Happy 50th Anniversary to Bette Midler’s debut album The Divine Miss M, originally released November 7, 1972.
As far as debut albums go, Bette Midler’s The Divine Miss M might just take the top spot for greatest ever. Released in 1972, It most definitely was one of the ‘70s greatest debuts and one that set Midler on a career trajectory that has been varied beyond compare and one that has sustained the multi-faceted artist, allowing her career to continue well into its sixth decade.
Given that a milestone as illustrious as fifty years is an obvious cause for celebration, it is also a time to reflect on a milestone that few artists are able to reach, something that even the most hardened of hearts would not be able to negate. An industry as fickle as the music business takes no prisoners when it comes to female artists’ longevity, something that an artist as accomplished as Midler would be all too familiar with.
Midler’s beginnings are well known. Joined by her pianist at the time, Barry Manilow, Midler started singing in the Continental Baths at New York City’s Ansonia Hotel in 1970. Midler and Manilow quickly became friends and it was through this friendship that Manilow ended up co-producing The Divine Miss M. The Continental Baths also allowed Midler to introduce and then fine-tune her now infamous acerbic wit alongside performing many of the songs that feature on this album live. In parallel, Midler cultivated her core following that really cemented her icon status within the LGBT community which has continued to this very day.
Midler’s ability to straddle various genres organically would become incredibly apparent later in her career. But it was also something that was given ample recognition on this album. Part night club performer, part torch song preserver and a whole lot of ‘60s girl group aspirant, Midler ensured that her debut covered most bases when it came to experimenting with sounds, a feat rarely achieved successfully on one album. Opening with the Bobby Freeman cover “Do You Wanna Dance?”, Midler switched the original uptempo track into something much slower, allowing the listener to be seduced by Midler’s sultry vocals.
Listen to the Album:
One thing that Midler demonstrates early on with this album is a lack of fear where demonstration of vulnerability is concerned. Unafraid to wear her heart on her sleeve, Midler moves effortlessly between a fine balancing act of truthfulness coupled with a profound admiration for the songs she covers. Whether it’s on the Dixie Cups’ “Chapel of Love” or the Shangri-Las’ “Leader of the Pack,” Midler’s knack for mastering the sweet sounds of the girl groups that dominated the airwaves of the ‘40s, ‘50s and ‘60s isn’t just an homage, but rather a foray into a sound that Midler manages to sit beautifully in. The epitome of all this lies firmly in the cover of The Andrews Sisters’ “Boogie Woogie Bugle Boy.”
Arguably her greatest moments on The Divine Miss M are the emotional investitures she puts into the torch songs featured. Midler was the first to record “Delta Dawn” (later made famous by country singer Tanya Tucker) and her versions of “Hello In There,” “Am I Blue?,” and “Superstar” highlight the depth and power in her voice and her ability to move into character when the time arises. Her approach to recognizing the subtle differences within each song and allowing them to breathe life where needed is compelling on one hand and showcases an immense amount of compassion on the other.
On the original version of the album, side two opens and closes with “Friends,” a song simple in its lyrical value, but with a heartfelt message. Midler again manages to add the necessary emotional layers to turn from pop to profound in a few simple bars.
“Daytime Hustler” is the album’s silent star and probably its most underrated. A sexy funk r&b track, it’s full of sass and breathy exclamations, with the bridge being nothing short of delicious. It represents the dawn of the ‘70s perfectly.
With the production team heralded by legendary names such as Joel Dorn, Ahmet Ertegun and Geoffrey Haslam, the experience required for a then-unknown and novice Midler to deliver such a stunning debut meant that the young vocalist was guided on how to catch the best parts of her voice and when to take a step back. Couple this with Manilow’s musical direction, already a star in his own right, and the GRAMMY Award that this album won in 1973 (for Best New Artist), was, let’s be honest, inevitable.
Not only one of Midler’s finest albums, The Divine Miss M also provided a moniker that has stayed with her ever since. A strong case can be made that this album is Midler’s finest moment when it comes to capturing the multitude of facets that she brings to her artistry. But more importantly, her debut affair highlights her vocal prowess beautifully and just what it means to not shy away from developing the characters that so often form the basis to many songs. There is power in her music and most definitely in her persona. After all, she is The Divine Miss M.
LISTEN: