- Bonnie Bramlett (aka Bonnie Lynn O'Farrell) -- vocals

  backing musicians (1978)

- Jay Armentrout -- drums
- Fred Beckmeier - bass
- Steve Beckmeier - guitar
- Joe English -- drums
- Joel Ferguson -- banjo 
- Venetta Fields --  backing vocals
- Jack Gold  -- percussion 
- Ricky Hirsch -- guitar
- Clydie King -- backing vocals
- Robert A Martin, -- keyboards, sax
- Shirley Matthews - backing vocals
- Jim Nalls -- guitar
- David Pinkston -- steel guitar
- Deke Richards -- guitar, keyboards

- Delaney and Bonnie

Genre: rock

Rating: 2 stars **

Title:  Memories

Company: CPN-0199

Catalog: Capricorn
Year: 1978

Country/State: Illinois

Grade (cover/record): VG+/VG+

Comments: minor ring wear on cover; promo stamp back cover

Available: 1

Catalog ID: 392

Price: $10.00

Best time to play:  probably never

If you've read any of my Delaney and Bonnie comments you'll know that I'm not the biggest Bonnie Bramlett fan in the world.  For the most part, her voice has always struck me as powerful, shrill and bombastic.  Kinda' like Tina Turner on steroids.

Bramlett's fourth studio album, 1978's "Memories" teamed her with former Motown writer/producer Deke Richards.  In addition to producing the collection, the late Richards kicked in a couple of songs and played keyboards on the album.  Musically the album was kind of a mess with Bramlett clearly searching for musical direction and an audience.  Her voice remained powerful with a couple of tracks revealing a darker, huskier timbre ('Writing On the Wall'), but her longstanding habit of over-singing and sounding screechy remained intact.   In fact, her background singers frequently committed the same sin throughout the collection.  Musically the set was all over the roadmap.   'Writing On the Wall', 'Except for Real' and 'Lies' were all big ballads seemingly written with an ear to radio play.   'Holding On To You' and a cover of Stevie Winwood's 'Can't Find My Way Home' found her operating in a blues-rock arena.  About the best I can say is that it was all competent and professional, though seldom particularly exciting.  

"Memories" track listing:
(side 1)

1.) Holdin' On To You   (Dolly Parton) - 2:55

The album opened up with a surprisingly good cover of Dolly Parton's 'Holdin' On To You'.  Revamping the song as a Gospel-tinged blues-rocker, the track showcased how good Bramlett could be when she avoided over-singing (well, most of the time).   That said, the real charm on this one came in the form of Jay Armentrou opening drums which has become a favorite with samplers.  rating:  *** stars
2.) Writing On The Wall   (Deke Richards) - 3:00

One of two Richards compositions, 'Writing On the Wall' was a big, commercial ballad seeming written for maximum radio exposure.   The song was nice enough - easy to picture Diana Ross taking a stab at it, but the interesting facet was Bramlett's performance which revealed a deeper, huskier timbre than norm.  Surprisingly enjoyable, though it would have been even better without some of the heavy orchestration.  rating: *** stars
3.) Except For Real   (Chip Condon) - 3:18

'Except for Real' was a country-tinged ballad with one of those dreadful 'poor girl' lyrics.   English lit majors were certain to lap up the life-is-tough-as-a-lonely-girl lyrics.  Everyone else; probably not.   rating: ** stars
4.) Lies   (Bonnie Bramlett - Dru Lomba) - 3:02

Another sappy, over-orchestrated radio-ready ballad, 'Lies' was completely forgettable.   rating: ** stars

5.) I've Just Seen A Face   (John Lennon - Paul McCartney) - 3:11

Not exactly the best Beatles cover I've ever stumbled across, Bramlett's arrangement held on to the original arrangement, but tried to jazz it up with a poorly though out up tempo blues-rock arrangement.   Damn if she didn't sound a but like Tina Turner on this one.   Different, but not particularly enjoyable.  rating: ** stars

(side 2)
2.) Can't Find My Way Home  (Steve Winwood) - 3:52

Giving credit where due, Bramlett's country-tinged cover of Steve Winwood's 'Can't Find My Way Home' was great.  Once again shifting into her lower vocal registry, she mostly stayed away from being shrill and screechy (leaving it to her backing singer).  Sticking to the song's original structure and melody, the musical spotlight was on banjo player Joel Ferguson and guitarist Ricky Hirsch who made it one of the standout performances.   rating: **** stars
3.) 'The Flame Blinds The Moth   (R.A. Martin) - 4:05

'The Flame Blinds The Moth' was a competent, but unexciting blues-rock tinged ballad.  The addition of an adult contemporary sax solo didn't add much to the arrangement.   rating: ** stars
4.) Can't Stay   (Deke Richards) - 3:42

The second Richards composition, 'Can't Stay' sounded like a Motown track (not surprising since Richards wrote a bunch of material for the label).  Surrounded by an increasingly "urgent" arrangement, it was probably the album's most commercial offering.   rating: *** stars
5.) Memories   (Bonnie Bramlett) - 4:55

One of two originals, the title track sounded a bit like something Jimmy Buffett might have written.  A breezy, mid-tempo country-rocker, the song sported some nice David Pinkston  pedal steel guitar.  Stripped of Bramlett's screechy vocal and some of the orchestration, this one could have been really good.   rating: ** stars

The album quickly vanished into cutout bins and within a year Bramlett was working as a backing singer for Stephen Stills which is where she attracted much of her notoriety.   As part of Stills touring band, in April 1979 Bramlett was introduced to Elvis Costello at a Columbus, Ohio Holiday Inn.  The ensuing conversation found Costello at his most obnoxious, making obscene comments about Americans in general and American musicians including Buddy Holly, Elvis Presley,  James Brown, and Ray Charles.  Bramlett took offense and either slapped, or punched Costello in the face, which then erupted into a brief brawl between the two entourages.   After being showered with death threats, a couple of days later a contrite Costello apologized for his behavior; later claiming he was purposely being rude in order to end the conversation.