Toward the end of the 1970s, the careers of Leonard Cohen and Phil Spector were headed in opposite trajectories. Cohen rode high on a five album creative streak that had begun with his debut LP nine years previous, and Spector was spiraling down a well of drink, drugs, bizarre behavior and a string of albums that, while brilliant, were so polarizing that labels often had to be sweet talked into putting them out. Naturally, their great summit of 1977 was one that continues to divide, challenge and amaze. But as Spector put it, midway through their three-week songwriting binge that resulted in 15 new tracks, there's no denying that this is some "great fucking music." Discussing Cohen's contribution here is almost pointless, since the man's ability to craft a lyric and turn a phrase is sickeningly consistent - and aside from Spector's obvious influence on stripping a few layers of subtlety here and there and adding a touch of tasteful schmaltz to the choruses, Death of a Ladies' Man only continues the hot streak. It shouldn't be a surprise then, that the real magic of this record lies in Spector's typically over the top production. If his records of the classic era were Wall of Sound, the noise he creates here pours in through tunnels and waves, with his wrecking crew of the mid 60s reprising their role with some added syrupy 70s grandeur and a layer of echo so thick that it practically becomes an instrument in itself. It's worth noting that Bob Dylan and Allen Ginsberg drop by to lend their voices to the raucous "Don't Go Home With Your Hard-On" - a raveup that nearly disrupts the flow, but as a testament to the strength of this record, hardly creates a ripple. Unquestionably weird, but bruised and lovely all the same, this LP must be heard to be believed.
Showing posts with label Wall of Sound. Show all posts
Showing posts with label Wall of Sound. Show all posts
Friday
Leonard Cohen
Death of a Ladies' Man - 1977
Toward the end of the 1970s, the careers of Leonard Cohen and Phil Spector were headed in opposite trajectories. Cohen rode high on a five album creative streak that had begun with his debut LP nine years previous, and Spector was spiraling down a well of drink, drugs, bizarre behavior and a string of albums that, while brilliant, were so polarizing that labels often had to be sweet talked into putting them out. Naturally, their great summit of 1977 was one that continues to divide, challenge and amaze. But as Spector put it, midway through their three-week songwriting binge that resulted in 15 new tracks, there's no denying that this is some "great fucking music." Discussing Cohen's contribution here is almost pointless, since the man's ability to craft a lyric and turn a phrase is sickeningly consistent - and aside from Spector's obvious influence on stripping a few layers of subtlety here and there and adding a touch of tasteful schmaltz to the choruses, Death of a Ladies' Man only continues the hot streak. It shouldn't be a surprise then, that the real magic of this record lies in Spector's typically over the top production. If his records of the classic era were Wall of Sound, the noise he creates here pours in through tunnels and waves, with his wrecking crew of the mid 60s reprising their role with some added syrupy 70s grandeur and a layer of echo so thick that it practically becomes an instrument in itself. It's worth noting that Bob Dylan and Allen Ginsberg drop by to lend their voices to the raucous "Don't Go Home With Your Hard-On" - a raveup that nearly disrupts the flow, but as a testament to the strength of this record, hardly creates a ripple. Unquestionably weird, but bruised and lovely all the same, this LP must be heard to be believed.
Toward the end of the 1970s, the careers of Leonard Cohen and Phil Spector were headed in opposite trajectories. Cohen rode high on a five album creative streak that had begun with his debut LP nine years previous, and Spector was spiraling down a well of drink, drugs, bizarre behavior and a string of albums that, while brilliant, were so polarizing that labels often had to be sweet talked into putting them out. Naturally, their great summit of 1977 was one that continues to divide, challenge and amaze. But as Spector put it, midway through their three-week songwriting binge that resulted in 15 new tracks, there's no denying that this is some "great fucking music." Discussing Cohen's contribution here is almost pointless, since the man's ability to craft a lyric and turn a phrase is sickeningly consistent - and aside from Spector's obvious influence on stripping a few layers of subtlety here and there and adding a touch of tasteful schmaltz to the choruses, Death of a Ladies' Man only continues the hot streak. It shouldn't be a surprise then, that the real magic of this record lies in Spector's typically over the top production. If his records of the classic era were Wall of Sound, the noise he creates here pours in through tunnels and waves, with his wrecking crew of the mid 60s reprising their role with some added syrupy 70s grandeur and a layer of echo so thick that it practically becomes an instrument in itself. It's worth noting that Bob Dylan and Allen Ginsberg drop by to lend their voices to the raucous "Don't Go Home With Your Hard-On" - a raveup that nearly disrupts the flow, but as a testament to the strength of this record, hardly creates a ripple. Unquestionably weird, but bruised and lovely all the same, this LP must be heard to be believed.
