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Angel of the Morning [the Comp
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Produktbeschreibungen
ANGEL OF THE MORNING THE COMPLETE BELL RECORDINGS
Produktinformation
- Verpackungsabmessungen : 14,09 x 12,63 x 1,37 cm; 102,06 Gramm
- Hersteller : Rev-Ola
- Herstellerreferenz : 8S
- SPARS-Code : DDD
- Label : Rev-Ola
- ASIN : B000E1NV8S
- Anzahl Disks : 1
- Amazon Bestseller-Rang: Nr. 756,129 in Musik-CDs & Vinyl (Siehe Top 100 in Musik-CDs & Vinyl)
- Nr. 211,487 in Rock (Musik-CDs & Vinyl)
- Nr. 332,246 in Pop (Musik-CDs & Vinyl)
- Kundenrezensionen:
Kundenrezensionen
4,6 von 5 Sternen
4,6 von 5
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Spitzenrezensionen
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Kundenrezension aus Deutschland 🇩🇪 am 8. März 2006
Although a classically trained pianist, Merrilee Rush's greatest exposure came in the form of 1968's Angel of the Morning. Previously, she had been in several American Northwest R&B combos in the early to mid-'60s - including the Aztecs, Merrilee & Her Men, and a stint with Tiny Tony & the Statics. By 1965, Rush settled into her own band, Merrilee & the Turnabouts, which quickly became local teen dancehall favorites. Their success garnered them a spot supporting Paul Revere & the Raiders during their 1967 tour, resulting in head Raider Mark Lindsay introducing Rush to Memphis-based producer Chips Moman. While the Turnabouts are credited on the original album jacket, Moman replaced Rush's backing band with a handpicked coterie of seasoned studio veterans, ultimately yielding this dozen-song long-player. The effort consists mostly of lightweight pop with slight country & western and folk-rock nuances, although there are few tunes that stand as powerfully as the affective Chip Taylor-inked "Angel of the Morning." Rush's uniformly strong leads recall the effervescence of Melanie - thankfully without the annoying warble - and the honey-toned Jackie DeShannon. The laid-back opener, "It's Worth It All," sets the pace with an affable but insipid delivery. The moodier "Sandcastles" - one of two cuts co-written by Moman with Spooner Oldham and Dan Penn - is a step in the right direction, especially when the tempo picks up and Rush is given a chance to express herself. The optimistic "Billy Sunshine" and the cover of Joe South's "Hush" follow that edgier path. Conversely, the Mark Lindsay composition "Do Unto Others" and the subsequent Moman/Oldham/Penn side "Handy" are little more than ponderous filler. [The 2006 CD reissue from Rev-Ola supplements the contents with an additional nine non-LP selections, notably Rush's reading of "What the World Needs Now" from the film Bob & Carol & Ted & Alice (1969) as well as a trippy remake of the Motown staple "Reach Out" - supposedly inspired by the Vanilla Fudge's overhaul of "You Keep Me Hanging On."]
Kundenrezension aus Deutschland 🇩🇪 am 4. November 2005
Although a classically trained pianist, Merrilee Rush's greatest exposure came in the form of 1968's Angel of the Morning. Previously, she had been in several American Northwest R&B combos in the early to mid-'60s - including the Aztecs, Merrilee & Her Men, and a stint with Tiny Tony & the Statics. By 1965, Rush settled into her own band, Merrilee & the Turnabouts, which quickly became local teen dancehall favorites. Their success garnered them a spot supporting Paul Revere & the Raiders during their 1967 tour, resulting in head Raider Mark Lindsay introducing Rush to Memphis-based producer Chips Moman. While the Turnabouts are credited on the original album jacket, Moman replaced Rush's backing band with a handpicked coterie of seasoned studio veterans, ultimately yielding this dozen-song long-player. The effort consists mostly of lightweight pop with slight country & western and folk-rock nuances, although there are few tunes that stand as powerfully as the affective Chip Taylor-inked "Angel of the Morning." Rush's uniformly strong leads recall the effervescence of Melanie - thankfully without the annoying warble - and the honey-toned Jackie DeShannon. The laid-back opener, "It's Worth It All," sets the pace with an affable but insipid delivery. The moodier "Sandcastles" - one of two cuts co-written by Moman with Spooner Oldham and Dan Penn - is a step in the right direction, especially when the tempo picks up and Rush is given a chance to express herself. The optimistic "Billy Sunshine" and the cover of Joe South's "Hush" follow that edgier path. Conversely, the Mark Lindsay composition "Do Unto Others" and the subsequent Moman/Oldham/Penn side "Handy" are little more than ponderous filler. [The 2004 CD reissue from Collectors' Choice Music supplements the contents with an additional nine non-LP selections, notably Rush's reading of "What the World Needs Now" from the film Bob & Carol & Ted & Alice (1969) as well as a trippy remake of the Motown staple "Reach Out" - supposedly inspired by the Vanilla Fudge's overhaul of "You Keep Me Hanging On."]
