Leonard Cohen -The Future[WV]

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资源信息： 专辑英文名: The Future 歌手: Leonard Cohen 音乐风格: 民谣 资源格式: WV 发行时间: 1992年11月24日 地区: 加拿大 语言: 英语 概述:

艺术家简介： 　　1934年，Leonard Cohen出生在加拿大蒙特利尔一个犹太中产家庭，在他9岁时父亲（一个服装商）就去世了。13岁时，他第一次拿起吉他，目的是为了给某个女孩留下印象，但在一两年后，他就开始在当地的咖啡馆演唱自己的歌。后来，Cohen就读于McGill大学，主修英文。17岁那年，他组建了一支叫做the Buckskin Boys的3人西部乡村乐队，同时，他开始写诗。当第一本诗集在1956年出版时，Cohen还是一名大学肄业生。 　　在纽约哥伦比亚大学经历过一小段节衣缩食生活之后，Cohen获得了一笔家族遗产使他可以过得很安逸。而他，也毫不犹豫地过上了这种生活：沉湎女色，服用兴奋剂（当时还是合法的）以及周游世界。Cohen开始在欧洲旅行，最后在希腊的一座岛上落脚，和一个女人与她的儿子一起生活。在希腊的7年时间里，他写了两本诗集和两部小说。如今，每本书都已卖出了超过100万本。 　　但是地中海的温暖阳光并不能平复Cohen躁动不安的心。“在写书的时候，你不得不呆在一个地方，”1988年他接受《音乐人》杂志采访时说，“当你写一本小说的时候，总是希望一些东西包围着你。你的生活中需要一个女人，充满了美酒佳肴，而且最好还有孩子们，以及一个干净整洁的地方。而我已经拥有了这些，然后，我决定成为一个唱作人。”离开了舒适的家庭式生活之后，他回到美国，在音乐重镇纳什维尔附近安顿下来，准备开始他的音乐生涯。当时已经开始走红的民谣女歌手Judy Collins，翻唱了他的“Suzanne”，结果大受欢迎，成为电台热门歌曲和她最流行的代表曲目之一，于是她说服Cohen一起参加民谣巡演。在 1967年夏天的纽约新港民谣节期间，Cohen首次登台亮相，并在CBS电视网节目上演唱自己的歌曲并朗诵了诗作。 　　Cohen与哥伦比亚唱片公司签约，于1968年初出版了他的首张唱片《The Songs of Leonard Cohen》，尽管制作简单、内容抑郁（可能也正因为是这样），它在那个民谣盛行、唱作人风潮刚刚开始兴起的时代马上就大热起来，成千上万的大学生都买了这张唱片。像“Suzanne”、“Hey, That抯 No Way To Say Goodbye”、“So Long, Marianne”和“Sisters of Mercy”这样的歌曲使已经34岁的Cohen成为了流行乐坛新偶像。 专辑简介： From Rolling Stone: Jan 7, 1993 　　The star procession flowed over a garish red carpet and into the Dorothy Chandler Pavilion for the 1992 Academy Awards. Amid the swell of celebrated people, Leonard Cohen (who arrived on the arm of his lover and occasional coarranger, Rebecca De Mornay) went wholly unnoticed. It suited him fine. Cohen hovers above popular success. He comes and he goes, from time and from place, like a shadow. Once an isolated romantic who wrote intensely personal poems and set precedent for modern brooders like Morrissey, Cohen is now third person omniscient. 　　The Future, Cohen's eleventh album, is epic. In the late Sixties, he wrote detailed stories of fleeting moments by rivers or in hotel rooms. Now that he's fifty-eight, his themes are political and cultural, sweeping. His deep, sepia-toned voice has always lent his love songs a haunting intimacy. When on "So Long, Marianne" (from Songs of Leonard Cohen, 1968) he sang. "Your letters they all say that you're beside me now/Then why do I feel so alone? I'm standing on a ledge/And your fine spider web/Is fastening my ankle to a stone," he captured love's ambivalence. His voice deeper still on this nine-track album, Cohen explores the world with the same precision with which he's studied the rumpled sheets of many unmade beds. 　　On "Democracy," which starts with a drumroll and tumbles into a march, Cohen questions America's premise with wit and Canadian objectivity: "It's coming from the sorrow on the street/The holy places where races meet/From the homicidal bitchin' that goes down in every kitchen/To determine who will serve and who will eat/From the wells of disappointment where the women kneel to pray/For the Grace of God in the desert here/And the desert far away/Democracy is coming to the U.S.A." His creepy growl sounds like Tom Waits, only with better enunciation. His lazy phrasing lets the words seep instead of attack. 　　The album's two borrowed songs – the obscure "Be for Real" and Irving Berlin's classic "Always" – are simple tunes complicated by the songs that surround them. Amid spiritual emptiness ("Closing Time"), personal disillusionment (the wrenching "Waiting for the Miracle") and occasional schmaltz (the overwrought "Light as the Breeze"), lyrics like "I'll be loving you, always/With a love that's true, always" are almost laughably quaint. Sung in a bluesy, barroom style, they're made ironic. "Be for Real" cries, "I don't want to be hurt by love again" – funny coming from the man who wrote the book on despair and loss. 　　The title track, a rocker with a gospel chorus, describes the advanced decay of our society. Cohen sings, "Give me crack and anal sex/Take the only tree that's left and stuff it up the hole in your culture/Give me back the Berlin Wall/Give me Stalin and St. Paul/I've seen the future, brother: It is murder." He's nostalgic for order and boundaries; without them, where does anyone belong? When the forbidden becomes commonplace, there is no mystery, no chance for illicit pleasure or even romance. Chaos negates freedom. Apocalyptic mood established, he sings, "The blizzard of the world has crossed the threshold/And it has overturned the order of the soul/When they said repent, I wonder what they meant." 　　The album closes with "Tacoma Trailer," an instrumental (in which Cohen's voice is replaced by the moans of an upright bass) that stretches out, vast and desolate, like a wasteland. Cohen, who has published two novels and more verse, has a great command of language and form. That gives him the freedom to move gracefully – from Montreal to Hollywood or from classics to folk music and finally, on this track, to silence. The Future might as easily have been a book: A more troubling, more vexing image of human failure has not been written. 资源来源：HQshare 感谢Jason的无私分享！ 买鞋子哪个网站好？首选中国最大的正品鞋网商城(http://shoes.weixiaodian.com/)、 网上正品鞋城(http://u.weixiaodian.com/shoe/)。微店网页版请从http://121.weixiaodian.com登录：手把手教你如何免费申请开通微店、怎样经营微店及如何用微店赚钱。看笑话，上爱哈啦(http://www.aihala.com/)。