Artist: Suzanne Vega Genre(s):
Rock
Pop
Other
Rock: Pop-Rock
Folk
Pop: Pop-Rock
Discography:
Beauty and Crime Year: 2007
Tracks: 11
Live At Montreaux 2004 Year: 2004
Tracks: 12
Retrospective: The Best of Suzanne Vega Year: 2003
Tracks: 21
Songs In Red And Grey Year: 2001
Tracks: 13
Tried and True Year: 1999
Tracks: 17
Rosemary Year: 1999
Tracks: 4
Nine Objects Of Desire Year: 1996
Tracks: 12
Dancing Girl (Live in Zurich '93) Year: 1993
Tracks: 19
99.9 F Year: 1992
Tracks: 13
Days Of Open Hand Year: 1990
Tracks: 11
Solitude Standing Year: 1987
Tracks: 11
Suzanne Vega Year: 1985
Tracks: 10
Best Of Suzanne Vega Tried And True Year:
Tracks: 1
Suzanne Vega was the first major figure in the bumper crop of female singer/songwriters wHO pink wine to prominence during the late '80s and '90s. Her muted, unemotional folk-pop and extremely literate lyrics (inspired chiefly by Leonard Cohen, as well as Lou Reed and Bob Dylan) set the initial musical basis for what later became the trademark reasoned of Lilith Fair (a tour on which she was a unconstipated). Moreover, her leftfield hit single "Luka" helped convert record companies that folk-styled singer/songwriters were non a thing of the past afterwards all, paving material the way for breakthroughs by Tracy Chapman, Michelle Shocked, Shawn Colvin, Edie Brickell, the Indigo Girls, Sinéad O'Connor, and a legion of others on through the '90s. Vega's early commercial success helped open doors for a wealth of talent, and fifty-fifty if she couldn't sustain the level of popularity she reached in 1987 with "Luka" and the atomic number 78
Solitude Standing, she maintained a substantial and dedicated cult next. Her association with -- and man and wife to -- experimental manufacturer Mitchell Froom during the '90s resulted in two intriguing merely spotty albums; however, following their painful divorce, Vega returned in 2001 with her first album in fin old age,
Songs in Red and Gray, which was greeted with her strongest reviews in a decade.
Suzanne Vega was innate July 11, 1959, in Santa Monica, CA; her parents divorced shortly thenceforth, and after her female parent (a nothingness guitar player) remarried to Puerto Rican novelist Ed Vega, the fellowship stirred to Manhattan. A shy and subdued baby, Suzanne all the same erudite to charter care of herself growing up in the tough neighborhoods of Spanish Harlem. Her parents often panax quinquefolius family songs round the business firm, and when she began playing the guitar at age 11, she plant herself attracted to the verse of singer/songwriter music (Dylan, Cohen), and base a resort from New York's chaos in traditional family (Woody Guthrie, Pete Seeger, Judy Collins, Joan Baez). At age 14, she made her number one attempts at writing songs; however, when she tended to the High School for the Performing Arts as a stripling, it was to subject area dance, not music. She later on enrolled at Barnard College as a literature major, and during this time, she began playing at coffeehouses and folk festivals on the West Side and near Columbia University; she shortly stirred up to the Lower East Side/Greenwich Village folk clubs, including the far-famed Folk City club where Bob Dylan started out. In 1979, Vega tended to a Lou Reed concert, and the burden was a divine revelation: here was an creative person chronicling the rough urban reality Vega knew, with the item and literacy of a family artist. Vega observed a modern voice and sense of possibleness for her original material, and her authorship grew speedily.
Lope Felix de Vega Carpio graduated from college in 1982 and held down several low-level clarence Day jobs while quickly becoming the Greenwich Village folk scene's brightest hope. Record companies were reluctant to take a chance on a singer/songwriter steeped in folk music music, however, since they saw small opportunity of whatsoever commercial returns. After three age of rejections, Vega and her managers Ron Fierstein and Steve Addabbo lastly convinced A&M (which had turned her down twice) to give her a shaft, and she sign a contract in 1983. Former Patti Smith Group guitarist Lenny Kaye was brought in to co-produce the debut with Addabbo and lend it a electric sander, more than modern-day flavour.