Spitzenrezensionen aus anderen Ländern
Kevin B.
5,0 von 5 Sternen
This Angel Soars
Kundenrezension aus den USA 🇺🇸 am 20. Juni 2006
Unfortunately this classic 60s Pop Album is out of print on CD. For now we'll have to be content with digital tracks.
This pop classic from 1968 is finally available for digital download and every track on this album is a gem. Merrilee had an innocence, and a toughness in her vocal interpretation of these songs. She plays the victim on tracks like That Kind Of Woman (an affair with a married man) and Working Girl (sexual harassment in the work place.) There are songs about being the proverbial doormat in Handy and It's Worth It All. Of course one has to include tracks about being a jilted lover and there are three very good ones here. They are Sandcastles and Billy Sunshine in which it is not made clear whether Billy was just afraid of commitment or he was an activist and /or 60s radical and was forced underground. Also the excellent screw you garage style rocker in Reap What You Sow (b-side to Angel) which was for some unknown reason left of the original album but is rightfully included in this reissue. Mark Lindsay of Paul Revere and the Raiders fame penned two songs, the dream like Observation From Flight 285 (in ¾ time) and Do Unto Others. Both tracks were also featured on Raiders albums previously and Merrilee does a fine job covering them on this album. Also included is a cover of the Joe South / Deep Purple classic Hush and a country/pop treasure titled Sunshine and Roses, about a girl fighting to keep her man from the clutches of another woman. Then there is the unforgettable, million selling, international hit Angel Of The Morning. This album was recorded at the famed American Recording Studio in Memphis and was produced by the legendary Chips Moman and the late Tommy Cogbill. The session players on this album were the very same musicians who played on Elvis Presley's legendary Memphis recordings.
Besides Mark Lindsay and Joe South, the album features songs written by Mark James (who wrote Willie Nelson's Always On My Mind, Hooked On A Feeling for BJ Thomas and Suspicious Minds for Elvis), Chips Moman, Donna Weiss (who co-wrote Bette Davis Eyes for Kim Carnes), and Chip Taylor (who wrote Merrilee's Angel Of The Morning and Wild Thing for the Troggs). There is also a very sweet version of the John Phillips' flower power anthem from the summer of love, San Francisco (Be Sure To Wear Some Flowers In Your Hair). Angel Of The Morning was featured in the hit films Jerry Maguire and Girl Interrupted as well as the cult classic Fingers starring Harvey Keitel. The songs on this CD are pure sunshine with a little country-pop flavor from the fabulous 1960's. Merrilee released several non-LP singles and B-sides after the release of this album including a very cool psychedelic version of The Four Tops' Reach Out (think Vanilla Fudge), as well as a cover of Jackie DeShannon's What The World Needs Now from the soundtrack album to the film Bob & Carol & Ted & Alice produced by Quincy Jones. All nine of Merrilee's non-LP singles and b-sides are included in this CD reissue If you are a fan of the Memphis sound and albums recorded there by Dusty Springfield, The Box Tops, Petula Clark, Elvis, BJ Thomas, The Raiders and others then you will enjoy this CD.
