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https://www.allmusic.com/album/jackie-mw0000849416
Jackie sent me an e mail "You really do know me" after reading my review of You Know Me. I spent weeks studying the album for the review: https://www.allmusic.com/album/you-know-me-mw0000095235 You Know Me Review by Joe Viglione [-]
It takes a few spins to understand, and it is one of this prolific singer's many, many recordings, but when you spend some quality time with You Know Me, it starts unraveling its secrets in ways that only a truly great recording can. "Any Heart" is pure power, with the band weaving textures around Jackie DeShannon's distinctive vocal, the guitar relentless as it sustains the wall of sound. A true labor of love, few artists can produce a song this strong, and the fact that it follows three equally powerful compositions is evidence of the majesty that sweeps across all 14 tracks. "Steal the Thunder" opens the album with authority -- the resonating grandeur Eric Carmen's "Hungry Eyes" contained, with a better hook. DeShannon places everything in perfect order, the vocal gliding over a groove that is rock-solid. "Wing Ryder" changes the pace, and you get the idea that this major songwriter is building an album more complex than Carole King's Tapestry -- sheer art for art's sake. It ebbs and flows with an elegance younger musicians are too impetuous to seek out. The keyboards and guitars in "Wing Ryder" fuse styles that Fleetwood Mac and the Eagles were employing. And that's the secret here: DeShannon hasn't made another singer/songwriter album, she has shouldered a project akin to filming a major motion picture. "Somewhere in America" has a smart guitar riff and a wailing sax in the distance for one of the few ecology songs that isn't hampered by bulky words. "Song for Sandra Jeanne (Rites of Passage)" is for the singer's poet mom. It's just beautiful, the album changing moods like a photo album with pages turning before you on the silver screen. Each song is an episode, with the title track a defiant affirmation of someone who has been with listeners through the years, from "Put a Little Love in Your Heart" to "Bette Davis Eyes." While Lou Adler's sparse production on Tapestry allowed Carole King to bare her soul, DeShannon gives us a dense production, thick and rich, a wide range of sounds that could reinvent AAA radio if given the chance to be heard with the same presence as her best-known tunes. "Just How Right You Are" and "Red Montana Sky" are both driving and two of the more commercial tracks, with subtle hints of past work slipping into the lyrics. At close to 60 minutes, the 14 tracks are very much like a double LP. "There Goes the One" is a pensive recommitment, as graceful saxophone blends with the keyboards and the charming line, "I love the books that he reads." "Vanished in Time" is clear and measured, a youthful exuberance embracing the wisdom of years. This is a transformation for the veteran songwriter, and she seems to be driven more by her incredible instincts than by record company mandate. Where You're the Only Dancer, To Be Free, and earlier albums had an agenda most artists have to deal with, "Raze" is sound and performance, which shows real control. The drums drive the vocals and guitar backs DeShannon up with more dominance than maybe any album she's ever made. "Red Montana Sky" keeps surfacing as the tune that should be embraced by radio. "Here On" seems out of place, the reggae too dramatic a departure for all the elements that came before. It throws the listener for a loop and has a different character than all the other tracks on You Know Me, but that's either the luxury or the downside of artistic freedom, take your pick. Covering the Beach Boys' "Trader," however, is a perfect conclusion, and a perfect vehicle for Jackie DeShannon's timeless voice on an album that may take years before it is fully appreciated.
