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Pop - Erschienen am 14. Oktober 1983 | Portrait

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Ein Jahr nachdem Madonna ihr selbstbenanntes Debüt-Album veröffentlichte, tauchte eine gewisse Cyndi Lauper aus New York auf, die ihr Erstlingswerk selbstbewusst "She's So Unusual" nannte: Und ungewöhnlich war diese Pop-Sängerin mit kieksender Stimme und knallbunten Outfits im extrovertierten Eighties-Musikzirkus allemal, zumal Lauper spielerischen Pop mit subversiven Botschaften verbindet. Sie tritt anarchisch bis albern auf, Eigenschaften, die sie zu einer Art Anti-Madonna machen, der in ihrer Wandelbarkeit eines fehlt: Humor und Haltung. Der überpoppige und übersprudelnde Megahit "Girls Just Wanna Have Fun" zeigt dies mit seiner feministischen Message, und noch mehr die zweite Single-Auskopplung "She Bop". Der Track ist die weibliche Antwort auf Billy Idols "Dancing With Myself" (im Jahr 1980 erschienen), in dem es nur vorgeblich um das Tanzen mit sich selbst geht. Lauper singt in "She Bop" ziemlich uncodiert über weibliche Selbstbefriedigung und sorgt damit natürlich für eine Kontroverse sowie den in den Achtzigerjahren unvermeidlichen "Parental Advisory"-Aufkleber, der aber eigentlich schon andere KünstlerInnen in den Augen der Fans eher adelte, denn tadelte wie ebe auch Madonna, Prince oder AC/DC. Die Aufregung um den Text wurde noch größer, als Lauper verkündete, sie habe ihn nackt eingesungen. Um die erhitzten Gemüter wieder zu beruhigen, griff sie zur Billy-Idol-Strategie und erklärte, Kinder könnten doch daran glauben, dass es im Song ums Tanzen gehe, und wenn sie älter würden, die zweite Ebene verstehen. Cleverer kann man Popmusik eigentlich nicht erklären. Auch das Musikvideo zum Welthit spielt mit der tiefliegenden sexuellen Anspielung auf Masturbation, so liest Lauper in einem homoerotischen "Beefcake"-Magazin mit halbnackten Männern, und das Self-Service-Schild an einer Tankstelle steht dort auch nicht umsonst. Sie trägt dunkle Sonnenbrillen und einen Blindenstock – eine Anspielung auf den Mythos, Selbstbefriedigung mache blind. Onkel Siggy alias Sigmund Freud spielt im Clip ebenfalls mit. Physisch psychologischer Pop plus der treibende New Wave von "She Bop" machen das Stück zu einem der besten Tracks der Dekade. Doch das Debüt Laupers kann auch leise, das beweisen die eindringlichen Balladen auf dem Album. Allen voran natürlich "Time After Time": Den Titel lieh sie aus einer Fernsehzeitschrift, wo sie von dem gleichnamigen Science-Fiction-Film las, in dem eine Zeitmaschine eine Rolle spielt. Das Thema wird mit Drums, die einem Uhrticken gleichen, aufgenommen, im Text geht es um eine zeitlose Liebe. Der Song gilt vielen als stärkstes Stück nicht nur des Albums, sondern auch von Lauper selbst und mittlerweile als Klassiker. Wie ungewöhnlich Laupers Debüt ist, zeigt, dass es keinen gleichnamigen Titelsong gibt, sondern einen Track namens "He's So Unusual": Dabei handelt es sich um ein obskures Cover, im Betty-Boop-Style von ihr gesungen und auf 45 Sekunden gekürzt. Mit dem Eingangsrocktrack "Money Changes Everything" von Tom Gray und "When You Were Mine" von Prince gibt es übrigens noch zwei weitere Coverversionen auf dem Album. Das Original zu "He's So Unusual" aus dem späten 1920er Jahren stammt von Helen Kane, die als Inspiration für die Comicfigur Betty Boop gilt und die den "Boop" in die Musik brachte – am bekanntesten im Lied "I Wanna Be Loved By You", berühmt geworden durch Marilyn Monroe. In ein paar Sekunden degradiert Cyndi Lauper hier also das "He", und verweist auf die vielen "Shes" in der Musikgeschichte. Und "She's So Unusual" hat mittlerweile mit seinem zeitlosen, frischen und frechen Mix aus Pop, Rock, Ska, Synthpop und New Wave sowie Laupers einzigartiger überdrehter Sixties-Girl-Group-Stimme ebenso seinen festen Platz in der Musikgeschichte. © Laut
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CD19,99 €

