Strange Angels

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Editorial Reviews

All Music Guide - Stewart Mason
Laurie Anderson's third proper studio album, coming over five years after 1984's Mister Heartbreak 1986's Home of the Brave was a film soundtrack, is a near-total departure from anything she had done before or, indeed, anything she did after. The most purely musical of Anderson's albums and the one on which she does the most actual singing though her trademark deadpan spoken-word passages are still present and accounted for, Strange Angels seems to be Anderson's idea of a straightforward pop album. Of course, given Anderson's pedigree, this is not Whitney Houston territory; the closest parallel would be Joni Mitchell's more experimental, post-Mingus work: pretty but ...
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Editorial Reviews

All Music Guide - Stewart Mason
Laurie Anderson's third proper studio album, coming over five years after 1984's Mister Heartbreak 1986's Home of the Brave was a film soundtrack, is a near-total departure from anything she had done before or, indeed, anything she did after. The most purely musical of Anderson's albums and the one on which she does the most actual singing though her trademark deadpan spoken-word passages are still present and accounted for, Strange Angels seems to be Anderson's idea of a straightforward pop album. Of course, given Anderson's pedigree, this is not Whitney Houston territory; the closest parallel would be Joni Mitchell's more experimental, post-Mingus work: pretty but chilly, with a certain emotional distance even on the most immediately appealing songs in this case, the thrilling "Babydoll" and the dreamy title track. There appears to be no underlying concept to the album, although the lyrical themes of three of the songs are explicitly taken from 19th century American literature. The musical arrangements are remarkably complex and feature cameos from not only Anderson's usual collaborators Adrian Belew, David Van Tieghem, etc. but also a motley crew ranging from jazz vocalist Bobby McFerrin to session keyboardist Robbie Kilgore. As a result, the songs are sometimes a little too busy, but Anderson manages to remain the center of attention throughout. An album on which longtime Anderson fans tend to be divided, Strange Angels is a perfect introduction for anyone who might find the deadpan surrealism of Big Science or United States I-IV a bit much.
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Product Details

  • Release Date: 10/13/1989
  • Label: Warner Bros / Wea
  • UPC: 075992590020
  • Catalog Number: 25900

Tracks

Disc 1
  1. 1 Strange Angels (3:51)
  2. 2 Monkey's Paw (4:33)
  3. 3 Coolsville (4:34)
  4. 4 Ramon (5:03)
  5. 5 Babydoll (3:38)
  6. 6 Beautiful Red Dress (4:43)
  7. 7 The Day the Devil (4:00)
  8. 8 The Dream Before (3:03)
  9. 9 My Eyes (5:29)
  10. 10 Hiawatha (6:53)
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Album Credits

Performance Credits
Laurie Anderson Primary Artist, Primary Artist, Primary Artist, Primary Artist, Primary Artist, Primary Artist, Percussion, Keyboards, Vocals
Mark Egan Bass
Scott Johnson Guitar
"Blue" Gene Tyranny Keyboards
NanĂ¡ Vasconcelos Percussion
Mark Dresser Bass
Bobby McFerrin Vocals
Alex Foster Alto Saxophone
Chris Spedding Guitar
Darryl Tookes Background Vocals, Choir, Chorus
Jimi Tunnell Guitar
Lisa Fischer Background Vocals, Choir, Chorus
Arto Lindsay Guitar
B.J. Nelson Background Vocals, Choir, Chorus
Joey Baron Drums
Manolo Badrena Percussion
Phillip Ballou Background Vocals, Choir, Chorus
Cyro Baptista Percussion
Jimmy Bralower Drums
Kenny Kosek Violin
Benny Diggs Background Vocals, Choir, Chorus, Choir Master
Anton Fier Drums
Laurie Frink Trumpet
Steve Gadd Drums
Earl Gardner Trumpet
Sue Hadjopoulas Percussion
Robbie Kilgore Bass, Keyboards
Dave Lebolt Keyboards
Yolanda Lee Background Vocals
Tony Levin Stick, Chapman Stick
Paulette McWilliams Background Vocals, Choir, Chorus
Hugh McCracken Harmonica
Leon Pendarvis Drums
Ray Phiri Guitar
Lenny Pickett Saxophone, Tenor Saxophone
Ian Ritchie Percussion
Suzzy Roche Background Vocals
Peter Scherer Bass, Keyboards
John Selolwane Guitar
David Spinozza Guitar
Mike Thorne Percussion, Keyboards
Steve Turre Trombone, Conch Shell
David Van Tieghem Percussion
Gib Wharton Pedal Steel Guitar
Diane Wilson Background Vocals, Choir, Chorus
Terre Roche Background Vocals
Crusher Percussion
Bill Buchen Percussion
Eric Liljestrand Sampling
Maggie Roche Background Vocals
Lew Del Gatto Baritone Saxophone
Bennie Ballou Background Vocals
Angela Clemmons Background Vocals, Choir, Chorus
Bakithi Kumalo Bass, Fretless Bass Guitar
T-Bone Wolk Accordion
Technical Credits
Laurie Anderson Producer, drum programming, Percussion Programming
Peter Laurence Gordon Composer
Arto Lindsay Producer, Contributor
Joey Baron Contributor
Josh Abbey Engineer
Scott Ansell Engineer
Roma Baran Producer
Jimmy Bralower Programming, drum programming
James Farber Engineer
Mike Krowiak Engineer
Jeff Lippay Engineer
Bob Ludwig Mastering
Francis Manzella Engineer
Roger Moutenot Engineer
Leon Pendarvis Producer, Contributor, drum programming
Lenny Pickett Horn Arrangements
Malcolm Pollack Engineer
Ian Ritchie Contributor
Peter Scherer Producer, drum programming
Mike Thorne Producer, Contributor, Percussion Programming
Dominick Maita Engineer
Eric Liljestrand Programming, Engineer, drum programming
Scott Hull Digital Editing
Ian Linault Contributor
Ian Ritchi Producer, Percussion Programming
Tom Size Engineer
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Customer Reviews

Average Rating 5
( 1 )
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Sort by: Showing 1 Customer Reviews
  • Posted April 4, 2011

    The most mellifluous of Laurie Anderson's recordings

    The haunting strains of "Coolsville," the evil staccatos of "The Day the Devil" and the calypso laughter of "Babydoll" are just portions of this album that make it among my favorite desert island choices. Laurie Anderson is a performance goddess of sorts, in that she gets to do what she wants to do and the results are so filled with blended amusement, wit, and beauty, that they compel her audience to think more deeply. This album, I believe, is her best effort to reveal that she is a singer, too, and she excels on a regular basis throughout.

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