Happy 30th Anniversary to Bette Midler’s seventh studio album Some People’s Lives, originally released September 4, 1990.
These days, Bette Midler may be most visible for her sassy and acerbic wit, mostly on display within the Twitter universe. But there was a time before the proliferation of social media when the Divine Miss M used both of these qualities and so much more in theater, film and of course, her music. One of those rare beings who can sing, dance and act in such a way as to render critical acclaim all but inevitable, Midler has been at the forefront of her crafts and the entertainment industry for over five decades.
In 1988, Midler took on the role of the rambunctious C.C. Bloom in the global smash hit movie Beaches. The film and accompanying soundtrack yet again certified Midler as a bona fide star and continued her streak of success throughout the ’80s. Whilst Midler sang most of the soundtrack’s songs, it had been a number of years since a studio album of her own had been released. In fact, when Midler released Some People’s Lives—an album of both jazz and pop interpretations—in late 1990, it represented her first studio offering since 1983’s No Frills and it became her highest charting LP in the US (#6 on the Billboard 200) since 1973’s eponymous Bette Midler.
For the longest time, Midler has been an almost risqué figure, someone who isn’t afraid to speak her mind and challenge yours. Yet her music is the stuff of legend and interpretation beyond compare, an icon with almost no fanfare. On Some People’s Lives, Midler displays some of her strongest work and not just vocally, but also with how cohesively effortless it plays out. The album’s lead single and biggest hit, “From A Distance,” showcases her magnificent vocality, coupled with lyrics entrenched in hope and peace. Written by singer-songwriter Julie Gold, “From A Distance” went on to earn a GRAMMY Award for Song of the Year in 1991 and has become one of Midler’s most synonymous songs.
Some People’s Lives provides an almost faultless, polished collection of jazz standards such as “Miss Otis Regrets” by the legendary Cole Porter and Fran Landesman’s “Spring Can Really Hang You Up The Most.” The album also taps into the pop and adult contemporary arenas with Diane Warren’s “Moonlight Dancing,” giving the album a modern cut that manages to never feel out of place.
The album’s opening track, the sassy and almost Caribbean-esque “One More Round” sets the tone for those tongue-in-cheek upbeat numbers Midler pulls off with great ease. Moving from sass to the soul-stirring hopelessness of the album’s title song, Midler is yet again able to exercise her vocal prowess in all its emotional depth and despair.
Longtime producer, mentor and friend Arif Mardin was able to bring his magic to this album by surrounding Midler with a deference that only time and understanding would and could permit, giving way to some of Midler’s strongest work. The production on Some People’s Lives not only complemented her musical charms, but ensured that it placed the spotlight firmly on her strength: that voice.
Other notable contributors to this album are legendary Broadway songwriters Rodgers and Hart who wrote “He Was Too Good To Me/Since You Stayed Here,” along with Susanna Hoffs of The Bangles, who co-wrote the album’s closing track, “The Gift Of Love” with songwriters Tom Kelly and Bill Steinberg (“Like A Virgin,” “True Colors,” “Eternal Flame”).
Although this album has been greatly overlooked, it went on to become Midler’s most formidable commercial success, with Some People’s Lives selling in excess of two million copies in the US alone. On reexamination of this album, I was gently reminded that no matter what Midler touches, it always seems to turn into gold or, in this case, multi-platinum. Sure, sometimes a little brassy, but always with that undeniable Midler touch, and this album is no exception.
LISTEN: