MELANIE'S "Photograph"

Original Released on LP Atlantic SD 18190 0698

(US, 1976)

Regarded by many as Melanie's finest album, "Photograph" was critically acclaimed on its debut in 1976 and yet was only ever released in US, Australia and New Zealand. For reasons unknown Atlantic Records later pulled the album from distribution. By any measure, "Photograph" was a rare accomplishment, a successful fusion of traditional standards of studio finesse with Melanie’s unique and uncompromising gifts. It remains unclear, then, why the album didn’t get the shot that it deserved. Nearly 30 years later "Photograph" finally gets re-issued as a double-set CD including previously unreleased tracks, recorded during the album sessions.

SOME NOTES:

- "Love To Live Again" is a re-working of "Love To Lose Again" from LP "Madrugada".

- "Miranda" appeared on album "Ballroom Streets" but the version here is an earlier studio recording.

- "Ruby Tuesday" is, of course, a re-recording.

- "Unfinished Business" is perhaps better know as "Leftover Emotions", a version of which was later included on "Victim Of The Moon/Crazy Love".

- "Poem" was recorded live in Holland in 2005.

The version of "Nickel Song (Music! Music! Music!)" was also included on Melanie's 1983 release "Seventh Wave".

ORIGINAL ALBUM CREDITS:

All sections written by Melanie Safka except "The Letter" written by Wayne Carson Thompson; refrain From "Music! Music! Music!" written by Stephan Weiss and Bernie Baum; "Ruby Tuesday" written my Mick Jagger and Keith Richards; "Miranda" written by Phil Ochs.

"Save Me", "Groundhog Day", "Photograph" and "Friends & Co", arranged by David Campbell. All other string arrangements by Marty Paich.

Ahmet Ertegun: Creative Direction
Initial recording at Davlen Studios (Engineer: Tom Knox)
Final recording and all mixing at the Sound Factory by Peter Schekeryk and Gregory “Da Duke” Ladanyi, engineer (assisted by Dennis Kirk).
"Save Me" was recorded and mixed by Joel Soifer at Fidelity Sound Studios

Melanie, Dave Doran, Dean Parks and Louis Shelton: Guitars
David Paich and Jim Drennan: Keyboards
Jay Wolfe, Jerry Scheff and David Jackson: Bass
Jim Gordon, Jeff Porcaro and John Gueren: Drums
Milt Holland, Victor Feldman and Angelo Mauceri: Percussion
Melanie, Carole Parks, Denny Bell & some Edwin Hawkins Singers and “The Hand Made Band” (Jim Drennan, Jay Wolfe, Angelo Mauceri & Dave Doran): Backing Vocals
Art Pepper: Sax Solo on "I’m So Blue"
Richard Greene: Violin Solos
Robin Williamson: Mandolin solo on "Raindance"
David Campbell: Viola solo on "Raindance"

ROLLING STONE ORIGINAL REVIEW (1977, January 13):

At her commercial high point, Melanie's quavering, often frenzied wailings made her the darling of some listeners and an object of scorn among others. Her best qualities were detailed in her three hits: "Brand New Key" was a delightful focal point for her childish, fun-loving side; "Lay Down (Candles in the Rain)" showed her tortured, naked soul; and "Look What They Done to My Song, Ma" captured the essence of her European cabaret influences. "Photograph" is Melanie's first album in two years and it finds her touching all bases with enough confidence and maturity to regain her old following and surprise some of her detractors. It's an uneven record, but the bright spots shine. The best song here is "Cyclone," a tense rocker with Melanie's raw, unbridled vocal perfectly matching the angry and confused lyrics ("Found love in the music but lost in the overtones/ Sweat on the brow, blood on the lips, love for the money but gold at the fingertips"). Also impressive are some of the love songs which are incredibly more perceptive than her previous "hold me, touch me" psychodramas. On "Save Me," she successfully confronts her own former, wide-eyed self with the changes she's gone through. There's some wasted space here, notably a rather mediocre remake of the Box Tops' "The Letter" and a dull update of her own "Nickel Song." But on the whole, Melanie seems to have made the transition from flower child to woman rather nicely, and with her talents intact.

MELANIE: "As I See It Now"

Original released on LP Neighborhood NBH 80636

(US, 1975)

Nine months after "Madrugada"'s commercial failure, Melanie braved the waters again with "As I See It Now", a rather limp try at country-folk credibility. "Yankee Man" (originally "Yankee Lady") by Jesse Winchester is spoiled by wincingly cute lyrics, whichever way the pronouns are switched. Melanie's misdirected cover of "Don't Think Twice, It's All Right" is an absolute slog to get through - along with most of "As I See It Now", it's ruined by staid production. Listener fatigue sets in well before side two, which is when the album finally picks up. Skip the tooth-rotting "Yes Sir, That's My Baby," and left are three striking Melanie originals; "Autumn Lady," "Chart Song," and the title track. "Chart Song" is an astrology-tinged poem to Melanie's daughter; unsentimental, succinct, and proof of her ongoing melodic knack. It's just a pity there's such a glut of midtempo filler to get through first. (Charles Donovan in AllMusic)

MELANIE's "Madrugada"

Original Released on LP Neighborhood Records NRS 48001 

(US 1974, February 3)

"Madrugada" was Melanie's follow-up release to the double-album "Live at Carnegie Hall." The more sophisticated a recording artist Melanie became, the less successful her recordings were in commercial terms. What a pity! Melanie is an underrated artist and songwriter with an incredibly devoted fan base. This album showcases Melanie as an excellent songwriter and interpreter of songs from top writers such as Randy Newman, Mick Jagger & Keith Richards, Woody Guthrie, and Jim Croce. Expertly produced by Melanie's husband Peter Schekeryk; engineered by Brooks Arthur with assistance from Larry Alexander. In the UK version of this album, the track "I Am Been Guided" was replaced by Carole King's "Will You Love Me Tomorrow" because the single had become a Top 40 hit in the United Kingdom.

MELANIE: "Stoneground Words"

Original Released on LP Neighborhood Records NRS 47005 
(US, November 1972)

Sadly, "Brand New Key" had sounded the death knell on Melanie's commercial prospects. Stoneground Words was in another class altogether — a mature, intelligent and ambitious work, easily as good as most singer/songwriter fare of its time. Building on Gather Me's better moments, Melanie effectively shed her cuteness but didn't get cynical, either. The lyrics of "Summer Weaving," "Do You Believe," and "I Am Not a Poet" have a pretty, almost painterly quality, and Melanie's ear for an interesting melody was at its strongest. Session heavyweights Sal DeTroia and Hugh McCracken, as well as the first-rate arrangements of Roger Kellaway, ensure Stoneground Words' status as an under-heard classic. What should have been a renaissance ended up a mere footnote to Melanie's glory days. (Charles Donovan in AllMusic)

"Stoneground Words" was another strong offering from Melanie, with fantastic original songs and a cover of Pete Seeger's "My Rainbow Race." This was a pivotal record in Melanie's development as a songwriter. In my mind, she was transitioning to a more sophisticated style of songwriting and it baffles me that a larger record-buying audience eluded her from this point on in her career. Well produced, marketed with several album cover size color photographs of Melanie. "Together Alone" made it to the lower rungs of the singles charts, but the album lacked a commercial blockbuster in the vein of "Lay Down (Candles In the Rain)" or "Brand New Key." (in Amazon)

MELANIE: "Garden In The City"

Original Released on LP Buddah 2318 054 SUPER
(US, DECEMBER 1971)

Sneakily marketed by Buddah as a new album after Melanie had left the label, "Garden in the City" was actually made up of recordings that hadn't made the grade for earlier albums plus a couple of songs from film soundtracks. That didn't augur well for the set, but in fact it isn't too bad. Melanie makes light work of the Jagger/Richards tune "Jigsaw Puzzle," tackles "Lay Lady Lay" with aplomb, and even turns in a respectable standard, "Somebody Loves Me." "People in the Front Row" finds her battling it out against a full-piece orchestra; it's a hammy piece, full of nonsense lyrics and staged laughter that is either a hoot or a travesty, depending on your tastes. It's no surprise that Melanie was apparently dismayed at the appearance of "Garden in the City"; any listener unaware of its true origins would have assumed she was regressing. This curiosity is now remembered more for its scratch 'n' sniff "smell Melanie's Magic Garden" cover than for its content. (Charles Donovan in AllMusic)

