CD Bright Red (CD 615960),
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Bright Red

  • 1. Speechless
    2. Bright Red
    3. Puppet Motel, The
    4. Speak My Language
    5. World Without End
    6. Freefall
    7. Muddy River
    8. Beautiful Pea Green Boat
    9. Love Among the Sailors
    10. Poison
    11. In Our Sleep
    12. Night in Baghdad
    13. Tightrope
    14. Same Time Tomorrow
  • Additional Info
    Manufacturer Part Number (MPN): 45534

  • Credits
    ProducerBrian Eno
    EngineerKevin Killen

    Personnel: Laurie Anderson (vocals, keyboards, violin, percussion); Greg Cohen (guitar, bass); Gerry Leonard, Jamie West-Oram (guitar); Guy Klucevsek (accordion); Peter Scherer (keyboards); Ben Fenner (bass); Dougie Bowne (drums); Cyro Baptista, Neil Conti (percussion); Kevin Killen (treatments); Phil Ballou (background vocals).
    Recorded at the Lobby, New York.
    Personnel: Laurie Anderson (vocals, keyboards); Gerry Leonard (guitar); Guy Klucevsek (accordion); Joey Baron (drums); Cyro Baptista (gong); Phillip Ballou (background vocals).
    Recording information: Lobby, New York, NY; Skyline, New York, NY; Westside Studios, London, England.
    BRIGHT RED (1994) is the outgrowth of STORIES FROM THE NEW BIBLE, a series of tales developed by Laurie Anderson. These STORIES were performed at live concerts ("readings") in the early '90s and were subsequently published in book form before Anderson had developed the studio "song" versions heard on BRIGHT RED. For Anderson, "song" often suggests an exploration of language rather than any traditional sense of "singing." She addresses an array of topics, covering everything from war to pop culture (in Anderson's view, the two are not really that far apart).
    Anderson is a respected name on New York's avant-garde scene, and she performs here with other key figures-Arto Lindsay, Adrian Belew, Marc Ribot, and Lou Reed (who provides his usual deadpan vocals on "In Our Sleep"). Perhaps most importantly, Brian Eno, the king of minimalism and sound experimentation, lends his talents to BRIGHT RED. His touch is evident. Anderson's voice hovers quietly over sparse, largely ambient musical sculptures, her delivery varying between sung and spoken, both with and without electronic manipulation. This album is a fine place to start exploring the art of Laurie Anderson.

  • Critic Reviews
    Rolling Stone (12/15/94, p.95) - 3.5 Stars - Good - "...While Anderson's live work has grown increasingly political, on this album she emphasizes emotional burnout....Anderson might be awash in the bright red spilled by friends and foes, but she has survived..."
    Entertainment Weekly (9/9/94, p.84) - "...The album is best when Anderson forsakes her ironic shtick and confronts the heavy stuff--life, death, and memory's fleeting nature..." - Rating: B
    Q (10/94, p.105) - 3 Stars - Good - "...The outcome is her best musical venture since her superb BIG SCIENCE debut..."
    Down Beat (1/95, p.45) - 3.5 Stars - Good Plus - "...Laurie Anderson plays by the rules of her own imagination....She offers lots to muse upon in her song-spoken word pieces that are at turns cryptically cerebral, whimsically cute, cooly pensive, and provocatively mysterious..."
    Option (4-5/95, p.91) - "...has moments of full-on theatrics, with gaudy instrumentation and rich vocals....seldom melodic in the traditional sense. Rather, she conveys the music through speech, song and pulsing rhythmics that are combined to suggest songs..."
    New York Times (Publisher) (1/5/95, p.C15) - Included on Stephen Holden's list of the Top 10 Albums Of '94 - "...A spare, chilling collection of apocalyptic fables that demands attentive listening."
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