Sharon Robinson Upload a Party Aint a Party Instrumental
| The Time to come | ||||
|---|---|---|---|---|
 | ||||
| Studio album by Leonard Cohen | ||||
| Released | Nov 24, 1992 | |||
| Recorded | January – June 1992 | |||
| Genre | Contemporary folk, soft rock | |||
| Length | 59:37 | |||
| Characterization | Columbia | |||
| Producer | Leonard Cohen, Steve Lindsey, Neb Ginn, Leanne Ungar, Rebecca De Mornay, Yoav Goren | |||
| Leonard Cohen chronology | ||||
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The Future is the ninth studio album by Canadian vocalizer-songwriter Leonard Cohen, released in 1992. Almost an hour in length, it was Cohen's longest album up to that engagement.[1] Both the fall of the Berlin Wall and the 1992 Los Angeles riots took place while Cohen was writing and recording the album, which expressed his sense of the world's turbulence.[2] The album was recorded with a large bandage of musicians and engineers in several different studios; the credits list almost 30 female singers.[iii] The album congenital on the success of Cohen's previous anthology, I'm Your Man, and garnered overwhelmingly positive reviews. The Future made the Top 40 in the Britain album charts, went double platinum in Canada, and sold a quarter of a million copies in the U.S., which had previously been unenthusiastic nearly Cohen'south albums.[4]
Groundwork [edit]
After touring successfully in support of his "improvement" anthology I'm Your Homo (1988), Cohen took a year off to help his son Adam convalesce after a serious machine blow in the W Indies left the young homo in a blackout for four months. Cohen also began a romantic relationship with the actress Rebecca De Mornay. Anthony Reynolds notes in his book Leonard Cohen: A Remarkable Life that work on Cohen's ninth studio album "was non forged in i concentrated effort. The number of studios used ran into double figures and was spread betwixt Montreal and Los Angeles, although the original plan was to record information technology in Montreal simply, with the same personnel that had worked on I'grand Your Man. The cast brought to conduct on the album was more than akin to a pic product and included both a choir and an orchestra..." The songwriting process had not gotten easier for Cohen over the years; in an interview with Q, the singer admitted, "I've never found information technology easy to write. Flow. I hateful, I don't want to whine about it or anything just...it's a bowwow! It's terrible piece of work. I'm very disciplined in that I can settle down into the work situation but coming up with the words is very difficult. Hard on the heart, hard on the head and it just drives you mad. Before you know it, you're crawling across the carpet in your underwear trying to detect a rhyme for 'orange'. It's a terrible, barbarous job. Merely I'one thousand non complaining."
Limerick [edit]
According to Ira Nadel's 1996 Cohen memoir Diverse Positions, the title rails was originally called "If You Could See What's Coming Next", and underwent extensive rewrites, taking up well-nigh sixty pages in Cohen's notebook, while "Closing Fourth dimension" took 2 years with Cohen even starting over from scratch on the song equally late as March 1992. Nadel also reveals that "Anthem" was borrowed from Kabbalistic sources, especially the sixteenth-century rabbi Isaac Luria. In the Paul Zollo book Songwriters on Songwriting, Cohen explains that information technology takes him so long to finish songs because "Nothing works. Afterward a while, if you stick with the song long plenty it will yield. Just long enough is manner beyond any reasonable interpretation of what you lot think long enough may be...'Anthem' took a decade to write. And I've recorded it iii times. More than." This is borne out by the fact that some of the lyrics already appear in the song "The Bells" from the soundtrack of the 1986 film Night Magic.[v] In the same interview, Cohen spoke at length about "Democracy," admitting that he wrote 60 verses for information technology:
This was when the Berlin Wall came down and anybody was saying democracy is coming to the east. And I was like that gloomy young man who e'er turns up at a party to ruin the orgy or something. And I said, "I don't remember information technology's going to happen that way. I don't think this is such a good idea. I think a lot of suffering will be the consequence of this wall coming down." But then I asked myself, "Where is republic really coming?" And it was the U.s.a.A....So while everyone was rejoicing, I thought information technology wasn't going to exist like that, euphoric, the honeymoon. So information technology was these world events that occasioned the song. And also the honey of America. Considering I think the irony of America is transcendent in the vocal. It'southward not an ironic song. It'south a song of deep intimacy and affirmation of the experiment of democracy in this country. That this is really where the experiment is unfolding. This is actually where the races face one another, where the classes, where the genders, where even the sexual orientations face one another. This is the real laboratory of democracy.[six]
Political events and history are found elsewhere on the album, with Cohen making references to Tiananmen Square, Stalin, World War 2 and Hiroshima. "I was living in L.A. through the riots and the earthquakes and the floods," the vocalist told Uncut 's Nigel Williamson in 1997. "And fifty-fifty for i as relentlessly occupied with himself as I am information technology is very hard to keep your heed on yourself when the place is burning downward, and then I recall that invited me to look out of the window." Although the tone of the anthology is at times sombre, it does contain much of the wry humor that is evident on Cohen's previous LP I'm Your Human. The Future also contains two cover songs—Irving Berlin's "E'er" and Frederick Knight'due south "Exist For Real"—as well every bit "Tacoma Trailer", the first instrumental that Cohen had e'er placed on one of his studio albums. Several producers are credited on the LP, including Cohen and Rebecca De Mornay.