MELANIE: "GATHER ME"

Original Released as LP NEIGHBORHOOD RECORDS NRS 47001

(US 1971, December 1)

A1. Little Bit of Me 4:10
A2. Some Day I’ll Be a Farmer 2:51
A3. Steppin’ 3:27
A4. Brand New Key 2:25
A5. Ring Around the Moon 0:38
A6. Ring the Living Bell / Shine the Living Light 5:04

B1. Railroad 2:51
B2. Kansas 1:48
B3. Some Say (I Got Devil) 3:08
B4. Center of the Circle 4:43
B5. What Wondrous Love 3:53
B6. Baby Day 3:44
B7. Tell Me Why 1:29

TECHNICIANS:
Produced and Directed by Peter Schekeryk
Arranger: Roger Kellaway
Recorded at Allegro Sound Studios, N.Y.
Engineer: Bruce Staple
Packaging Director: Bill Levy
Label Design: Ron Levine
Photography: Maddy Miller
All Selections Written by Melanie Safka
Published by Neighborhood Music Publishing Corporation (ASCAP)

MUSICIANS:
Guitar: Melanie
Nylon and Electric Guitar: Sal DeTroia
Prepare Piano and Piano: Roger Kellaway
Conga Drum: Johnny Pacheco
Drummers: Donald MacDonald, Buddy Saltzman and Robert J. Gregg
Lead Harmonica: Jean (Toots) Thielemans
Chord Harmonica: Gilbert Chimes and Michael Chimes
Woodwinds: George Marge
Fender Bass: Don Payne
Contracter: Arthur Kaplan

It seemed that everyone, in the old days, was in love with Melanie. And once you've seen her you realised that she was the enigmatic image of the seventies. With an air of innocence, she was able to seduce the listener with her husky tones - perhaps Freud could put his finger on it. The main thing about Melanie's work - and something that comes through very clearly on this album - is that strange combination she brought musically that is part of the basic feel and simplicity of the early American music, criss-crossed with the mid-European patch of her vocal delivery. It was a voice that was both frantic and gently bawdy so that at times she used to sound vulnerable and at others challenging.

"Gather Me" is the album she was best pleased with, and it is certainly an album that takes a little longer to get into than her past efforts. On the surface you may not notice the difference especially on the opener "Little Bit Of Me" which harks back to the past material about her constant loss of identity, and on "Brand New Key" which has that fey lyrical quality she's also evoked the past with numbers like "Alexander Beetle", but for the rest the numbers are a little more complex lyrically with sudden clever twists and great dismal dives that weren't noticeable before. With "Candles In The Rain" (1970) and "The Good Book" (1971), "Gather Me" establish the holy trilogy of this wonderful singer from the early seventies.

"Just Say Thank You Life For Having Been..."

Original released as LP BUDDAH BDS 95000
(US, February 1971)

A1. Good Book (Melanie Safka) 4:04
A2. Babe Rainbow (Melanie Safka) 5:45
A3. Sign in the Window (Bob Dylan) 2:25
A4. Saddest Thing (Melanie Safka) 5:03
A5. Nickel Song (Melanie Safka) 3:45
A6. Isn't it a Pity (Melanie Safka) 0:33
B1. My Father (Judy Collins) 5:04
B2. Chords of Fame (Phil Ochs) 4:59
B3. You Can Go Fishin' (Melanie Safka) 4:14
B4. Birthday of the Rain (Melanie Safka) 5:54
B5. The Prize (Melanie Safka) 4:41
B6. Babe Rainbow - reprise (Melanie Safka) 1:14

Arranged by John Abbott, Ron Frangipane and Lee Holdridge
Photopgraphy: Maddy Miller
Drawnings by Catherine Siracusa
Packaging: Milton Sincoff
Recorded at Allegro Sound Studio, NYC
Engineer: Bruce Staple