ALBUM REVIEW BY JOE Joe Viglione 'WHAT THE WORLD NEEDS NOW IS LOVE"
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ALBUM DESCRIPTION Review by Joe Viglione
https://www.allmusic.com/album/jackie-mw0000849416
https://www.qobuz.com/dk-en/album/jackie-jackie-deshannon/0603497994090
The first of two albums on Atlantic records for the singer with an immaculate voice, Jackie was produced by Arif Mardin, Tom Dowd, and Jerry Wexler, one less producer than her What the World Needs Now Is Love album had helping craft the sounds. The festivities start off with John Prine's song "Paradise," a folksy title, not to be confused with the Perry Botkin, Jr./Harry Nilsson/Gil Garfield tune that Bette Midler and the Ronettes covered as the Jackie album tends to stay in an interesting space that could be described as "adult contemporary folk." "Vanilla 'Olay" moves brightly, a rare spirited pop vocal which is one of four compositions by the singer/songwriter here, two-thirds of the 12 selections coming from a dizzying array of songwriters. John Hurley and Ron Wilkins' "Heavy Burdens Me Down" is a beautiful gospel number, and the version of Neil Young's "Only Love Can Break Your Heart" is one of the album's highlights. It certainly is interesting hearing someone with a traditional voice putting some polish on a Neil Young staple. This album is as smooth and dreamy as Dusty Springfield's Cameo, though the three producers don't let the singer break out of the controlled mood they've set. DeShannon's original "Laid Back Days" tries to escape those confines, and "Vanilla 'Olay" actually does, John Stewart's xylophone bringing the latter to another level. Steve Goodman's "Would You Like to Learn to Dance" has ace Bee Gees co-producer Albhy Galuten adding a distinguished harpsichord -- it really is special, and what the album cries out for is one of those extraordinary songs that the Bee Gees gave to so many artists, from Samantha Sang to Dionne Warwick and Rare Earth. Galuten could have made this very good album even better had he contributed his production skills. Cissy Houston adds some magic to the Donna Weiss/Mary Unobsky composition "I Won't Try to Put Chains on Your Soul," more gospel-pop which is another notable track here. Weiss would of course go on to co-write "Bette Davis Eyes" with DeShannon when the singer moved on to Columbia records for the adult contemporary album New Arrangement. Unlike the string of albums on Imperial where this extraordinary talent got to try new things and get into a groove, this '70s period has work spread across multiple labels, and as the music changed hands the sounds took bigger leaps than they might have had all this activity progressed under a single record company umbrella. Van Morrison's "I Wanna Roo You" works, as do the two Jackie DeShannon originals that conclude the album, "Peaceful in My Soul" and "Anna Karina." DeShannon plays acoustic guitar on "Anna Karina," "Laid Back Days," "Vanilla 'Olay," and "I Wanna Roo You," adding her personality to the musical mix. Jackie is an interesting and worthwhile collection of 12 songs falling stylistically somewhere between her albums What the World Needs Now Is Love from the '60s and You Know Me from the '90s. Her voice is in great shape, and the music is created with loving care, making for a satisfying chapter in the singer's impressive body of work.
© Joe Viglione /TiVo
It takes a few spins to understand, and it is one of this prolific singer's many, many recordings, but when you spend some quality time with You Know Me, it starts unraveling its secrets in ways that only a truly great recording can. "Any Heart" is pure power, with the band weaving textures around Jackie DeShannon's distinctive vocal, the guitar relentless as it sustains the wall of sound. A true labor of love, few artists can produce a song this strong, and the fact that it follows three equally powerful compositions is evidence of the majesty that sweeps across all 14 tracks. "Steal the Thunder" opens the album with authority -- the resonating grandeur Eric Carmen's "Hungry Eyes" contained, with a better hook. DeShannon places everything in perfect order, the vocal gliding over a groove that is rock-solid. "Wing Ryder" changes the pace, and you get the idea that this major songwriter is building an album more complex than Carole King's Tapestry -- sheer art for art's sake. It ebbs and flows with an elegance younger musicians are too impetuous to seek out. The keyboards and guitars in "Wing Ryder" fuse styles that Fleetwood Mac and the Eagles were employing. And that's the secret here: DeShannon hasn't made another singer/songwriter album, she has shouldered a project akin to filming a major motion picture. "Somewhere in America" has a smart guitar riff and a wailing sax in the distance for one of the few ecology songs that isn't hampered by bulky words. "Song for Sandra Jeanne (Rites of Passage)" is for the singer's poet mom. It's just beautiful, the album changing moods like a photo album with pages turning before you on the silver screen. Each song is an episode, with the title track a defiant affirmation of someone who has been with listeners through the years, from "Put a Little Love in Your Heart" to "Bette Davis Eyes." While Lou Adler's sparse production on Tapestry allowed Carole King to bare her soul, DeShannon gives us a dense production, thick and rich, a wide range of sounds that could reinvent AAA radio if given the chance to be heard with the same presence as her best-known tunes. "Just How Right You Are" and "Red Montana Sky" are both driving and two of the more commercial tracks, with subtle hints of past work slipping into the lyrics. At close to 60 minutes, the 14 tracks are very much like a double LP. "There Goes the One" is a pensive recommitment, as graceful saxophone blends with the keyboards and the charming line, "I love the books that he reads." "Vanished in Time" is clear and measured, a youthful exuberance embracing the wisdom of years. This is a transformation for the veteran songwriter, and she seems to be driven more by her incredible instincts than by record company mandate. Where You're the Only Dancer, To Be Free, and earlier albums had an agenda most artists have to deal with, "Raze" is sound and performance, which shows real control. The drums drive the vocals and guitar backs DeShannon up with more dominance than maybe any album she's ever made. "Red Montana Sky" keeps surfacing as the tune that should be embraced by radio. "Here On" seems out of place, the reggae too dramatic a departure for all the elements that came before. It throws the listener for a loop and has a different character than all the other tracks on You Know Me, but that's either the luxury or the downside of artistic freedom, take your pick. Covering the Beach Boys' "Trader," however, is a perfect conclusion, and a perfect vehicle for Jackie DeShannon's timeless voice on an album that may take years before it is fully appreciated.
