Suite For Susan Moore and Damian: We Are One, One, All In One Tim Hardin
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- 1First Love Song04:26
- 2Everything Good Become More True03:51
- 3Question of Birth03:34
- 4Once-Touched by Flame02:54
- 5Last Sweet Moments06:08
- 7Loneliness She Knows03:15
- 8The Country I'm Living In04:12
- 9One, One the Perfect Sum09:53
Info zu Suite For Susan Moore and Damian: We Are One, One, All In One
In terms of commercial success, Tim Hardin's career trajectory was a steep downward slope. Following the classic songwriting and gentle folk-pop of his first two albums, his late-'60s output took an experimental direction with little regard for widespread appeal. The 1969 concept album „Suite For Susan Moore and Damian“ is a rambling yet compelling paean to Hardin's wife and son. Haunting, sparsely decorated songs share space with spoken word interludes in this exploration into the darker side of love. Hardin's fragile vocals border on free-form jazz, echoing Tim Buckley or even Van Morrison during 'Last Sweet Moment.'
After the fractured introspection of its predecessor, Hardin's next album returned to more traditional song structures. The inclusion of several cover versions makes this a more rounded work, infused with a mood of redemption. Hardin's voice teeters on the brink of heartbreak throughout. There's a startling array of styles, including gospel, jazz, country, and folk. Ultimately, Hardin's decision to follow his artistic muse meant that these albums slid quietly into obscurity, but aficionados continue to rate them highly.
„Hardin's two decade-bridging albums for Columbia Records are compiled here on one CD. For almost any other artist, these 19 tracks would be considered essential listening, and they're not for Hardin only because of the blazing brilliance of his classic Verve Records output. This is still a must-own disc, with excellent sound and very thorough annotation, and is worth ordering even as a slightly higher-priced import because the chances of either of these albums ever showing up in the domestic Sony Music catalog are next to nonexistent. There's a lot of pain in this disc, to be sure -- it's hard to find a Hardin song that didn't have some -- but also a level of lyrical and musical excellence that one should feel privileged to partake of.“ (Bruce Eder, AMG)
Tim Hardin, vocals, guitar, keyboards
Warren Bernhardt, keyboards, arrangements
Monte Dunn, guitar
Gary Klein, keyboards
Donald McDonald, drums
Produced by Gary Klein
Please Note: We offer this album in its native sampling rate of 44.1 kHz, 24-bit. The provided 96 kHz version was up-sampled and offers no audible value!
A gentle, soulful singer who owed as much to blues and jazz as folk, Tim Hardin produced an impressive body of work in the late '60s without ever approaching either mass success or the artistic heights of the best singer/songwriters. When future Lovin' Spoonful producer Erik Jacobsen arranged for Hardin's first recordings in the mid-'60s, Hardin was no more than an above-average white blues singer, in the mold of many fellow folkys working the East Coast circuit. By the time of his 1966 debut, however, he was writing confessional folk-rock songs of considerable grace and emotion. The first album's impact was slightly diluted by incompatible string overdubs (against Hardin's wishes), but by the time of his second and best LP, he'd achieved a satisfactory balance between acoustic guitar-based arrangements and subtle string accompaniment. It was the lot of Hardin's work to achieve greater recognition through covers from other singers, such as Rod Stewart (who did "Reason to Believe"), Nico (who covered "Eulogy to Lenny Bruce" on her first album), Scott Walker (who sang "Lady Came From Baltimore"), Fred Neil ("Green Rocky Road" has been credited to both him and Hardin), and especially Bobby Darin, who took "If I Were a Carpenter" into the Top Ten in 1966. Beleaguered by a heroin habit since early in his career, Hardin's drug problems became grave in the late '60s; his commercial prospects grew dimmer, and his albums more erratic, although he did manage to appear at Woodstock. His end was not a pretty one: due to accumulated drug and health problems, as well as a scarcity of new material, he didn't complete any albums after 1973, dying of a drug overdose in 1980.
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