Some fans have expressed a desire for the inclusion of the track Save Me and have been disappointed in it's exclusion from this Merrilee Rush reissue. This collection focused on Merrilee's Bell Records years. Save Me was released in 1976 on UA. Another Merrilee Rush project is being shopped to reissue labels as of this writing. The plan is for the Merrilee Rush self titled album from 1977 (which included Save Me) on the United Artists label to be reissued with a bunch of buried treasure bonus tracks. So stay tuned!
This pop classic from 1968 is finally available for digital download and every track on this album is a gem. Merrilee had an innocence, and a toughness in her vocal interpretation of these songs. She plays the victim on tracks like That Kind Of Woman (an affair with a married man) and Working Girl (sexual harassment in the work place.) There are songs about being the proverbial doormat in Handy and It's Worth It All. Of course one has to include tracks about being a jilted lover and there are three very good ones here. They are Sandcastles and Billy Sunshine in which it is not made clear whether Billy was just afraid of commitment or he was an activist and /or 60s radical and was forced underground. Also the excellent screw you garage style rocker in Reap What You Sow (b-side to Angel) which was for some unknown reason left of the original album but is rightfully included in this reissue. Mark Lindsay of Paul Revere and the Raiders fame penned two songs, the dream like Observation From Flight 285 (in ¾ time) and Do Unto Others. Both tracks were also featured on Raiders albums previously and Merrilee does a fine job covering them on this album. Also included is a cover of the Joe South / Deep Purple classic Hush and a country/pop treasure titled Sunshine and Roses, about a girl fighting to keep her man from the clutches of another woman. Then there is the unforgettable, million selling, international hit Angel Of The Morning. This album was recorded at the famed American Recording Studio in Memphis and was produced by the legendary Chips Moman and the late Tommy Cogbill. The session players on this album were the very same musicians who played on Elvis Presley's legendary Memphis recordings.
Besides Mark Lindsay and Joe South, the album features songs written by Mark James (who wrote Willie Nelson's Always On My Mind, Hooked On A Feeling for BJ Thomas and Suspicious Minds for Elvis), Chips Moman, Donna Weiss (who co-wrote Bette Davis Eyes for Kim Carnes), and Chip Taylor (who wrote Merrilee's Angel Of The Morning and Wild Thing for the Troggs). There is also a very sweet version of the John Phillips' flower power anthem from the summer of love, San Francisco (Be Sure To Wear Some Flowers In Your Hair). Angel Of The Morning was featured in the hit films Jerry Maguire and Girl Interrupted as well as the cult classic Fingers starring Harvey Keitel. The songs on this CD are pure sunshine with a little country-pop flavor from the fabulous 1960's. Merrilee released several non-LP singles and B-sides after the release of this album including a very cool psychedelic version of The Four Tops' Reach Out (think Vanilla Fudge), as well as a cover of Jackie DeShannon's What The World Needs Now from the soundtrack album to the film Bob & Carol & Ted & Alice produced by Quincy Jones. All nine of Merrilee's non-LP singles and b-sides are included in this CD reissue If you are a fan of the Memphis sound and albums recorded there by Dusty Springfield, The Box Tops, Petula Clark, Elvis, BJ Thomas, The Raiders and others then you will enjoy this CD.
Some fans have expressed a desire for the inclusion of the track Save Me and have been disappointed in it's exclusion from this Merrilee Rush reissue. This collection focused on Merrilee's Bell Records years. Save Me was released in 1976 on UA. Another Merrilee Rush project is being shopped to reissue labels as of this writing. The plan is for the Merrilee Rush self titled album from 1977 (which included Save Me) on the United Artists label to be reissued with a bunch of buried treasure bonus tracks. So stay tuned!
Kevin B.