Pop/Rock - Erschienen am 11. Dezember 2014 | Legacy Recordings

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CD14,49 €

Pop - Erschienen am 1. Januar 1986 | Epic - Legacy

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There were a few years in the mid-'80s when one couldn't go out for a cup of coffee without encountering Cyndi Lauper in one form or another. Her videos were playing constantly on MTV, her music was everywhere on the radio, and, best of all, children were even dressing up as Cyndi for Halloween. In retrospect, it was a Lauper-ish time but it was all over quite quickly; in fact, the period in the ultra-limelight didn't even span the period covered by two album releases, which means that this follow-up to her smash debut album was relegated to the also-ran pile, with sad results such as only one sort-of hit single (the title track) and nobody apparently interested in imitating the skirt she wore on the back cover photo, which seems like it is made of slashed-up concert posters. Kind of a shame since so much love and attention went into this album. Guest stars and high-dollar session musicians abound, including other '80s icons such as the Bangles and the manic Pee Wee Herman, who provides a great little answering-machine bit at the end of "911." Lauper is a fantastic vocalist, meaning that any record producer worth hiring would be happy to dream up endless settings for her. This album is nothing if not ambitious, and some of the stretches really pay off, such as the ultimately endearing cover of Marvin Gaye's "What's Going On." Other aspects date badly. For example, highly reverberated and artificial sounding drums and keyboards were really popular at the time, but a vocalist with a clear voice such as Lauper sounds much better in the context of real instruments with their warmer sounds. When it comes to tunes such as the nice Cajun number "The Faraway Nearby," drums should have been turned way down and other instrumental colors brought up. Despite these sorts of problems, there really wasn't that much music recorded by this artist during her most popular period, so fans will no doubt want to own it all. © Eugene Chadbourne /TiVo
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HI-RES16,99 €
CD14,49 €

Pop - Erschienen am 1. Januar 1986 | Epic - Legacy

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There were a few years in the mid-'80s when one couldn't go out for a cup of coffee without encountering Cyndi Lauper in one form or another. Her videos were playing constantly on MTV, her music was everywhere on the radio, and, best of all, children were even dressing up as Cyndi for Halloween. In retrospect, it was a Lauper-ish time but it was all over quite quickly; in fact, the period in the ultra-limelight didn't even span the period covered by two album releases, which means that this follow-up to her smash debut album was relegated to the also-ran pile, with sad results such as only one sort-of hit single (the title track) and nobody apparently interested in imitating the skirt she wore on the back cover photo, which seems like it is made of slashed-up concert posters. Kind of a shame since so much love and attention went into this album. Guest stars and high-dollar session musicians abound, including other '80s icons such as the Bangles and the manic Pee Wee Herman, who provides a great little answering-machine bit at the end of "911." Lauper is a fantastic vocalist, meaning that any record producer worth hiring would be happy to dream up endless settings for her. This album is nothing if not ambitious, and some of the stretches really pay off, such as the ultimately endearing cover of Marvin Gaye's "What's Going On." Other aspects date badly. For example, highly reverberated and artificial sounding drums and keyboards were really popular at the time, but a vocalist with a clear voice such as Lauper sounds much better in the context of real instruments with their warmer sounds. When it comes to tunes such as the nice Cajun number "The Faraway Nearby," drums should have been turned way down and other instrumental colors brought up. Despite these sorts of problems, there really wasn't that much music recorded by this artist during her most popular period, so fans will no doubt want to own it all. © Eugene Chadbourne /TiVo
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CD19,99 €