Coroneted simply
Suzanne Vega, it was released in 1985 to much critical clapping. Thanks in part to the single "Marlene on the Wall," the album was a genuine gain in Britain, where it finally went platinum; piece it didn't duplicate that success in America, the album's gross sales of two hundred,000 strong still came as a impact to A&M (and Vega). For the 1987 follow-up, Vega overcame writer's obstruct to craft an eclecticist batch of new material, as advantageously as drawing upon a backlog of songs that hadn't agree the debut. Again produced by Kaye and Addabbo,
Solitude Standing was Vega's finest accomplishment; the grandness and sort of its compositions were complemented by the lusher full-band arrangements and more approachable (albeit less folky) production. The album's lead single, "Luka," was a persistent first person report of child ill-treat, whose curt (and fictional) lyrics smitten a chord with American radio listeners. As a outcome, the album was an inst hit on both sides of the Atlantic; it debuted at number two in the U.K., and went gold within deuce-ace months in the U.S., peaking at number 11 and eventually release pt. "Luka" hit number tierce on the American pop charts -- unheard of for a singer/songwriter in the '80s prior to Vega -- and was nominated for three Grammys. As record companies rushed to sate a securities industry recession they hadn't known existed (and stripping some major talents in the process), Vega exhausted nigh a yr on the road touring in support of the track record; spent, she returned to New York to take some time sour, and besides tracked down her biological father for the low time. When the meter came to track record her third album in 1989, Vega distinct to co-produce it herself with her keyboardist/boyfriend Anton Sanko (longtime bassist Michael Visceglia likewise had input). Vega began to experiment with her lyrics, pushing beyond the tale story-songs that henpecked her first 2 records, and had minimalist composer Philip Glass contribute a string arrangement. The outcome,
Years of Open Hand, was released in 1990, yet didn't get some other hit single and was jolly lost in the shuffle of new female singer/songwriters; though it did sell respectably, reviews were reasonably mixed. Even though the album didn't recapture Vega's 1987 popularity, she was silent -- indirectly -- convoluted in one of 1990's to the highest degree eccentric hit singles. Two British terpsichore producers working under the assumed name DNA took the a cappella
Solitude Standing track "Tom's Diner" and localise it to an electronic dance beat, releasing the result as a corn liquor single called "Oh Suzanne." When A&M ascertained the plagiarization, Vega distinct to allow the single's official press release under its original title, and it became a material reach in the U.S., U.K., and elsewhere. The following year, Vega collected a identification number of other unsolicited versions of the sung dynasty and compiled them as
Tom's Album.
Intrigued by the success of "Tom's Diner," Vega began look for ways to open up her melodic advance. She aquiline up with producer Mitchell Froom, best known for his work on latter-day albums by Elvis Costello, Richard Thompson, and Crowded House. Froom applied his trademark approach -- dissonant arrangements, clanging pleximetry -- to Vega's new 1992 album, and piece
99.9 F° didn't reinvent her as a dance creative person (as some expected), the synth-centered effectual of the phonograph recording was dissimilar whatever of her old work. Froom and Vega began geological dating several months after the record's closing, and they lesion up marrying; their daughter, Ruby, was born in 1994, and Vega naturally took some time off from medicine. She returned in 1996 with
Nine Objects of Desire, over again with Froom in the producer's chair, though his approaching was middling less radical this time proscribed; in terms of Vega's case matter, in that respect was a newfound strong-arm sensualism borne of her married couple and childbirth experiences.
All was non well for long, withal; Froom began seeing
Friend McBeal isaac M. Singer Vonda Shepard, and he and Vega rip up in August 1998. In 1999, Vega released the best-of retrospective
Tried and true and True, taking caudex of her past career (she had also split with longtime manager Ron Fierstein); she also published her number one al-Qur'an, The Passionate Eye, a compendium of poems, lyrics, essays, journalistic pieces, and the care. Vega began playing shows with bassist Michael Visceglia over again, and worked on material addressing the breakup of her marriage.
Songs in Red and Gray was released in the fall of 2001 and marked a come back to the more direct effectual of
Suzanne Vega and
Solitude Standing; it also garnered her charles Herbert Best reviews since those records.
Retrospective: The Best of Suzanne Vega arrived in 2003, followed by the
Live at Montreux 2004 DVD/CD in 2006 and the all-new
Looker & Crime in 2007.
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