Kundenrezension aus den USA 🇺🇸 am 20. Juni 2006
This pop classic from 1968 is finally available for digital download and every track on this album is a gem. Merrilee had an innocence, and a toughness in her vocal interpretation of these songs. She plays the victim on tracks like That Kind Of Woman (an affair with a married man) and Working Girl (sexual harassment in the work place.) There are songs about being the proverbial doormat in Handy and It's Worth It All. Of course one has to include tracks about being a jilted lover and there are three very good ones here. They are Sandcastles and Billy Sunshine in which it is not made clear whether Billy was just afraid of commitment or he was an activist and /or 60s radical and was forced underground. Also the excellent screw you garage style rocker in Reap What You Sow (b-side to Angel) which was for some unknown reason left of the original album but is rightfully included in this reissue. Mark Lindsay of Paul Revere and the Raiders fame penned two songs, the dream like Observation From Flight 285 (in ¾ time) and Do Unto Others. Both tracks were also featured on Raiders albums previously and Merrilee does a fine job covering them on this album. Also included is a cover of the Joe South / Deep Purple classic Hush and a country/pop treasure titled Sunshine and Roses, about a girl fighting to keep her man from the clutches of another woman. Then there is the unforgettable, million selling, international hit Angel Of The Morning. This album was recorded at the famed American Recording Studio in Memphis and was produced by the legendary Chips Moman and the late Tommy Cogbill. The session players on this album were the very same musicians who played on Elvis Presley's legendary Memphis recordings.
Besides Mark Lindsay and Joe South, the album features songs written by Mark James (who wrote Willie Nelson's Always On My Mind, Hooked On A Feeling for BJ Thomas and Suspicious Minds for Elvis), Chips Moman, Donna Weiss (who co-wrote Bette Davis Eyes for Kim Carnes), and Chip Taylor (who wrote Merrilee's Angel Of The Morning and Wild Thing for the Troggs). There is also a very sweet version of the John Phillips' flower power anthem from the summer of love, San Francisco (Be Sure To Wear Some Flowers In Your Hair). Angel Of The Morning was featured in the hit films Jerry Maguire and Girl Interrupted as well as the cult classic Fingers starring Harvey Keitel. The songs on this CD are pure sunshine with a little country-pop flavor from the fabulous 1960's. Merrilee released several non-LP singles and B-sides after the release of this album including a very cool psychedelic version of The Four Tops' Reach Out (think Vanilla Fudge), as well as a cover of Jackie DeShannon's What The World Needs Now from the soundtrack album to the film Bob & Carol & Ted & Alice produced by Quincy Jones. All nine of Merrilee's non-LP singles and b-sides are included in this CD reissue If you are a fan of the Memphis sound and albums recorded there by Dusty Springfield, The Box Tops, Petula Clark, Elvis, BJ Thomas, The Raiders and others then you will enjoy this CD.
Some fans have expressed a desire for the inclusion of the track Save Me and have been disappointed in it's exclusion from this Merrilee Rush reissue. This collection focused on Merrilee's Bell Records years. Save Me was released in 1976 on UA. Another Merrilee Rush project is being shopped to reissue labels as of this writing. The plan is for the Merrilee Rush self titled album from 1977 (which included Save Me) on the United Artists label to be reissued with a bunch of buried treasure bonus tracks. So stay tuned!
Bilder in dieser Rezension
Gregor von Kallahann
3,0 von 5 Sternen
Merrilee Rolls Along
Kundenrezension aus den USA 🇺🇸 am 31. Oktober 2010
I was surprised to learn recently that Merrilee Rush's wondrous one hit was actually NOT the original and that singer Evie Sand's take had shown hit potential but--in a classic rock hard luck tale--that singer's her record company went bust shortly after her version's release. I was equally surprised to learn that Juice Newton's 1981 version was actually the most popular of all. So Merrilee's wasn't the first, nor did sell the most, BUT it does seem to be the one most firmly lodged in our collective unconscious, the one that shows up in movie soundtracks and anthology releases, the one that people remember (fondly) as being kinda shocking for AM radio back in the day. By the time Juice's version came out, such expressions of casual carnality weren't nearly as juicy.
If "Angel" seemed a daring expression of "free love" ideals for the time, it's at least interesting to note that a countervailing sentiment is embodied in other tracks, namely which includes such ANTI-free love statements as " You say you love me, but you don't know me" and in a more direct counterpoint to "Angel of the Morning" there's the line "when morning brings the light/the words you say tonight, you might be sorry for." Stack THAT sentiment up against "Angel's" "if morning echoes say we've sinned/Well, it was what I wanted now." For that matter, listen to downright free love skepticism of "Sign Up For the Good Times," the very title of which is a criticism of the 60s free love ethos. And the rather morose "Working Girl" with its theme of on-the-job harrassment captures the 60s Zeitgeist in another way. If any tune from that era could have served as a PSA for better anti-sexual harrassment regs, this was it.
