, but she may not have been comfortable with the wide-ranging material -- the first time she had recorded an entire album without even one of her own compositions. Highlights are a promisingly swampy, funky, swinging rendition of Cale's "Roll On" to kick things off, a haunting treatment of S. Clark's "I Was Kinda Crazy Then" (SHOULD HAVE BEEN THE SINGLE!), and a truly sexy rendition of 'My Goodness' as the closer. The title track is also very well done, though it did not seem to be ideal "Jessi Colter" material ... having her sing the words "drivin' pick-up trucks and dippin' Skoal." She sells the tune, just the same. Of note, this track featured in one of the first episodes of the Dukes of Hazzard as ... a song written by Daisy Duke that ended-up being "discovered" and sung by Jessi Colter! Why Capitol did not release this track as lead single (given the contemporaneous Dukes tie-in and the fact that the album is titled by this track!) is a mystery. Instead, they released the snoozefest (and ironically titled) "Maybe You Should've Been Listening." Maybe more people should have been listening to this solid album, but they didn't: it peaked at a disappointing #46 on the Country lists ... Jessi's final solo album to chart for 25 years (until 2006's brilliant 'Out of the Ashes'). [Note to the guys: The sexy cover shot of Jessi IS featured on the tray card on this reissue ... just sayin').

RIDIN' SHOTGUN -- A great deal happened between the cowboy album and the release of this final Colter set for Capitol. Jessi scored big in tandem with Waylon on their 'Leather and Lace' RCA album in 1981, and, back in 1979, Colter had given birth to their son, the gifted Shooter Jennings. She might be forgiven if hours spent songwriting at the piano were not at the forefront of her preoccupations. Yet, she and Jennings continued to tour relentlessly during this time-frame, even though they were rumored to be (temporarily) on the verge of divorce (according to Stevie Nicks) and Waylon's mounting debt and substance-abuse issues demanded a heavy personal-appearance schedule and attendant cash-flow. In a 1981 interview for the Syracuse Herald, Colter spoke about this 'Shotgun' album before a joint performance with Waylon in that upstate New York city. "I had grown a little dry in the writing area," she explained, so a songwriting partner, Basil McDavid, was brought in to stir-up the inspiration. The results are rather hard to gauge, from this set. By now, it is clear that Capitol was not budgeting too much "extra" for Colter's projects. There are only 7 session musicians, not counting Jessi. The production is a bit turgid, to be honest, and, most distressingly, Jessi's voice is just a mere shadow of its former "self." Completely gone is the snarl, snap, and confidence so prevalent just five years earlier. Throughout this record, you can barely hear her, and what you can hear is clipped, overly tremulous, and fluttering. She sounds cowed, depressed, and tired. Poor thing, she probably was tired, at the time. Thus, it is difficult to tell if the songs themselves are any good because she isn't "selling" them. The track 'Wings of My Victory' gives hints of the Colter than had once been in command of her art, but the record otherwise leaves one a bit baffled -- particularly considering the wonderful vigor of her voice 25 years later on 'Out of the Ashes,' when she was in her mid-60s! All the same, this is worth a listen because it IS a Jessi Colter album and, had she been in a different "space" (or whatever) at the time, and with better production values, original Colter songs like "Ridin' Shotgun" and "Somewhere Along the Way" and "Hard Times and Sno-Cone" might have made a much bigger impression.

In any event, this is a MUST-have purchase for 'Mirriam' alone, with the added bonus of the really pretty, atmospheric (if slightly drowsy) 'Cowboy' album and a few heartfelt, pleasant moments on the 'Shotgun' record. Jessi Colter retreated (happily) to the shadows and sidelines following 1981 and these albums do give us a glimpse of her outgoing journey. Her legacy as one of the great iconic, almost uncategorizable singer-songwriters of the 1970s will never be diminished. Her talent and career trajectory remind me very much of Bobbi Gentry, in that regard. Jessi is brilliant. Forgive the LONG review, but as mentioned: the liner notes on this lovely reissue by BGO DON'T contain most of this direct information about these particular albums, and I did want to share that with fans and potential buyers. If you're a Waylon Jennings or Jessi Colter diehard, buying this is a no-brainer. ****

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Jim Boot - Western Australia

worth the years of waiting

Rezension aus dem Vereinigten Königreich vom 7. Januar 2013

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Many years have passed between the vinyl version of these three LPs and the CD version and the actual sound has been worth the wait.
There was some fiddling with the track listing and how it came up on the internet but that was easily resolved.
Jessi Colter has always been an unusual artist with ability way beyond recognition and sales. These were less well known tracks but "Maybe You Should Have Been Listening" and "I Belong To Him" etc has her at her best.

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moze

JESSI, A LEGEND IN HER OWN RIGHT

Rezension aus den Vereinigten Staaten vom 2. Mai 2016

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C&W had its' golden heyday over 50 years ago.... and when asked to name the great female singers, without thinking everyone says Loretta & Tammy... BUTTT.. Jesse was as good as both... maybe even better.

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Amazon Customer

If you like great music, you're gonna love Jessi.

Rezension aus den Vereinigten Staaten vom 22. Dezember 2017

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She's Jessi Colter. She's one of the best in the business.

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Salvadori Gisèle

ok

Rezension aus Frankreich vom 5. Februar 2021

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merci

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Mirriam/Thats the Way a Cowboy Rocks and Rolls/Ri Import Edition by Jessi Colter (2012) Audio CD

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