Pop - Erschienen am 28. März 2014 | Epic - Legacy

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CD14,49 €

Pop/Rock - Erschienen am 18. November 2005 | Epic - Daylight

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CD14,49 €

Pop/Rock - Erschienen am 23. April 2003 | Epic - Legacy

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CD14,49 €

Pop - Erschienen am 19. Juli 1994 | Epic

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CD14,49 €

Pop - Erschienen am 1. Oktober 2002 | Columbia

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HI-RES17,49 €
CD14,99 €

Country - Erschienen am 6. Mai 2016 | Rhino

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CD14,49 €

Pop/Rock - Erschienen am 27. Oktober 1998 | Epic

Cyndi Lauper closed out her Epic Records contract with this holiday album, which consists mostly of original compositions. Lauper seeks the Christmas spirit in some snowless locales, giving a Cajun sound to "Early Christmas Morning" and an appropriately tropical feel to "Christmas Conga." She favors folkie arrangements and is heard playing dulcimer, recorder, and ukulele, among other instruments, which lend a homemade feel to the tracks. Merry Christmas...Have a Nice Life! is an unusual but ultimately winning collection, rendered with Lauper' s typical cockeyed conviction. © William Ruhlmann /TiVo
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CD14,49 €

Pop/Rock - Erschienen am 18. November 2003 | Epic - Daylight

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CD14,49 €

Pop - Erschienen am 9. Mai 1989 | Epic

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CD14,49 €

Pop/Rock - Erschienen am 1. Januar 1986 | Epic

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There were a few years in the mid-'80s when one couldn't go out for a cup of coffee without encountering Cyndi Lauper in one form or another. Her videos were playing constantly on MTV, her music was everywhere on the radio, and, best of all, children were even dressing up as Cyndi for Halloween. In retrospect, it was a Lauper-ish time but it was all over quite quickly; in fact, the period in the ultra-limelight didn't even span the period covered by two album releases, which means that this follow-up to her smash debut album was relegated to the also-ran pile, with sad results such as only one sort-of hit single (the title track) and nobody apparently interested in imitating the skirt she wore on the back cover photo, which seems like it is made of slashed-up concert posters. Kind of a shame since so much love and attention went into this album. Guest stars and high-dollar session musicians abound, including other '80s icons such as the Bangles and the manic Pee Wee Herman, who provides a great little answering-machine bit at the end of "911." Lauper is a fantastic vocalist, meaning that any record producer worth hiring would be happy to dream up endless settings for her. This album is nothing if not ambitious, and some of the stretches really pay off, such as the ultimately endearing cover of Marvin Gaye's "What's Going On." Other aspects date badly. For example, highly reverberated and artificial sounding drums and keyboards were really popular at the time, but a vocalist with a clear voice such as Lauper sounds much better in the context of real instruments with their warmer sounds. When it comes to tunes such as the nice Cajun number "The Faraway Nearby," drums should have been turned way down and other instrumental colors brought up. Despite these sorts of problems, there really wasn't that much music recorded by this artist during her most popular period, so fans will no doubt want to own it all. © Eugene Chadbourne /TiVo
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CD14,99 €

Country - Erschienen am 6. Mai 2016 | Rhino

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CD8,99 €

Pop - Erschienen am 1. Juni 2016 | SnapShot

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CD14,49 €

Pop/Rock - Erschienen am 23. Mai 2008 | Epic

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CD14,49 €

Pop/Rock - Erschienen am 1. Juli 1996 | Epic

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CD14,49 €

Pop/Rock - Erschienen am 1. März 1993 | Epic

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CD14,49 €

Pop - Erschienen am 15. Mai 2008 | Epic