Wednesday
Nilsson
Knnillssonn - 1977
Often overlooked in favor of Nilsson Schmilsson or the John Lennon produced Pussy Cats when it comes to Nilsson's seventies output, Knnillssonn's saving grace is that the LP was his personal favorite at the time of its recording. Plus the music itself is pretty damn impressive to boot. With his voice having finally recovered from the train wreck sessions with Lennon, Nilsson set out to write a complete album of original material, handle the production duties himself and make a proper comeback record before it was too late. The resulting LP was exactly what Nilsson had intended. A lusciously produced album that served as a testament to his continued prowess as one of the decade's finest songwriters and one of the greatest achievements of his career. However, as fate would have it, Elvis died shortly before its release, RCA shifted its marketing focus and both Nilsson and Knnillssonn were hung out to dry. It would be the last record he would release in the US until his death nearly two decades later.
Often overlooked in favor of Nilsson Schmilsson or the John Lennon produced Pussy Cats when it comes to Nilsson's seventies output, Knnillssonn's saving grace is that the LP was his personal favorite at the time of its recording. Plus the music itself is pretty damn impressive to boot. With his voice having finally recovered from the train wreck sessions with Lennon, Nilsson set out to write a complete album of original material, handle the production duties himself and make a proper comeback record before it was too late. The resulting LP was exactly what Nilsson had intended. A lusciously produced album that served as a testament to his continued prowess as one of the decade's finest songwriters and one of the greatest achievements of his career. However, as fate would have it, Elvis died shortly before its release, RCA shifted its marketing focus and both Nilsson and Knnillssonn were hung out to dry. It would be the last record he would release in the US until his death nearly two decades later. Monday
Elvis
An Afternoon in the Garden - Recorded 1972
Arguably the finest hour of The King's final decade, Elvis' run of shows at Madison Square Garden on June 9,10 & 11, 1972 were solid proof that the man could still live up to his legend. Every seat was sold out well in advance. Dylan, John Lennon and George Harrison were all forced to buy tickets as The Colonel didn't believe in freebies. Media scrutiny had reached a fever pitch, and to capitalize on the unprecedented publicity, RCA planned to issue a live LP of the event just days afterward. The resulting album, Elvis as Recorded at Madison Square Garden, was an abridged recording of the 8:30 Saturday June 10 performance. An Afternoon In The Garden, released in 1997, documents the entire show from earlier that afternoon -- and what a show it was. The band was enormous, The King was in rare form and all the hits are here. Check out the smokin' "Polk Salad Annie" and a gigantic soul take on Three Dog Night's "Never Been to Spain." Long live The King!
Arguably the finest hour of The King's final decade, Elvis' run of shows at Madison Square Garden on June 9,10 & 11, 1972 were solid proof that the man could still live up to his legend. Every seat was sold out well in advance. Dylan, John Lennon and George Harrison were all forced to buy tickets as The Colonel didn't believe in freebies. Media scrutiny had reached a fever pitch, and to capitalize on the unprecedented publicity, RCA planned to issue a live LP of the event just days afterward. The resulting album, Elvis as Recorded at Madison Square Garden, was an abridged recording of the 8:30 Saturday June 10 performance. An Afternoon In The Garden, released in 1997, documents the entire show from earlier that afternoon -- and what a show it was. The band was enormous, The King was in rare form and all the hits are here. Check out the smokin' "Polk Salad Annie" and a gigantic soul take on Three Dog Night's "Never Been to Spain." Long live The King!
Subscribe to:
Comments (Atom)