It might amaze anyone who only knows her for "Those Were the Days" to realize that of the 17 songs on this imported CD, only four appeared on either of Mary Hopkin's albums, and that only "Those Were the Days" has been available elsewhere on CD since the mid-'90s. Who would have thought she'd released that much music in just three years? This collection is partly related to the similarly titled 11-song LP compilation of Hopkin's work that appeared during 1972. That release was premature, a result of Apple Records' thrashing about trying to generate revenue, but time has made the need for such a collection a little more clear. Hopkin ended up leaving behind a considerable number of singles that never made it onto albums, all of which are featured here along with most of their B-sides; the latter are extremely important, because Hopkin usually preferred the B-sides, feeling they represented what she was really about as a singer far better than her A-sides.
"… enorm charismatische Sängerin und Gitarristin… die gefühlvoll-unprätentiöses Songwriting mit bluesigen Untertönen kombiniert." (Audio Magazin)
A timely, controversial work of grand proportions, The Gospel According To The Other Mary is a new, full-scale reimagining of the Bach oratorio from composer John Adams and iconoclast writer/director Peter Sellars. Adams and Sellars’ previous collaborations included Nixon In China, the most-performed American opera since Gershwin’s Porgy and Bess, and Dr. Atomic, an opera about the invention of the atomic bomb.
Notwithstanding one or two isolated exceptions, it wasn’t until the mid-Sixties that independent female voices really began to be heard within the music industry. The feminist movement naturally coincided with the first signs of genuine musical emancipation. In North America, Joan Baez and Buffy Sainte-Marie emerged through the folk clubs, coffee-houses and college campuses to inspire a generation of wannabe female singers and musicians with their strong, independent mentality and social compassion, while the British scene’s combination of folk song revival and the Beatles-led pop explosion saw record company deals for a new generation of pop-folkies including Marianne Faithfull, Dana Gillespie and Vashti Bunyan.