https://www.allmusic.com/album/what-the-world-needs-now-is-love-mw0000851131
Jackie DeShannon's exquisite "What the World Needs Now Is Love" leads off this collection, and it's quickly followed by a cover of the Dusty Springfield hit "You Don't Have to Say You Love Me," as well as a version of "It's All in the Game," making for a very recognizable three songs in a row on this 1968 release featuring as its title her 1965 Top Ten hit, originally on the This Is Jackie DeShannon album. What THIS is, is another stellar set of vocal performances with DeShannon being produced and arranged by a dazzling array of industry names. "So Long Johnny" is a pop tune by Burt Bacharach and Hal David which sounds so much like their Dionne Warwick work it is interesting to hear another great singer in that setting. "Windows and Doors" follows the same formula, while "Changing My Mind" could have been straight from the session that produced Petula Clark's "I Couldn't Live Without Your Love." Bacharach tracked the hit on his own, while Calvin Carter, who produced the For You album, collaborates with Bacharach and David on a number of songs here. Dick Glasser's production of "Little Yellow Roses" is the only one of the dozen songs with his participation; the country ballad is a real departure from the rest of the album, even with the arrangement by Jack Nitzsche. There are five arrangers in all, and an interesting cover concept. Jackie DeShannon appears on the front barefoot against a tree, holding a bouquet, while on the back cover she holds the bouquet with two boys, a Caucasian and an African American. It wasn't something you saw often in the '60s, and truly held with the sentiment of the title track. Tony Hatch's "Call Me" ends the album, and you knew from "Changin' My Mind" that those involved here were listening to Hatch's work, his influence among the many in the grooves of this fine recording. The interesting thing here is that Arthur Wright's sweeping arrangement sounds less like the work of Tony Hatch than Clydie King's ideas on the previously mentioned "Changin' My Mind." This version of "Call Me" fades too fast, and has that big band sound DeShannon employed on the For You album. "A Lifetime of Loneliness" recalls the sounds on popular Gene Pitney records, while Bob Crewe's "Everything Under the Sun" is a perfect Phil Spector-style pop ballad. What the World Needs Now Is Love offers many moods and sounds from the '60s through the voice of DeShannon. Not only is the title track one of her most recognizable hits, this album is a precious look at more of DeShannon's interpretation of other songwriters. Her only composition here is "Where Does the Sun Go?," while Bacharach and David get five of the seven titles. Their "Too Wait for Love" is more of the laid-back West Coast pop that they did so well and is a nice addition to the DeShannon catalog.