Motion-picture show soundtracks and covers [edit]
3 songs from this album, "Anthem", "The Future", and the menacing "Waiting for the Phenomenon" (co-written by Sharon Robinson) were used prominently on the soundtrack for Oliver Stone's 1994 film Natural Built-in Killers. Songs from the album accept also appeared in the films Wonder Boys starring Michael Douglas and The Life of David Gale starring Kevin Spacey. A cover version of "Calorie-free as The Cakewalk" by Billy Joel appears on the tribute album Tower of Song released in 1995. Billy Joel included his version on his compilation Baton Joel Greatest Hits Volume 3 in 1997. A cover version of "Anthem" appears on the album Matador: The Songs of Leonard Cohen released by the Canadian vocalist Patricia O'Callaghan in 2012. Bob Seger included a embrace of "Commonwealth" on his 2017 album I Knew You When.
At the 2017 Belfry of Vocal: A Memorial Tribute to Leonard Cohen concert, "Republic" was performed by Wesley Schultz and Jeremiah Fraites of The Lumineers, and "The Hereafter" was performed past Elvis Costello.[7]
Reception [edit]
| Review scores | |
|---|---|
| Source | Rating |
| AllMusic |    [8] |
| Chicago Tribune | [9] |
| Amusement Weekly | A[10] |
| Los Angeles Times | [11] |
| NME | 6/10[12] |
| Q | [13] |
| Rolling Stone | [14] |
| The Rolling Stone Album Guide | [xv] |
| Spin Culling Record Guide | 8/x[sixteen] |
| The Village Voice | A−[17] |
The album charted as loftier every bit No. 36 in the U.Chiliad. and was phenomenally successful in Canada, going gilded, platinum, and double-platinum.[18] Cohen also won the Canadian Juno Honor for Best Male Vocalizer in 1993 for The Future. In his acceptance speech, he quipped, "Simply in Canada could somebody with a vocalization like mine win Vocalizer of the Twelvemonth."[19] The music video for Cohen'due south song "Closing Time" also won the Juno Award for Best Music Video in 1993.[18] In the original Rolling Stone review, Christian Wright called the anthology "epic", enthusing "The Future might every bit hands accept been a book: A more than troubling, more vexing image of human failure has non been written." Christopher Fielder of AllMusic calls the LP "one long manifesto calling all to challenge the concepts of righteousness and despair in our mod world." In 2010 biographer Anthony Reynolds called The Future "archetype large budget AOR yet with lyrics by Lorca, Bukowski and Lowell, sung by an old wino from Slip Row who really wanted to sound similar Ray Charles at the Apollo."
Rails listing [edit]
| No. | Title | Writer(s) | Producer(s) | Length |
|---|---|---|---|---|
| ane. | "The Time to come" | Leonard Cohen | Leonard Cohen | 6:41 |
| 2. | "Waiting for the Phenomenon" |
|
| 7:42 |
| 3. | "Be for Real" | Frederick Knight | Steve Lindsey | iv:32 |
| four. | "Closing Time" | Cohen |
| 6:00 |
| v. | "Anthem" | Cohen |
| 6:09 |
| 6. | "Republic" | Cohen | Cohen | vii:13 |
| 7. | "Lite as the Cakewalk" | Cohen |
| seven:14 |
| 8. | "Ever" | Irving Berlin | Lindsey | 8:04 |
| ix. | "Tacoma Trailer" | Cohen | Ginn | 5:57 |
Personnel [edit]
- Leonard Cohen – vocals, programming, saxophone, violin
- Bob Metzger, Paul Jackson Jr., Dean Parks, Dennis Herring – guitar
- Freddie Washington, Bob Glaub, Lee Sklar – bass
- Steve Lindsey, Greg Phillinganes, Jeff Fisher, Randy Kerber, John Barnes, Jim Cox, Mike Finnigan, Stephen Croes – keyboards
- Steve Meador, James Gadson, Vinnie Colaiuta, Ed Greene – drums
- Lenny Castro – percussion
- David Campbell – orchestra arrangements, conductor
- Brandon Fields, Lon Price – tenor saxophone
- Greg Smith – baritone saxophone
- Lee Thornburg – trumpet, trombone
- Bob Furgo – violin
- Anjani Thomas, Jacquelyn Gouche-Farris, Tony Warren, Valerie Pinkston-Mayo, Julie Christensen, Perla Batalla, David Morgan, Jennifer Warnes, Edna Wright, Jean Johnson, Peggi Blu – backing vocals
- The L.A. Mass Choir – choir; directed by Donald Taylor
- Jennifer Warnes – vocals
Charts [edit]
Certifications and sales [edit]
References [edit]
- ^ Simmons, Sylvie, 2012, I'yard Your Man: The Life of Leonard Cohen, p. 368.