When you get right down to it though, even the title tune was pretty ambivalent. Maybe it was DARING but was it all that radical really? There is a kind of melancholy about "Angel of the Morning" that suggests that it's more an expression of resignation than liberation. "Morning's echo" may indeed say they've sinned and they could very well find out that they are in fact "victims of the night." This tune really wasn't quite the joyous celebration of free love that some of the hippie bands of the era were proffering. Come to think of it, "Angel..." actually has more in common with C&W "cheatin'" songs than with any hippie ideals. And the vocal has a kind of countryfied twang that is absent on other tracks. I was surprised, in fact, to learn that Merrilee stemmed from the Northwest and not the Deep South.
Interesting how the liner notes (and some of the reviews on this page) suggest Merrilee Rush was a strong singer. Even by 60s pop standards, I don't think there's much of a case to be made for actual vocal prowess. "Angel of the Morning" is double tracked, and quite effectively so, but if you listen to either of those vocal tracks carefully, you'll have to admit that they are only truly effective TOGETHER and that they serve to beef up a charming but rather thin voice. Other tracks sweeten the vocal with a bit of echo or by making the back up vocals a bit more prominent than they might have been with a more powerhouse voice. To her credit, she does show a fairly sharp sense of phrasing on a number of tracks.
So Merrilee was hardly Janis Joplin or Grace Slick or Tracy Nelson, but then, they didn't have that many Top 40 hits either. One thing that I can't help wondering about is just how Merrilee Rush the PERFORMER really did sound. Apparently, she and the Turnabouts had actually built up something of a following in her native Northwest. But what did THEY actually sound like? The band is scarcely to be found on the album. When she does get a chance to rock out a little bit on this record (a "rocky" but refreshingly "unheavy" take on "Hush," for instance, or on the reworking of the Four Tops "Reach Out" bonus track, she does demonstrate an effective rasp and a real sense of phrasing (to compensate for notes not held or volume not sustained). On those tracks, she's reminiscent of later singers like Bonnie Tyler or Kim Carnes, although she actually uses the rasp more for coloration more skillfully than either of those two 80s icons.
But as someone else has pointed out, on the more commercial stuff, she sounds more like Nancy Sinatra or Jackie DeShannon. My guess is that that's what Bell Records wanted and what they got. I suspect that the bar room/dance hall Merrilee Rush--the one who started out more as a keyboardist that a vocalist--was quite a different animal, and probably quite a bit less tame. When she cuts loose a bit on "Hush" or "Reach Out" you get the sense you're dealing with a whole different (and much less docile) animal than on "Working Girl," say.
Quite a little time capsule we've got her.
If "Angel" seemed a daring expression of "free love" ideals for the time, it's at least interesting to note that a countervailing sentiment is embodied in other tracks, namely which includes such ANTI-free love statements as " You say you love me, but you don't know me" and in a more direct counterpoint to "Angel of the Morning" there's the line "when morning brings the light/the words you say tonight, you might be sorry for." Stack THAT sentiment up against "Angel's" "if morning echoes say we've sinned/Well, it was what I wanted now." For that matter, listen to downright free love skepticism of "Sign Up For the Good Times," the very title of which is a criticism of the 60s free love ethos. And the rather morose "Working Girl" with its theme of on-the-job harrassment captures the 60s Zeitgeist in another way. If any tune from that era could have served as a PSA for better anti-sexual harrassment regs, this was it.
When you get right down to it though, even the title tune was pretty ambivalent. Maybe it was DARING but was it all that radical really? There is a kind of melancholy about "Angel of the Morning" that suggests that it's more an expression of resignation than liberation. "Morning's echo" may indeed say they've sinned and they could very well find out that they are in fact "victims of the night." This tune really wasn't quite the joyous celebration of free love that some of the hippie bands of the era were proffering. Come to think of it, "Angel..." actually has more in common with C&W "cheatin'" songs than with any hippie ideals. And the vocal has a kind of countryfied twang that is absent on other tracks. I was surprised, in fact, to learn that Merrilee stemmed from the Northwest and not the Deep South.
