12 Songs (CD) ~ Randy Newman (Artist) Cover Art

12 Songs (CD)

By: Randy Newman (Artist)

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Randy Newman Artist Snapshot:

The original pop ironist, Randy Newman is also one of the rock era's finest melodists, citing musical inspiration in pre-rock sources like Charles Ives and Stephen Foster. Despite the arch humor, his songs still pose an emotional resonance that cuts straight to the bone, although sometimes too close; he had, in his own words, "the worst kind of hit one can have" when his misunderstood rant against racism, "Short People," soared to #2 in 1978, sparking unique protests. Newman's deeply-etched portraits of dying cities, aching hearts, and neurotic miscellanea have swiftly spawned many modern standards, covered by too many to mention. In further irony, the quirky songwriter earned his greatest financial success through extensive soundtrack work--for which he has also received numerous Oscar nominations.

Product Description

Track Listing

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DISC 1 for 12 Songs (CD) Album By Randy Newman (Artist)
1   Have You Seen My Baby?
2   Let's Burn Down The Cornfield
3   Mama Told Me Not To Come
4   Suzanne
5   Lover's Prayer
6   Lucinda
7   Underneath The Harlem Moon
8   Yellow Man
9   Old Kentucky Home
10   Rosemary
11   If You Need Oil
12   Uncle Bob's Midnight Blues
 

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Review

Q (p.125) - 5 stars out of 5 -- "Newman carved out an idiosyncratic niche rooted in biting satire and traditional pop structures."
Mojo (Publisher) (3/00, p.116) - "...replaced the orchestra with an Americana rock rhythm section...and the more conventional presentation found Newman a college audience attuned to his wry singularity..."
NME (Magazine) (2/14/00, p.42) - 6 out of 10 - "...marked the beginning of his ascent to the rock elite when 'Mama Told Me Not To Come' became a massive hit when covered by Three Dog Night..."

Title Note

Personnel: Randy Newman (vocals, piano); Clarence White, Ron Elliott (guitar); Ry Cooder (slide guitar); Al McKibbob, Lyle Ritz (bass); Gene Parsons, Jim Gordon (drums); Milt Holland, Roy Harte (percussion).

Newman began his career as a contract songwriter, before embarking on a recording career renowned for sardonic wit. On this, his second album, the singer opted for simple accompaniment, his ragged voice and stylized piano supported largely by a crisp backing group that included Byrds guitarist Clarence White. Superb melodies were matched by an intense lyricism that embraced sometimes disquieting images previously unheard of in rock. Cynicism, bitterness and sexual perversion are unleashed in turn as Newman adopts different roles and personae. His dispassionate delivery demands decisions from the listener, an interaction that is as compulsive as it is disquieting.

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