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Maria Muldaur
Maria Muldaur

Includes "Midnight at the Oasis" and
"Three Dollar Bill"


SRP: $29.99 + Shipping & Handling

      (Domestic Orders - USPS Priority Mail
      International - First Class Mail Intn'l Parcel)

Config: 200g/gatefold jacket
Cat. #: eXLP-44065
UPC: 780014406516


Personnel: Maria Muldaur (vocals); Ry Cooder, Andrew Gold, Clarence White (guitar, acoustic guitar); Richard Greene, Beryl Marriott (violin); David Nichtern (acoustic guitar); Bill Keith (banjo, steel guitar); Mac "Dr. John" Rebennack (piano); David Grisman (mandolin); Freebo, Chris Ethridge, Klaus Voorman (bass); Ray Brown, Dave Holland (acoustic bass); Ed Shaughnessy (drums); Jim Gordon (drums, organ, clarinet); Amos Garrett (vocals, guitar, electric guitar); Greg Prestopino (vocals, piano, keyboards, background vocals); Ellen Kearney, Karen Alexander, Bettye LaVette, Gloria Jones, Jessica Smith (vocals, background vocals); David Lindley (guitar); Larry Packer (violin, viola); Nick DeCaro (accordion); Jerry Jumonville, Artie Butler (alto horn); Mark T. Jordan, Jim Dickinson, Spooner Oldham (piano, keyboards); Chris Parker, John Bourdreaux, Jim Keltner, John Boudreaux (drums).

Producer Joe Boyd, Lenny Waronker
Mastered for this LP by Kevin Gray at Cohearent Audio
Pressed at QRP

Side One:
    Any Old Time
    Midnight at the Oasis
    My Tennessee Mountain Home
    I Never Did Sing You a Love Song
    The Work Song

Side Two:
    Don't You Make Me High (Don't You Feel My Leg)
    Walkin' One and Only
    Long Hard Climb
    Three Dollar Bill
    Vaudeville Man
    Mad Mad Me


Exhibit Records is proud to present:

"One of those classic debut albums every singer wants - One of the half-dozen Best Albums of 1973."
- Rolling Stone magazine

Maria Muldaur's strong debut features savvy studio vets, talented guests, strong tunes and Muldaur's best-known single, "Midnight at the Oasis," a flirty invitation to forbidden pleasure, set in an Arabian Nights desert, that falls somewhere between jazz and pop. A well-known music critic declared that "'Midnight At The Oasis' was probably responsible for the conception of more children than any other song of the 1970's." The recording appeared in 1973, during a moment of great openness in popular music. Her album became an FM staple, and she found just the right balance between her commitment to the traditional material she favors and her ability to interpret it in her own quirky and original recognizable singing style. There's not a weak song, a weak arrangement, or a weak performance anywhere on it. Muldaur has an amazing voice, a kind of "link" between the worlds of folk, blues and jazz. This album has elements of rock, pop, blues, folk, country, bluegrass even vaudeville. Somehow, all the disparate elements blend well to make for a cohesive, remarkably unified album impossible to classify as a whole. But the album's greatest moments belong to Maria alone - her vocal gifts defy expression. After a decade of work this debut recording revealed her art as mature, sophisticated, sensual and wise. The songs and performances are sweet, poignant, salacious, intelligent and attractive. The high point may well be Wendy Waldman's "Mad Mad Me," which closes the album with the most hauntingly gorgeous two minutes and fifty-three seconds ever recorded.

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