© Joe Viglione /TiVo https://www.qobuz.com/us-en/album/what-the-world-needs-now-is-love-jackie-deshannon/0060255747757
Randy Edelman Farewell Fairbanks CD. The celebrated singer/songwriter's album begins with a cover of Brian Parker and Tommy Moeller's "Concrete & Clay," which hit the Top 30 in the US in May of 1965 for their British sextet Unit 4 + 2, and, strangely, also hit Top 40 for Pennsylvania singer Eddie Rambeau in June of that same year. In 1975 it flirted with the Adult Contemporary charts for Randy Edelman, featuring drums by Nigel Olsson of Elton John's group, with backing vocals from Olsson and his fellow EJ musician Dee Murray, along with Melissa Manchester, Ringo producer Vini Poncia and others. All sorts of famous names are sprinkled throughout this disc, from "Highway Affair"'s guitar work by Andrew Gold to soundtrack king James Newton Howard playing synthesizer on the bouncy "Fresh Outa Love," one of the most memorable tunes on the record. The title track plays like a very pretty love song until you hear the lyrics, an ode to Alaska and the ecological threat of the oil pipeline. It's a strong piece of music which probably got lost because of its benevolent statement. "You," the opening track to side two, is reminiscent of America's "I Need You." It has that elegant pop songsmith magic that made Melissa Manchester, Eric Carmen, Neil Sedaka, and other '70s stars so popular. Barry Manilow's 7th hit, Weekend In New England is here in its original form by its composer. Noteworthy is the relationship between this disc and that of Edelman's wife, Jackie DeShannon's 1975 CBS release, New Arrangement. Both feature the Edelman/DeShannon collaboration, Let The Sailor's Dance, a magnificent chorus, but Jackie's version gets the nod as the definitive take. Edelman plays piano on DeShannon's version, DeShannon sings on Randy's performance. That isn't the only similarity between these two 1975 recordings by this husband and wife. As Manilow cut "A Weekend In New England," it would be six years before "Bette Davis Eyes" from DeShannon's New Arrangement would hit number one around the world for Kim Carnes. Both albums spawned a major hit for other artists. They are good companion pieces and are essential documents of an important time for singer/songwriters. Bill Schnee underproduces Farewell Fairbanks, letting Edelman's craft speak for itself. ~ Joe Viglione https://www.walmart.ca/en/ip/Randy-Edelman-Farewell-Fairbanks-CD/PRD2M6S4Q93E3LF
Jackie DeShannon's exquisite "What the World Needs Now Is Love" leads off this collection, and it's quickly followed by a cover of the Dusty Springfield hit "You Don't Have to Say You Love Me," as well as a version of "It's All in the Game," making for a very recognizable three songs in a row on this 1968 release featuring as its title her 1965 Top Ten hit, originally on the This Is Jackie DeShannon album. What THIS is, is another stellar set of vocal performances with DeShannon being produced and arranged by a dazzling array of industry names. "So Long Johnny" is a pop tune by Burt Bacharach and Hal David which sounds so much like their Dionne Warwick work it is interesting to hear another great singer in that setting. "Windows and Doors" follows the same formula, while "Changing My Mind" could have been straight from the session that produced Petula Clark's "I Couldn't Live Without Your Love." Bacharach tracked the hit on his own, while Calvin Carter, who produced the For You album, collaborates with Bacharach and David on a number of songs here. Dick Glasser's production of "Little Yellow Roses" is the only one of the dozen songs with his participation; the country ballad is a real departure from the rest of the album, even with the arrangement by Jack Nitzsche. There are five arrangers in all, and an interesting cover concept. Jackie DeShannon appears on the front barefoot against a tree, holding a bouquet, while on the back cover she holds the bouquet with two boys, a Caucasian and an African American. It wasn't something you saw often in the '60s, and truly held with the sentiment of the title track. Tony Hatch's "Call Me" ends the album, and you knew from "Changin' My Mind" that those involved here were listening to Hatch's work, his influence among the many in the grooves of this fine recording. The interesting thing here is that Arthur Wright's sweeping arrangement sounds less like the work of Tony Hatch than Clydie King's ideas on the previously mentioned "Changin' My Mind." This version of "Call Me" fades too fast, and has that big band sound DeShannon employed on the For You album. "A Lifetime of Loneliness" recalls the sounds on popular Gene Pitney records, while Bob Crewe's "Everything Under the Sun" is a perfect Phil Spector-style pop ballad. What the World Needs Now Is Love offers many moods and sounds from the '60s through the voice of DeShannon. Not only is the title track one of her most recognizable hits, this album is a precious look at more of DeShannon's interpretation of other songwriters. Her only composition here is "Where Does the Sun Go?," while Bacharach and David get five of the seven titles. Their "Too Wait for Love" is more of the laid-back West Coast pop that they did so well and is a nice addition to the DeShannon catalog.
