Truly Lori Lieberman

• 1 You Go to My Head 05:03
• 2 Moonlight in Vermont 03:45
• 3 I Like the Likes Of You 02:27
• 4 What Kind Of Fool Am I 03:21
• 5 Truly 03:49
• 6 It Might as well be Spring (C'est Le Printemps) 03:13
• 7 Killing Me Softly 05:19
• 8 You Are Not My First Love 03:00
• 9 My One and Only Love 03:58
• 10 She Knows Better 02:57
• 11 Love's a Fragile Thing 03:25
• 12 Que Será, Será 03:08
• Total Runtime 43:25

Info zu Truly

Truly, das musikalisch und klanglich wohl beste Album von Lori Lieberman, wird garantiert ein audiophiler Erfolg werden. Truly ist ein Potpourri frischer Coverversionen aus dem American Songbook, gespickt mit neuen Originalkompositionen, verschönert durch durchdachte Arrangements, gespielt von einigen der besten Musiker, und wurde perfekt aufgenommen, gemischt und gemastert.

Joe Cali, der ausführende Produzent, hat für Truly eine mit einem Grammy ausgezeichnete Crew zusammengestellt. Loris Stimme ist in erschreckend guter Form, aber warten Sie, bis Sie Matt Rollings am Klavier und der Hammond B-3 Orgel und den erstaunlichen Lyle Workman an der Gitarre hören. Das Album wurde von Lori Lieberman und Matt Rollings koproduziert.

Aufgenommen und gemischt von Bob Clearmountain und gemastert von Darcy Proper. Dies ist Loris bestklingendes Album. Acht Songs sind Coversongs, die Lori als Kind auf Autofahrten in der Schweiz mit ihrem Vater hörte und dabei zu einer Achtspuranlage im Auto wippte. Zwei Originale wurden vor vierzig Jahren gemeinsam mit Joe Harnell geschrieben und nie zuvor aufgenommen. Es gibt eine neue Komposition, den Titelsong "Truly", und eine wunderbare Neuinterpretation von Loris Klassiker "Killing Me Softly".

Matt Rollings großartige Jazz-Improvisation am Klavier eröffnet den Song, später wird der Song von David Pitch (Bass), Victor Indrizzo (Schlagzeug) & Lyle Workman (Gitarre) ausgearbeitet. Im Gegensatz dazu klingt die Originalversion, die aufgenommen wurde, als Lori 19 Jahre alt war, wirklich veraltet. Loris neue Version, hier auf Truly, ist die innigste und brachte den erfahrenen Bob Clearmountain zu Tränen. Loris "Moonlight In Vermont" klingt bemerkenswert frisch und aktuell. Der Song beginnt mit Matt Rollings Piano, das einen wunderbaren Kontrapunkt zu ihrem Gesang setzt. Wenn die Rhythmusgruppe und Lyle Workman an der Gitarre dazukommen, beginnt die Party zu swingen. Lyle Workmans zwanzig Sekunden langes Gitarrensorbet ist sauber und erfrischend, jede Note berührt das Herz. Wir sprechen hier von Gänsehaut-Terrain. Lori singt weiter mit der Band in vollem Schwung - es ist herrlich. Ihr Gesang zeigt Reife und liefert wunderbare Schattierungen von Emotionen und Leidenschaft. Dies ist ein Projekt der Spitzenklasse und es klingt auch so.

Lori Lieberman, Gesang, Akustikgitarre
Matt Rollings, Klavier, Hammond B-3
Lyle Workman, Gitarre
David Piltch, Bass
Victor Indrizzo, Schlagzeug


Recorded Live at Apogee Studios
Engineered and mixed by Bob Clearmountain
Produced by Lori Lieberman, Matt Rollings
Executive produced by Joseph Cali

Lori Lieberman
Born in Los Angeles but raised in Switzerland, Lieberman expressed her feelings early on in journals and in song. One of three sisters, her early musical influences began with Donovan, Francoise Hardy, and Dionne Warwick, but her inspirations shifted when her sister returned from college in Maine, and gifted Lori with her favorite music from U.S. which included Joni Mitchell, Judy Collins, and Tom Rush. “I finally felt at home with their musical sensibilities and their writing really reached into my heart, “ she says. She began to write her own material, playing in high school bands and later, in college in Boston, before landing her first record deal with Capitol Records in the early 1970s.