Well, now that's over with, I'll go out and say what another delightful album this is. I can understand to a certain extent why Melanie is stripped bare for criticism - maybe it's because of the sentimentality, the pretty song, or the imagery that could easily be conjured up by the eyes of a child. Melanie's songs contain all these things - plus a diary of what is happening to her now. To all extents and purposes they are honest, and at a time like this, it seems stupid to rap honesty. I find "The Good Book" the most soul searching of her collections yet. She becomes a little depressing at times, but it's the sort of depression I can associate with. Then there's things like "Babe Rainbow" - the most beautiful song on the album, and one of her most thoughtful compositions to date. "Birthday Of The Sun" is another warm, cuddly song, and "Nickel Song" is really what it's all about. Melanie may still be a flower child, and maybe a symbol of charismic youth - yet I dig her songs - and what on earth's wrong with sun and flowers anyway?……

Is she complex or just erratic. She contradicts herself all the time, turning from cynic to paranoiac to starry-eyed sentimentalist, each time passionately sincere. And then, once in a while, she says something actually wise, and you wonder whether all this other stuff has been a put-on, which it hasn’t. It doesn’t matter. That there should be someone who sings like that and that there is music for her to sing is all that counts. Lots of people find Melanie’s voice is irritating. They are unlucky. They will never know that so many unlovely elements-the raspy voice of a French chanteuse, a pure Bronx accent, a plunky, elemental, nylon string guitar-could merge into something unique and intriguing. Her singing is broad and dramatic, pure theater. She sings of pain and partings in glides and gasps and wonderful eccentric phrasing. Melanie makes it so real. Could anybody lie to you in that accent? And then the occasional trace of universal tragedy. «The saddest thing under the sun above is to say goodbye to the ones you love.» Sentimentalism or simple, honest truth? Blessed is the listener who doesn’t identify.

Sometimes Melanie is an observer. “Poor little hairy kids,” she writes. «They’ve fallen in love with all humankind / So tell them you love them so they don’t change their mind.» And there, in essence, is our revolution: masses of kids who only want to be loved. It’s all food for thought and songs, as are all Melanie’s experiences with audiences, with the music business, with living. She incorporates them and packages them forcefully into songs which turn into albums.

Having found her stride in the studio on 1970s "Candles in the Rain", Melanie's 1971 release "The Good Book" seemed like a case of two steps forward, one step back. "The Good Book" was recorded while Melanie was at loggerheads with her record label, Buddah Records (Melanie and her husband and studio collaborator Peter Schekeryk would form their own label to release her next LP), and while it doesn't seem to have impacted the craft of the album, the presence of three covers and the frequently dour mood of these songs don't seem to reflect an artist who was entirely at peace with herself. Melanie's cover of Dylan's "Sign on the Window" and her own title track both depict a woman tired of the music business (if not her art) and eager to tend cows and look after kids rather than deal with the trappings of stardom, and if her take on Phil Ochs' "Chords of Fame" and her own composition, "The Nickel Song," lack the agrarian influence of the former tunes, if anything they're even stronger variation on the same theme. However, it's worth noting there's no such thing as a Melanie album without a bit of emotional excess, and she speaks her heart and mind with clarity and gentle force on these numbers, while finding room for the hard-won wisdom of "The Saddest Thing" and Judy Collins' "My Father," and the playful proto-feminism of "Babe Rainbow." If "The Good Book" was a product of a troubled moment in Melanie's career, there's little arguing that she made the very best of a bad situation. (Mark Deming in AllMusic)

Let's All Share The Leftover Wine

Original Released on LP Buddah BDS 5066 
(US, September 1970)

There have been a number of bashful comparisons between Melanie and Bob Dylan, and it is worth using this convenience to suggest that if Dylan is the seer of this generation then Melanie is the archetypal mother earth. Whereas Dylan is revered for his social analysis Melanie's lyrics and melodies are powerful to their simplicity of direction. Firmly she points towards peace and all that implies. But whereas this is certain, there is greater scope for deeper interpretation. There are many ways to travel, and the meaning behind her words depends very much on the listener. All the tracks, excluding "Peace Will Come", are recorded live in New York, and the effects of audience participation call to mind the membership of the Plastic Ono Band - we're all part of it. The sentiments behind "I Don't Eat Animals" and "Peace Will Come" are expressed with childish simplicity that leaves them vulnerable to attack, embarrassingly so if one happens to agree to some extent, and yet Melanie is far from a delightful moron, as her ability to satirise in "Psychotherapy" clearly shows (from a 1970 British review)

ORIGINAL LINER NOTES:

As the concert drew to an end and the audience began to fear that each song would be the last, the flood began. Shadowy figures in beads and fringe flowed down the carpeted aisles of Carnegie Hall. They swirled onto the bright stage eddying silently around the singer hunched over her guitar. Few of them touched her. One gave her beads for her hair. Another wept and whispered, “Don’t leave us”. Long ago she had told them, “You gotta get close to it all,” and they had left their isolated seats and came down the aisle for that purpose – simply to be close. She drew strength from them and sang on until she had no more songs. When she rose to leave some of them embraced her, and tears were exchanged. Hands reached from cufflinked sleeves and pulled her backstage where the people who handle her business arrangements congratulated her on a good night’s work. Wine was served. What happened on the stage that night was too delicate an event to register on magnetic tape. For those of us who were there, the sounds on this record can only remind us of what was felt. We all have to share the Leftover Wine. (Margie English)

Little Sisters Of The Sun...

Original Released on LP Buddah Records BDS 5060

(US, April 1970)

- The original vinyl version of "Candles In The Rain" exists in at least three different formats. In the US as a 10 track album and also as a nine track, which excluded "Alexander Beetle". US versions also used the edited version of "Lay Down (Candles In The Rain)" running for just under four minutes.

- For the UK release in September 1970 (Buddah 2318 009), "Alexander Beetle" was excluded to be replaced by "Close To It All" (from Melanie's first album) but the full version of "Lay Down (Candles In The Rain)" running nearly eight minutes was included.

- The first single extracted from the album was "Lay Down" b/w "Animal Crackers" (Buddah 2011 013), issued April 1970.

- "Ruby Tuesday" b/w "What Have They Done To My Song Ma" (Buddah 2011 038) was released as a single in the UK in August 1970 and reached No. 39 in the charts.

- The album reached No. 5 in the UK album charts.

This is the third album from Melanie and it's tremendous. She has an incredible voice and she writes beautiful, tender, simple songs. This album is a compelling collection of tracks from a lady with such a lot to offer to the world…… (from a 1970 review)

Melanie Safka seems to be one of those artists that time has forgotten despite recording this absolute classic record (and a few others too). Other strong Female singer songwriters of the time seem to have been given a lot more attention over the years, but Melanie is certainly as good, and in some ways, a more complete and well rounded artist than others with legendary status.

"Candles in the Rain" is her third release and probably her most well known as it was such an accessible bunch of songs from the late sixties ‘Hippie’ movement for the rest of the world to enjoy. Capturing the time perfectly well while remaining timeless as the years rolled past.

Her covers of James Taylor's, "Carolina on my Mind" and the Stones' "Ruby Tuesday" are both exceptional versions but her own writing is quite amazing as well, with songs like "Citiest People",  "Lovin’ Baby Girl", "Leftover Wine" and, of course, her memorable "What Have They Done To My Song, Ma", which are sung with such genuine passion and emotion that we are forced to respect and admire her.

Melanie’s voice is the real draw card here. A unique voice that is stirring and heart melting in her softly sung ballads, and that is also powerful and ferocious when she belts out her big chorus. Latter day Female vocalists from the late seventies owe a lot to this courageous and under rated artist.

Affectionately...

Original Released on LP Buddah BDS 5041 
(US 1969, November 15)

The US release of this album was simple called "Melanie" and was released in 1969 on the Buddah Records label (BDS 5041). For the UK it was re-named "Affectionately Melanie" (Buddah 203 028) and was also re-packaged. While the US issue came in a gatefold sleeve that opened up to reveal the lyrics, the UK issue came in a single sleeve with separate lyric sheet. The UK album also contained Melanie's message to the buyer in hand written form instead of typed as on the rear of US cover. There were no hits off Melanie's second release, but it did spawn a handful of concert favorites, among them "Any Guy" and "Uptown Down," both chirpy pop songs with lusher, more commercial arrangements than anything on "Born to Be". "Beautiful People" was the first indication of Melanie's flower child leanings and became one of her standards. "Tuning My Guitar" is the most affecting moment: even though its whiny "troubled artist" lyric is grotesquely self-indulgent, the song ends in an astonishing display of vocal pyrotechnics that is hard to forget. "Affectionately" is a more palatable and disciplined work than the debut; there are no hair-raising children's songs or attempts to be all things to everyone. (Charles Donovan, All Music Guide)