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Langue disponible : anglais
Sniper & Other Love Songs never sold remotely as well as its predecessor, Heads & Tales, mostly because it never had a hit single like "Taxi" to help lift it high on the charts, but it is actually a bolder and better album and a much more balanced record; the lack of an elaborately produced number like "Taxi" may have hurt sales, but it meant that no one song dominated the proceedings. Chapin sings better here than on his first album, with improved range and a lot more confidence, which extends to his songwriting as well -- "Sunday Morning Sunshine" is a fine folk-based number that opens the album in achingly beautiful, genial fashion, but it's on the second song, "Sniper," that Chapin shows his real range. A ten-minute conceptual work, the latter has all the complexity and drama of a screenplay and a movie soundtrack woven into one, and is brilliantly performed/acted by Chapin; listening to it, one gets the impression of a real-life, soft rock version of Noel Airman, the composer character from the novel Marjorie Morningstar, who was forever trying out and reworking material from the Broadway show that he was planning for years; even overlooking the fact that Chapin did, of course, get to Broadway, there's a sense of someone looking for a bigger canvas that records or singing songs on a concert stage can provide. The rest ranges from low-key, elegantly played, but unpretentious singer/songwriter material, built on beautiful melodies ("And the Baby Never Cries") to fairly hard-rocking electric numbers ("Burning Herself"). Some of it, like "Barefoot Lady," sounds a decade out of place in the 1970s, while other numbers, such as "Better Place to Be," are the kind of extended soft-rocking, poetic numbers that collegiate audiences (at least, humanities majors) used to devour in the early '70s. "Circle" is probably the most popular number ever to come off of the album, but it's merely the most obvious personal statement here, rather than representative of this engaging and still very rewarding album, which finally showed up on CD in 2002, in time for its 30th anniversary, from the Wounded Bird label.
© Bruce Eder /TiVo
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Sandy Chapin, Writer - Russ Kunkel, Drums - Harry Chapin, Guitar, Vocals, Writer, MainArtist - John Wallace, Bass Guitar - Ron Palmer, Guitar - Tim Scott, Cello - Stephen Chapin, String Arranger, Keyboards - Fred Kewley, Producer
© 2004 Atlantic Recording Corp. Manufactured & Marketed by Warner Strategic Marketing ℗ 1972 Elektra Records
Sandy Chapin, Composer, Writer - Russ Kunkel, Drums - Harry Chapin, Composer, Guitar, Lead Vocals, Writer, MainArtist - John Wallace, Bass Guitar - Ron Palmer, Guitar - Steve Chapin, String Arranger - Stephen Chapin, Arranger, Keyboards - Fred Kewley, Producer
© 2004 Atlantic Recording Corp. Manufactured & Marketed by Warner Strategic Marketing ℗ 1973 Elektra Records
Sandy Chapin, Writer - Harry Chapin, Vocals, Writer, MainArtist
© 2004 Atlantic Recording Corp. Manufactured & Marketed by Warner Strategic Marketing ℗ 1972 Elektra/Asylum Records for the United States and WEA International for the world outside of the United States.
Sandy Chapin, Writer - Harry Chapin, Vocals, Writer, MainArtist
© 2004 Atlantic Recording Corp. Manufactured & Marketed by Warner Strategic Marketing ℗ 1972 Elektra/Asylum Records for the United States and WEA International for the world outside of the United States.
Sandy Chapin, Writer - Harry Chapin, Vocals, Writer, MainArtist
© 2004 Atlantic Recording Corp. Manufactured & Marketed by Warner Strategic Marketing ℗ 1972 Elektra/Asylum Records for the United States and WEA International for the world outside of the United States.
Russ Kunkel, Drums - Harry Chapin, Composer, Guitar, Lead Vocals, MainArtist - John Wallace, Bass Guitar - Ron Palmer, Guitar - Tim Scott, Cello - Stephen Chapin, String Arranger, Keyboards - Fred Kewley, Producer
© 2004 Atlantic Recording Corp. Manufactured & Marketed by Warner Strategic Marketing ℗ 1972 Elektra Records
Harry Chapin, Composer, MainArtist - John Wallace, Bass Guitar - Doug Walker, Guitar - Howie Fields, Drums - Stephen Chapin, Keyboards - Yvonne Cable, Cello
© 2004 Atlantic Recording Corp. Manufactured & Marketed by Warner Strategic Marketing ℗ 1972 Elektra/Asylum Records for the United States and WEA International for the world outside of the United States.
Sandy Chapin, Writer - Harry Chapin, Vocals, Writer, MainArtist
© 2004 Atlantic Recording Corp. Manufactured & Marketed by Warner Strategic Marketing ℗ 1972 Elektra/Asylum Records for the United States and WEA International for the world outside of the United States.
Russ Kunkel, Drums - Harry Chapin, Composer, Guitar, Lead Vocals, MainArtist - John Wallace, Bass Guitar - Ron Palmer, Guitar - Tim Scott, Cello - Stephen Chapin, Arranger, Keyboards - Fred Kewley, Producer
© 2004 Atlantic Recording Corp. Manufactured & Marketed by Warner Strategic Marketing ℗ 1972 Elektra Records
Chronique
Sniper & Other Love Songs never sold remotely as well as its predecessor, Heads & Tales, mostly because it never had a hit single like "Taxi" to help lift it high on the charts, but it is actually a bolder and better album and a much more balanced record; the lack of an elaborately produced number like "Taxi" may have hurt sales, but it meant that no one song dominated the proceedings. Chapin sings better here than on his first album, with improved range and a lot more confidence, which extends to his songwriting as well -- "Sunday Morning Sunshine" is a fine folk-based number that opens the album in achingly beautiful, genial fashion, but it's on the second song, "Sniper," that Chapin shows his real range. A ten-minute conceptual work, the latter has all the complexity and drama of a screenplay and a movie soundtrack woven into one, and is brilliantly performed/acted by Chapin; listening to it, one gets the impression of a real-life, soft rock version of Noel Airman, the composer character from the novel Marjorie Morningstar, who was forever trying out and reworking material from the Broadway show that he was planning for years; even overlooking the fact that Chapin did, of course, get to Broadway, there's a sense of someone looking for a bigger canvas that records or singing songs on a concert stage can provide. The rest ranges from low-key, elegantly played, but unpretentious singer/songwriter material, built on beautiful melodies ("And the Baby Never Cries") to fairly hard-rocking electric numbers ("Burning Herself"). Some of it, like "Barefoot Lady," sounds a decade out of place in the 1970s, while other numbers, such as "Better Place to Be," are the kind of extended soft-rocking, poetic numbers that collegiate audiences (at least, humanities majors) used to devour in the early '70s. "Circle" is probably the most popular number ever to come off of the album, but it's merely the most obvious personal statement here, rather than representative of this engaging and still very rewarding album, which finally showed up on CD in 2002, in time for its 30th anniversary, from the Wounded Bird label.
© Bruce Eder /TiVo
À propos
- 1 disque(s) - 9 piste(s)
- Durée totale : 00:45:52
- Artistes principaux : Harry Chapin
- Compositeur : Various Composers
- Label : Rhino - Elektra
- Genre : Pop/Rock Pop
© 2004 Atlantic Recording Corp. Manufactured & Marketed by Warner Strategic Marketing ℗ 2004 Atlantic Recording Corp. Manufactured & Marketed by Warner Strategic Marketing
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