© Joe Viglione /TiVo https://www.qobuz.com/us-en/album/what-the-world-needs-now-is-love-jackie-deshannon/0060255747757
Randy Edelman Farewell Fairbanks CD. The celebrated singer/songwriter's album begins with a cover of Brian Parker and Tommy Moeller's "Concrete & Clay," which hit the Top 30 in the US in May of 1965 for their British sextet Unit 4 + 2, and, strangely, also hit Top 40 for Pennsylvania singer Eddie Rambeau in June of that same year. In 1975 it flirted with the Adult Contemporary charts for Randy Edelman, featuring drums by Nigel Olsson of Elton John's group, with backing vocals from Olsson and his fellow EJ musician Dee Murray, along with Melissa Manchester, Ringo producer Vini Poncia and others. All sorts of famous names are sprinkled throughout this disc, from "Highway Affair"'s guitar work by Andrew Gold to soundtrack king James Newton Howard playing synthesizer on the bouncy "Fresh Outa Love," one of the most memorable tunes on the record. The title track plays like a very pretty love song until you hear the lyrics, an ode to Alaska and the ecological threat of the oil pipeline. It's a strong piece of music which probably got lost because of its benevolent statement. "You," the opening track to side two, is reminiscent of America's "I Need You." It has that elegant pop songsmith magic that made Melissa Manchester, Eric Carmen, Neil Sedaka, and other '70s stars so popular. Barry Manilow's 7th hit, Weekend In New England is here in its original form by its composer. Noteworthy is the relationship between this disc and that of Edelman's wife, Jackie DeShannon's 1975 CBS release, New Arrangement. Both feature the Edelman/DeShannon collaboration, Let The Sailor's Dance, a magnificent chorus, but Jackie's version gets the nod as the definitive take. Edelman plays piano on DeShannon's version, DeShannon sings on Randy's performance. That isn't the only similarity between these two 1975 recordings by this husband and wife. As Manilow cut "A Weekend In New England," it would be six years before "Bette Davis Eyes" from DeShannon's New Arrangement would hit number one around the world for Kim Carnes. Both albums spawned a major hit for other artists. They are good companion pieces and are essential documents of an important time for singer/songwriters. Bill Schnee underproduces Farewell Fairbanks, letting Edelman's craft speak for itself. ~ Joe Viglione https://www.walmart.ca/en/ip/Randy-Edelman-Farewell-Fairbanks-CD/PRD2M6S4Q93E3LF
The first of two albums on {@Atlantic Records} for the singer with an immaculate voice, {^Jackie}
was produced by {$Arif Mardin}, {$Tom Dowd} and {$Jerry Wexler}, one less producer than her {^What The World Needs Now Is Love} album had helping craft the sounds. The festivities start off with {$John Prine's}
song {&"Paradise"}, a folksy title, not to be confused with the {$Perry Botkin Jr.}/{$Harry Nilsson}/{$Gil Garfield}
tune that {$Bette Midler} and {$The Ronettes} covered as the {^Jackie} album tends to stay in an interesting space that could be described as "adult contemporary folk." {&"Vanilla 'Olay"}moves brightly, a rare spirited pop vocal which is one of four compositions by the singer/songwriter here, two thirds of the twelve selections coming from a
dizzying array of songwriters. {$John Hurley} and {$Ron Wilkins'} {&"Heavy Burdens Me Down"} is a beautiful
gospel number, and the version of {$Neil Young's} {&"Only Love Can Break Your Heart"} is one of the album's highlights. It certainly is interesting hearing someone with a traditional voice putting some polish on a {$Neil Young}
staple. This album is as smooth and dreamy as {$Dusty Springfield's} {^Cameo}, though the three producers
don't let the singer break out of the controlled mood they've set. Jackie's original {&"Laid Back Days"} tries to
escape those confines, and {&"Vanilla 'Olay"} actually does, {$John Stewart's} xylophone bringing the latter to another level. {$Steve Goodman's} {&"Would You Like To Learn To Dance"} has ace {$Bee Gees} co-producer {$Albhy Galuten} adding a distinguished harpsichord - it really is special and what the album cries out for is one of those extraordinary songs that {$The Bee Gees} gave to so many artists, from {$Samantha Sang} to {$Dionne Warwick} and {$Rare Earth}. Galuten could have made this very good album even better had he contributed his production skills. {$Cissy Houston} adds some magic to the {$Donna Weiss}/{$Mary Unobsky}
