In one song she is endearingly goofy with her quirky lyrics that let you live inside her proudly off-center, joyful, belly-laugh filled world, & then in the next she will deepen your soul with her effortlessly authentic heart-speak.

It's no surprise that people like Wayne Brady, sit-com star Jenna von Oy & Jamie Jones - lead singer of multi-platinum All-4-One have all asked to write with Mary Coppin immediately after hearing her music.

The yearning opener, 'Would You Could You,' and the spirited 'This Time' are particularly engaging.', Billboard Magazine Wisely, producer Jame Donnellan keeps the arrangements sparse and focused on Coppin's earthy voice and clever lyrics. 'Mary Coppin.she displays ample humor to go with the requisite confessionals. Her Pop/rock/folk songs take you on a journey from evocative questions to joyful answer', Chris Boardman, film composer, Mel Gibson's 'Payback'. 'Mary Coppin's voice has a magical quality, somewhere between Natalie Merchant and The Kinleys that cuts through the ordinary and can literally hush a noisy club. This disc does preserve a historic moment of sorts, when Bloomfield introduces then-unknown guest guitarist Johnny Winter, who takes some of the guitar duties on 'It's My Own Fault.' This was the appearance that, according to Kooper's liner notes, alerted Columbia to Winter, after which the label quickly offered him a contract.Lost Tapes: Germany 1956-1958 album for sale Mary Coppin But the band isn't too tight (particularly the rhythm section), the lead vocals aren't strong, and the interpretations (including a nine-minute 'Season of the Witch,' which Kooper and Stephen Stills had done on the popular Bloomfield- Kooper- Stills Super Session album) are too long and not terribly imaginative. The soul-pop cover 'Together Till the End of Time' comes off the best, in part because of its relative economy at four and a half minutes in length, and the cover of Sonny Boy Williamson's 'One Way Out' isn't bad. Why? Well, little original material was offered, the only song falling into that category being Bloomfield's '(Please) Tell Me Partner,' a routine and (at ten minutes) overlong blues. And to be honest, it hasn't dated well, the undisputed instrumental talents of Bloomfield and Kooper notwithstanding. There's still some similarity to the repertoire, though, and a good deal of similarity to the music, which is blues-rock with a late-'60s improvisational heaviness. But no, this was recorded about two and a half months later at a different venue, and with a different backup band ( Paul Harris on piano, Jerry Jemmott on bass, and John Cresci on drums). At first glance, you might mistake this for unused material from the same late-1968 concerts that supplied the material for The Live Adventures of Mike Bloomfield & Al Kooper.

The lost tapes cd