Lieberman went on to record five more albums for Capitol (Lori Lieberman, Becoming, A Piece of Time, Straw Colored Girl, and The Best of Lori Lieberman), which featured a young Larry Carlton, Joe Sample, Merry Clayton, and members of the LA Express, to name a few. She toured extensively throughout the U.S. and Europe, along with Billy Joel, Randy Newman, John Sebastian, and others. However, it was her association with a little known New York–based record label, Millennium/RCA, that she was most encouraged to step away from the mainstream. Under Jimmy Ienner’s guidance, she wrote one of her most candid collections of songs entitled Letting Go.

As the styles of the music industry changed from James Taylor to disco, Ms. Lieberman struggled to create music that fit in. “One awful meeting led to another until the day I walked into a publisher’s office,” she says, recalling the moment she called it quits. “He put his hand up as if to say, ‘hold on’ while he continued to discuss his dinner plans. I waited, got up, and left. I remember thinking, ‘I’m done.’ And I was.” With a mischievous laugh, she adds, “The same publisher is now a realtor and has friend-requested me on Facebook… I think I’ll make him wait!”

Lieberman focused on her family life, the mother of three children (Em, Daniel, and Will), and stayed away from the music business for the next 15 years. She regards that time as one of the happiest and most fulfilling of all, and yet, she secretly kept on writing songs that no one heard, in her small studio in the upstairs corner of her home.

Her music took a backseat until producer and audiophile, Joseph Cali, coaxed a reluctant Lieberman out of the shadows, and got her singing again. In the time spent away from the music business, Cali was surprised to find that she had continued writing, putting her thoughts and music in her secret archive. He had an idea to involve his former partner in Cello Music and Film, engineer Mark Levinson, to create a two-mic live experience with Lieberman for the audiophile community.



<#!EN!#

Lori Lieberman
Born in Los Angeles but raised in Switzerland, Lieberman expressed her feelings early on in journals and in song. One of three sisters, her early musical influences began with Donovan, Francoise Hardy, and Dionne Warwick, but her inspirations shifted when her sister returned from college in Maine, and gifted Lori with her favorite music from U.S. which included Joni Mitchell, Judy Collins, and Tom Rush. “I finally felt at home with their musical sensibilities and their writing really reached into my heart, “ she says. She began to write her own material, playing in high school bands and later, in college in Boston, before landing her first record deal with Capitol Records in the early 1970s.

Lieberman went on to record five more albums for Capitol (Lori Lieberman, Becoming, A Piece of Time, Straw Colored Girl, and The Best of Lori Lieberman), which featured a young Larry Carlton, Joe Sample, Merry Clayton, and members of the LA Express, to name a few. She toured extensively throughout the U.S. and Europe, along with Billy Joel, Randy Newman, John Sebastian, and others. However, it was her association with a little known New York–based record label, Millennium/RCA, that she was most encouraged to step away from the mainstream. Under Jimmy Ienner’s guidance, she wrote one of her most candid collections of songs entitled Letting Go.

As the styles of the music industry changed from James Taylor to disco, Ms. Lieberman struggled to create music that fit in. “One awful meeting led to another until the day I walked into a publisher’s office,” she says, recalling the moment she called it quits. “He put his hand up as if to say, ‘hold on’ while he continued to discuss his dinner plans. I waited, got up, and left. I remember thinking, ‘I’m done.’ And I was.” With a mischievous laugh, she adds, “The same publisher is now a realtor and has friend-requested me on Facebook… I think I’ll make him wait!”

Lieberman focused on her family life, the mother of three children (Em, Daniel, and Will), and stayed away from the music business for the next 15 years. She regards that time as one of the happiest and most fulfilling of all, and yet, she secretly kept on writing songs that no one heard, in her small studio in the upstairs corner of her home.

Her music took a backseat until producer and audiophile, Joseph Cali, coaxed a reluctant Lieberman out of the shadows, and got her singing again. In the time spent away from the music business, Cali was surprised to find that she had continued writing, putting her thoughts and music in her secret archive. He had an idea to involve his former partner in Cello Music and Film, engineer Mark Levinson, to create a two-mic live experience with Lieberman for the audiophile community.

Booklet für Truly