Interesting how the liner notes (and some of the reviews on this page) suggest Merrilee Rush was a strong singer. Even by 60s pop standards, I don't think there's much of a case to be made for actual vocal prowess. "Angel of the Morning" is double tracked, and quite effectively so, but if you listen to either of those vocal tracks carefully, you'll have to admit that they are only truly effective TOGETHER and that they serve to beef up a charming but rather thin voice. Other tracks sweeten the vocal with a bit of echo or by making the back up vocals a bit more prominent than they might have been with a more powerhouse voice. To her credit, she does show a fairly sharp sense of phrasing on a number of tracks.
So Merrilee was hardly Janis Joplin or Grace Slick or Tracy Nelson, but then, they didn't have that many Top 40 hits either. One thing that I can't help wondering about is just how Merrilee Rush the PERFORMER really did sound. Apparently, she and the Turnabouts had actually built up something of a following in her native Northwest. But what did THEY actually sound like? The band is scarcely to be found on the album. When she does get a chance to rock out a little bit on this record (a "rocky" but refreshingly "unheavy" take on "Hush," for instance, or on the reworking of the Four Tops "Reach Out" bonus track, she does demonstrate an effective rasp and a real sense of phrasing (to compensate for notes not held or volume not sustained). On those tracks, she's reminiscent of later singers like Bonnie Tyler or Kim Carnes, although she actually uses the rasp more for coloration more skillfully than either of those two 80s icons.
But as someone else has pointed out, on the more commercial stuff, she sounds more like Nancy Sinatra or Jackie DeShannon. My guess is that that's what Bell Records wanted and what they got. I suspect that the bar room/dance hall Merrilee Rush--the one who started out more as a keyboardist that a vocalist--was quite a different animal, and probably quite a bit less tame. When she cuts loose a bit on "Hush" or "Reach Out" you get the sense you're dealing with a whole different (and much less docile) animal than on "Working Girl," say.
Quite a little time capsule we've got her.
Jeff, Young Old-Timer
4,0 von 5 Sternen
Still Like Her
Kundenrezension aus den USA 🇺🇸 am 30. April 2008
I Heard "Angel of the Morning" in the late 60s while stationed up at the Naval Training Facility in Great Lakes. My buddy Jim and I would pump a juke box in the on-base cafe full of coins and get our near-daily fix of Beatles, Rolling Stones and Merrilee Rush. The title song of this CD was the only song she had out at the time, and it was one of my favorites. When I latched on to this CD and played it for the first time, I got flooded with all the expected nastalga. I never heard this album in its entirety until I recently got it. I think it's a very worthy effort. I recommend this album to anyone wishing to go back to the 60s. It wasn't all just flower power then. The title track is my favorite track, and she does very good covers of other songs that were popular at the time. Maybe I'm just easy to please. Merrilee's voice easily pleases me. I always thought she was rather cute, too, but I won't trade my wife for her. I give the CD four stars because I think there were some songs she could have had on the album that I thought she would have done a bit better. Again, that's just me. I'll enjoy this one for a long time to come.
Steven W. House
5,0 von 5 Sternen
Excellent product very satisfactory!
Kundenrezension aus den USA 🇺🇸 am 11. Juni 2013
I am very satisfied with this vintage recording that had proven difficult to find. Record stores were not stocking and could not find it. I blundered into the Amazon connected site, found Merrilee Rush "Angel of the Morning", and succeeded in purchasing what I had been casually searching for probably two decades. This brought back fond memories of youthful dancing to this music live in clubs in the late sixties. Shipping was surprisingly prompt. Thank you.
Gregoy B.
5,0 von 5 Sternen
Finally found it.
Kundenrezension aus den USA 🇺🇸 am 22. Juli 2015
I have been looking for a good Merrille rush album forever. This really fills the bill. As a resident of western Washington , I am prejudiced (she is a local gal) but I think she has a really good voice. Brings back memories and enjoy being able to listen to really talented vocalist. Good album.