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Suzanne Vega - Suzanne Vega

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Suzanne Vega

Suzanne Vega

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Langue disponible : anglais

Though early comparisons were made to Joni Mitchell, Suzanne Vega's true antecedents were Janis Ian and Leonard Cohen. Like Ian, she sings with a precise, frequently half-spoken phrasing that gives her lyrics an intensity that seems to suggest an unsteady control consciously held over emotional chaos. Like Cohen, Vega observes the world in poetic metaphor, her cold urban landscapes reflecting a troubled sense of love and loss. The key track is "Small Blue Thing," in which the singer pictures herself as an object "Like a marble/or an eye," "made of china/made of glass," "lost inside your pocket," and "turning in your hand." The sharply picked acoustic guitar and other isolated musical elements echo the closely observed scenes -- everything seems to be in tight close-up and sharp focus. Often, the singer seems to be using the songs to measure an emotional distance; sometimes, as in "Marlene on the Wall," she observes her own actions from a remove. In "Freeze Tag," she tells a companion, "I will be Dietrich/and you can be Dean"; in "Marlene," a poster of the aloof movie star "watches from the wall," observing the singer's succession of lovers, and she tries to emulate her heroine's persona, telling the current one, "Even if I am in love with you/all this to say, what's it to you?" The ten songs on Suzanne Vega constitute the self-analysis of a young woman who desires possession without offering commitment; no wonder that, upon its release, it was taken to heart by young women across the country and in Europe.
© William Ruhlmann /TiVo

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1
Cracking
00:02:49

Lenny Kaye, Producer - Suzanne Vega, MainArtist, ComposerLyricist - Steve Addabbo, Producer - Ronald K. Fierstein, Producer

℗ 1985 UMG Recordings, Inc.

2
Freeze Tag
00:02:34

Lenny Kaye, Producer - Suzanne Vega, MainArtist, ComposerLyricist - Steve Addabbo, Producer - Ronald K. Fierstein, Producer

℗ 1985 UMG Recordings, Inc.

3
Marlene On The Wall
00:03:39

Lenny Kaye, Producer - Suzanne Vega, Acoustic Guitar, Vocalist, MainArtist, AssociatedPerformer, ComposerLyricist - Sue Evans, Drums, AssociatedPerformer - Steve Addabbo, Producer, Engineer, StudioPersonnel - Jon Gordon, Electric Guitar, AssociatedPerformer - Frank Gravis, Bass Guitar, AssociatedPerformer - CP Roth, Synthesizer, AssociatedPerformer

℗ 1985 A&M Records

4
Small Blue Thing
00:03:54

Lenny Kaye, Producer - Suzanne Vega, Acoustic Guitar, Vocalist, MainArtist, AssociatedPerformer, ComposerLyricist - Sue Evans, Percussion, AssociatedPerformer - Steve Addabbo, Producer, Engineer, Background Vocalist, AssociatedPerformer, StudioPersonnel - Jon Gordon, Electric Guitar, AssociatedPerformer - Paul Dugan, Bass Guitar, AssociatedPerformer - Ronald K. Fierstein, Producer, Executive Producer - CP Roth, Synthesizer, AssociatedPerformer

℗ 1985 UMG Recordings, Inc.

5
Straight Lines
00:03:48

Lenny Kaye, Producer - Suzanne Vega, MainArtist, ComposerLyricist - Steve Addabbo, Producer - Ronald K. Fierstein, Producer

℗ 1985 UMG Recordings, Inc.

6
Undertow
00:03:26

Lenny Kaye, Producer - Suzanne Vega, MainArtist, ComposerLyricist - Steve Addabbo, Producer - Ronald K. Fierstein, Producer

℗ 1985 UMG Recordings, Inc.

7
Some Journey
00:03:38

Lenny Kaye, Producer - Steven Miller, Producer - Suzanne Vega, MainArtist, ComposerLyricist - Steve Addabbo, Producer - Ronald K. Fierstein, Producer

℗ 1985 UMG Recordings, Inc.

8
The Queen And The Soldier
00:04:48

Lenny Kaye, Producer - Suzanne Vega, MainArtist, ComposerLyricist - Steve Addabbo, Producer - Ronald K. Fierstein, Producer

℗ 1985 UMG Recordings, Inc.

9
Knight Moves
00:03:35

Lenny Kaye, Producer - Suzanne Vega, MainArtist, ComposerLyricist - Steve Addabbo, Producer - Ronald K. Fierstein, Producer

℗ 1985 UMG Recordings, Inc.

10
Neighborhood Girls
00:03:20

Lenny Kaye, Producer - Suzanne Vega, MainArtist, ComposerLyricist - Steve Addabbo, Producer - Ronald K. Fierstein, Producer

℗ 1985 UMG Recordings, Inc.

Descriptif de l'album

Though early comparisons were made to Joni Mitchell, Suzanne Vega's true antecedents were Janis Ian and Leonard Cohen. Like Ian, she sings with a precise, frequently half-spoken phrasing that gives her lyrics an intensity that seems to suggest an unsteady control consciously held over emotional chaos. Like Cohen, Vega observes the world in poetic metaphor, her cold urban landscapes reflecting a troubled sense of love and loss. The key track is "Small Blue Thing," in which the singer pictures herself as an object "Like a marble/or an eye," "made of china/made of glass," "lost inside your pocket," and "turning in your hand." The sharply picked acoustic guitar and other isolated musical elements echo the closely observed scenes -- everything seems to be in tight close-up and sharp focus. Often, the singer seems to be using the songs to measure an emotional distance; sometimes, as in "Marlene on the Wall," she observes her own actions from a remove. In "Freeze Tag," she tells a companion, "I will be Dietrich/and you can be Dean"; in "Marlene," a poster of the aloof movie star "watches from the wall," observing the singer's succession of lovers, and she tries to emulate her heroine's persona, telling the current one, "Even if I am in love with you/all this to say, what's it to you?" The ten songs on Suzanne Vega constitute the self-analysis of a young woman who desires possession without offering commitment; no wonder that, upon its release, it was taken to heart by young women across the country and in Europe.
© William Ruhlmann /TiVo

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