- ^ Simmons, Sylvie, 2012, I'grand Your Man: The Life of Leonard Cohen, pp. 364-365.
- ^ I'yard Your Homo: The Life of Leonard Cohen, p. 365.
- ^ Simmons, Sylvie, 2012, I'm Your Man: The Life of Leonard Cohen, p. 370.
- ^ "Night Magic". www.leonardcohenfiles.com . Retrieved 2021-09-20 .
- ^ Zollo, Paul (2003). Songwriters On Songwriting (first published in Song Talk, journal of the National Academy of Songwriters, ed. by Paul Zollo) (expanded ed.). Boston, Massachusetts: Da Capo Press. p. 335. ISBN9780306812651.
- ^ "Watch Tower of Song: A Memorial Tribute to Leonard Cohen on Midweek, Jan 3 on CBC". CBC Arts, Dec 29, 2017.
- ^ Fielder, Christopher. "The Time to come – Leonard Cohen". AllMusic. Retrieved May i, 2019.
- ^ Dretzka, Gary (December 24, 1992). "Leonard Cohen: The Future (Columbia)". Chicago Tribune . Retrieved May 1, 2019.
- ^ Zacharek, Stephanie (December 18, 1992). "The Hereafter". Entertainment Weekly . Retrieved May i, 2019.
- ^ Willman, Chris (December 27, 1992). "Leonard Cohen, 'The Time to come,' Columbia". Los Angeles Times . Retrieved May 1, 2019.
- ^ "Leonard Cohen: The Time to come". NME: 31. November 28, 1992.
- ^ "Leonard Cohen: The Time to come". Q (76): 79. January 1993.
- ^ Wright, Christian (January 7, 1993). "The Futurity". Rolling Stone . Retrieved May ane, 2019.
- ^ Sheffield, Rob (2004). "Leonard Cohen". In Brackett, Nathan; Hoard, Christian (eds.). The New Rolling Stone Album Guide (4th ed.). Simon & Schuster. pp. 176–77. ISBN0-7432-0169-viii.
- ^ Weisbard, Eric; Marks, Craig, eds. (1995). "Leonard Cohen". Spin Alternative Record Guide. New York City: Vintage Books. ISBN0-679-75574-8.
- ^ Christgau, Robert (Jan 26, 1993). "Consumer Guide". The Village Vocalization. New York City: Voice Media. Retrieved May 1, 2019.
- ^ a b http://www.leonardcohenfiles.com/timeline.html
- ^ "Back in the game: Leonard Cohen makes his return to working life". The National Mail service. Canada.com. 2006-02-07. Archived from the original on 2015-08-13. Retrieved 2013-05-20 .
- ^ "Austriancharts.at – Leonard Cohen – The Futurity" (in German). Hung Medien. Retrieved 24 November 2016.
- ^ "Top RPM Albums: Outcome 1730". RPM. Library and Archives Canada. Retrieved 24 November 2016.
- ^ "Dutchcharts.nl – Leonard Cohen – The Time to come" (in Dutch). Hung Medien. Retrieved 24 November 2016.
- ^ "Offiziellecharts.de – Leonard Cohen – The Future" (in High german). GfK Entertainment Charts. Retrieved 24 November 2016.
- ^ "Charts.nz – Leonard Cohen – The Future". Hung Medien. Retrieved 24 November 2016.
- ^ "Norwegiancharts.com – Leonard Cohen – The Hereafter". Hung Medien. Retrieved 24 November 2016.
- ^ "Swedishcharts.com – Leonard Cohen – The Future". Hung Medien. Retrieved 24 Nov 2016.
- ^ "Swisscharts.com – Leonard Cohen – The Future". Hung Medien. Retrieved 24 November 2016.
- ^ "Leonard Cohen | Creative person | Official Charts". UK Albums Chart. Retrieved 24 November 2016.
- ^ "Canadian album certifications – Leonard Cohen – The Future". Music Canada.
- ^ "Guld- och Platinacertifikat − År 1987−1998" (PDF) (in Swedish). IFPI Sweden. Archived from the original (PDF) on 2011-05-17.
- ^ "British anthology certifications – Leonard Cohen – The Hereafter". British Phonographic Manufacture. Select albums in the Format field.Select Silver in the Certification field.Blazon The Future in the "Search BPI Awards" field and then press Enter.
- ^ a b "Billboard". 1998-11-28.
Source: https://en.wikipedia.org/wiki/The_Future_(Leonard_Cohen_album)
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