composition {&"I Won't Try To Put Chains On Your Soul"}, more gospel pop which is another notable track here. {$Weiss} would of course go on to co-write {$Bette Davis Eyes"} with {$DeShannon} when
the singer moved on to {@Columbia Records} for the adult contemporary album {^New Arrangement}. Unlike
the string of albums on {@Imperial} where this extraordinary talent got to try new things and get into a groove,
this seventies period has work spread across multiple labels, and as the music changed hands the sounds took
bigger leaps than they might have had all this activity progressed under a single record company umbrella. {$Van
Morrison's} {&"I Wanna Roo You"} works, as do the two {$Jackie DeShannon} originals which conclude the album, {&"Peaceful In My Soul"} and {&"Anna Karina"}. Jackie plays acoustic guitar on {&"Anna Karina"},
{&"Laid Back Days"}, {&"Vanilla 'Olay"} and {&"I Wanna Roo You"} adding her personality to the musical mix.
{^Jackie} is an interesting and worthwhile collection of twelve songs falling stylistically somewhere between her albums {^What The World Needs Now Is Love} from the sixties and {^You Know Me} from
the 90's. The voice is in great shape, and the music is created with loving care making for a satisfying chapter in
the singer's impressive body of work.
1. Let The Sailors Dance 4:00
2. Boat To Sail 3:30
3. Sweet Baby Gene 2:53
4. A New Arrangement 3:16
5. Over My Head Again 3:00
6. Bette Davis Eyes 2:45
7. Queen Of The Rodeo 3:20
8. I Wanted It All 2:48
9. Murphy 3:11
10. Barefoot Boys And Barefoot Girls 3:04
11. Dreamin' As One 3:30 Two Bonus Tracks on Japanese release You can find my reviews in books published by AllMusic, guide to Soul and Blues, Guide to Rock, Guide to Hip Hop etc. Jackie DeShannon review in the Guide to Rock
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For You is Jackie DeShannon performing classy orchestrated adult contemporary pop songs in 1967, the same year Dusty Springfield tracked a similar collection entitled Where Am I Going. There is not a bad track on For You, and had DeShannon decided to follow Patti Page and continue creating music like this, she no doubt could have been very successful. Next to the rock & roll of the album she would release more than 30 years later, You Know Me, this is total culture shock, and goes to show the vast depth of DeShannon's artistry. The beautiful Carole King/Gerry Goffin tune, "No Easy Way Down," which Dusty Springfield cut as well, fits perfectly alongside Johnny Mercer classics like "Dream" and "Merry Go Round in the Rain." Calvin Carter (who would co-produce DeShannon with Burt Bacharach and Hal David on the What the World Needs Now Is Love album) handles all the production chores here. His work with the Impressions, Jerry Butler, and Gene Chandler gives this DeShannon outing R&B mixed with the big band sound, but not with the fanfare that Petula Clark and Linda Ronstadt had accompanying their moves into this prestigious arena. "Don't Dream of Anybody But Me" has Gerald Wilson arranging, providing lush instrumentation behind the '60s pop vocalist. Though it's the only tune he works on here, it adds to his impressive resumé of work with Bobby Darin, Dizzy Gillespie, and the Los Angeles Philharmonic, and adds a nice dimension to this mix. Most of the album's arrangements are by George Tipton, including the utterly fabulous Mercer track "Dream." Tipton's repertoire includes work for Harry Nilsson, Brian Hyland, the Monkees, and José Feliciano, and the collaboration with producer Calvin Carter is a very nice pairing. The remake of Tommy Edwards' "It's All in the Game" goes beyond the transistor radio boundary into the world where actressPia Zadora did a credible job in the '80s with her Pia & Phil and I Am What I Am albums. "Are We Dancing?" was originally in the Walt Disney film The Happiest Millionaire, while "When I Fall in Love" entertained fans of Nat King Cole and Sam Cooke. For a prolific songwriter like DeShannon to explore the rich sounds of these timeless compositions is all the more impressive years later. Sure, Roy Orbison cut "Dreams" (the Mercer tune, different from his own hit "In Dreams," which would have been a nice addition to this as well); James Ray hit with Rudy Clark's "If You Gotta Make