Musician, November 1984: Difference between revisions
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''Every Man Has A Woman'' was originally conceived by John as a fiftieth birthday gift to his wife, with other artists covering Yoko's material in an attempt to get her music across to an indifferent or hostile public. The result is at once a celebration of the woman and her man, an often emotional potpourri that showcases Yoko Ono's underrated skills as a lyricist and musician, skills previously obscured by people's prejudice against the singer. | ''Every Man Has A Woman'' was originally conceived by John as a fiftieth birthday gift to his wife, with other artists covering Yoko's material in an attempt to get her music across to an indifferent or hostile public. The result is at once a celebration of the woman and her man, an often emotional potpourri that showcases Yoko Ono's underrated skills as a lyricist and musician, skills previously obscured by people's prejudice against the singer. | ||
The LP's major highlight, of course, is [[John Lennon]]'s title track, originally sung by Yoko on ''Double Fantasy''. Like his posthumous songs on ''Milk And Honey'', Lennon's living, breathing vocals are almost too much to bear But the healing sets in quickly with Harry Nilsson's version of "Silver Horse" (from ''Season Of Glass''), one of three Nilsson covers and a moving tribute to his old drinking buddy. | The LP's major highlight, of course, is [[John Lennon]]'s title track, originally sung by Yoko on ''Double Fantasy''. Like his posthumous songs on ''Milk And Honey'', Lennon's living, breathing vocals are almost too much to bear. But the healing sets in quickly with Harry Nilsson's version of "Silver Horse" (from ''Season Of Glass''), one of three Nilsson covers and a moving tribute to his old drinking buddy. | ||
The rest of the record offers marvelously eclectic interpretations, from [[Eddie Money]]'s AORave-up on "I'm Moving On" through [[Rosanne Cash]]'s gently faithful crooning of "Nobody Sees Me Like You Do" to Elvis Costello's [[The TKO Horns|TKO Horn]]-punctuated soul reading of the dynamic "[[Walking On Thin Ice]]." Yoko's avant-annoying side is also given full rein on the ''synthetique concrete'' of "Dogtown," submitted by a novice L.A. artist named Gui Manganiello under the name Alternating Boxes, along with a robot ''manqué'' version of "Wake Up," performed by the Klaus Voorman-recommended German loonies, Trio. And while the album first summons the memory of Yoko's late husband, it ends very much in the present, as son Sean's improvisatory rap on "It's Alright" reaffirms life in the wake of loss. | The rest of the record offers marvelously eclectic interpretations, from [[Eddie Money]]'s AORave-up on "I'm Moving On" through [[Rosanne Cash]]'s gently faithful crooning of "Nobody Sees Me Like You Do" to Elvis Costello's [[The TKO Horns|TKO Horn]]-punctuated soul reading of the dynamic "[[Walking On Thin Ice]]." Yoko's avant-annoying side is also given full rein on the ''synthetique concrete'' of "Dogtown," submitted by a novice L.A. artist named Gui Manganiello under the name Alternating Boxes, along with a robot ''manqué'' version of "Wake Up," performed by the Klaus Voorman-recommended German loonies, Trio. And while the album first summons the memory of Yoko's late husband, it ends very much in the present, as son Sean's improvisatory rap on "It's Alright" reaffirms life in the wake of loss. |
Revision as of 15:27, 8 June 2020
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