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共13首歌曲

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艺人
Jennifer Warnes
语种
英语
厂牌
Private Music
发行时间
1987年01月01日
专辑类别
录音室专辑

专辑介绍

八十年代最具代表性的女声演唱经典之作

全球唯一180G黑胶版终极黄金版

美国音响权威杂志TAS发烧天书评为最佳录音盘

八十年代集诗人、小说家、词曲作者、歌手等多重身分的现代艺术家Leonard Cohen说:「珍妮佛华恩丝的歌声就像「加州阳光」一样,她善于去体会一首歌曲的神髓,然后用声音表达出来,让听者感染到歌曲中丰沛的生命力,因此她可说是一名最佳的「声音表演者」。一九七九年她为电影《诺玛蕾》(Norma Rae)演唱一首“It goes like it goes",为她赢得奥斯卡最佳电影歌曲奖,而在乐坛大放异彩,八二年她和Joe Cocker再为电影《军官与绅士》合唱“Up Where We Belong",一九八七年和Bill Medley为《热舞十七》合唱“(I’ve had) the Time of My life",不但分别拿下了流行榜上冠军曲,更再度拿下奥斯卡最佳歌曲奖即葛莱美奖的最佳二重唱奖,华恩丝旋即成了红遍全球的女歌手。

这张一九八七年录製的专集「著名的蓝雨衣」是一张向Cohen致敬的作品,动用了大编製的乐队,把歌曲中含蓄的情绪用曲是烘托出来,使其蕴涵了丰富的文学性及音乐性。九首歌曲,曲曲都是佳作,特别一提的是“First we take Manhattan"中有德州蓝调吉他大师Stevie Ray Vaughan流畅的吉他演奏,全曲更显奔放淋漓;Cohen和华恩丝合唱的“Joan of Arc"是首壮阔的摇滚史诗,在编曲及合声的运用上气势磅礡,震撼人心。

by William Ruhlmann

Jennifer Warnes was familiar with Leonard Cohen from a tour of duty as one of his backup singers in the early '70s, but this collection of Cohen's songs must have shocked her AM radio fans who knew her from her '70s country-pop hits and her movie themes, if they were even able to connect the woman who sang, &It's the Right Time of the Night for Makin' Love& with the one who declared, &First we take Manhattan,& then we take Berlin& over stinging guitar work by Stevie Ray Vaughan on the opening track here. As that pairing suggests, Warnes wisely took a tougher, more contemporary approach to the arrangements than such past Cohen interpreters as Judy Collins used to. Where other singers tended to geld Cohen's often disturbingly revealing poetry, Warnes, working with the composer himself and introducing a couple of great new songs (&First We Take Manhattan& and &Song of Bernadette,& which she co-wrote), matched his own versions. The high point may have been the Warnes-Cohen duet on &Joan of Arc,& but the album was consistently impressive. And it went a long way toward re-establishing Cohen, whose reputation was in a minor eclipse in the mid-'80s. A year later, with the way paved for him, he released his brilliant comeback album, I'm Your Man. For Warnes, the album meant her first taste of real critical success: suddenly a singer who had seemed like a second-rate Linda Ronstadt now appeared to be a first-class interpretive artist.


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