a Fool of Somebody" (covered in a more rock & roll version by Peter Noone on his great One of the Glory Boys LP); and the Ronettes put their stamp on the Bob Crewe/G. Knight number "Everything Under the Sun," but Jackie DeShannon's renditions are removed from the world where she and her colleagues achieved their greatest notoriety: hit radio. The song selection is very impressive, jazz legend Neal Hefti (who later wrote the "Batman Theme" for television) is represented by the opening track, "Don't Dream of Anybody But Me," and it is exquisite, setting the stage for DeShannon's vocals to glide over all these lovely melodies. Richard Oliver pens a poem, "For You," for the back cover instead of his liner notes, but the album jacket looks like a regular Jackie DeShannon release. Looks can be deceiving. The disc bridges the gap between "What the World Needs Now Is Love," and the classy singers who reigned on the radio before rock & roll merged with pop. Few could do this and do it so well. ~ Joe Viglione
Mistaken Identity should have established Kim Carnes as a huge international star. Her Rod Stewart rasp, affiliation with Kenny Rogers, management by Ken Kragen when he was arguably at his peak, makes one wonder why the across-the-board success of "Bette Davis Eyes" couldn't be duplicated. Three years after the success of this album, Tina Turner actually did conquer the world, the various producers on Private Dancer weaving enough different textures to make for a multi-dimensional masterpiece. Too many cooks made for wonderful stew. Val Garay certainly did a good job on Mistaken Identity, more defined than his work with Marty Balin on the Lucky album a year after this, an album which, for that great artist, wasn't very...lucky. It's not that the other Donna Weiss/Jackie DeShannon tune, "Hit and Run," which follows "Bette Davis Eyes," doesn't have a good performance; it does. The problem with the Mistaken Identity album is that everything on it stands in the shadows of a masterpiece. The country risqué of the Jackie DeShannon original from New Arrangement has as extraordinary a re-working as Lou Reed's "Rock & Roll" got from Bob Ezrin when Mitch Ryder got to make it his underground anthem. Carnes is just brilliant on her solo composition, "Mistaken Identity, and it is subtle and smart enough to have crossed over to adult contemporary and jazz formats. Frankie Miller's "When I'm Away From You" sounds like Rod Stewart doing "True Blue" -- those upfront snare drums and a hook as strong as an undertow. Perhaps this should have been the follow-up to "Bette Davis Eyes" rather than "Draw of the Cards," which followed and lingered around the Top 30. Not a place to be for the follow-up to a monster smash. This is an evolution from her work on A&M, and certainly far removed from the New Christy Minstrels. The album comes with photographs galore on the innersleeve, all the lyrics, and tons of credits. Her first hit on EMI about ten months earlier was the fantastic reworking of "More Love," and that elegant pop gem was the type of thing needed to propel this to the status Private Dancer attained for Turner, that Physical garnered for Olivia Newton-John. "Draw of the Cards" plays like a mellow dance number, aimed at a new wave audience when -- well, face it, her biggest smash before "Bette Davis Eyes" was the mellow "Don't Fall in Love With a Dreamer." There is absolutely no pun intended to say this album is more of an identity crisis than a mistaken identity. Wendy Waldman, Carnes, and her husband, Dave Ellingson, craft "Break the Rules Tonite (Out of School)," but it is just too much of a diversion on an album that tests the waters of different rock genres. Flirting with Leslie West-style hard rock is not as appealing to her audience as the beautifully crafted Tom Snow/Dean Pitchford tune "Don't Call It Love." Her other solo composition, "Miss You Tonite," is more the style we expect, and Carnes' beautiful piano work on Richard Stekol's "My Old Pals" brings the album to a proper conclusion. If only this big and talented team could have come up with another couple of brilliant new arrangements as they did with "Bette Davis Eyes." The name Kim should be up there with Olivia, Tina, and Grace, and it wasn't for lack of talent that superstardom didn't occur.
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