Customer Reviews

Hunter

5 star:		(22)
4 star:		(10)
3 star:		(2)
2 star:		(0)
1 star:		(3)

 

 

For almost three decades, Jennifer Warnes has been one of the most reputable composers and singers in popular music. The Hunter shows that she is just as successful with light jazz and R&B as with other musical genres. The album includes gently swaying melodic songs with hushed vocal harmonies (Rock You Gently), touches of jazz saxophone and funk guitar (Somewhere Somebody, Big Noise New York), and light-heartened melodies with playful staccato strings (The Hunter). The bass (I believe stand-up) playing is understated and curiously improvisational (Big Noise New York, True Emotion, The Hunter). Michael Landau, studio extraordinary for almost 20 years (assisting the likes of Joni Mitchell, James Taylor, B.B. King, Rod Stewart and Pink Floyd) provides the savory guitar refrains.

Jennifer's voice is a fitting instrument for clarity of delivery - every phrase is clearly audible. She's also capable of pleading words to ecstasy (Pretending To Care). Hidden among nine mid-tempo tunes is a glorious and powerful surprise which raises the roof: `The Whole Of The Moon'. The driving drums, majestic choir, exalted trumpeting and Jennifer's zealous voice push this soaring tune high above all the others.

Technical note: the DDD recording uncovers each gentle touch of triangle (Somewhere, Somebody), hi-hat (True Emotion) and rattle (Way Down Deep).

Although I find this to be the premiere showcase for a supremely underrated singer-songwriter, three tracks elevate it to near-greatness. They are the Donald Fagen penned "Big Noise, New York," which sounds for all the world like a Steely Dan song sung by a female (with Fagen on backup vocals); the oft-mentioned heartfelt cover of Todd Rundgren's ultimate breakup song "Pretending To Care;" and my personal favorite, "The Hunter," which, with its string quartet accompaniment, pristine vocal and oddly playful lyrics combine to make one of the most perfect songs I've ever heard. Warnes has been unjustly maligned and relegated to "movie title song singer" status, but this album proves that she is (and always has been) an artist worthy of standing alongside greats like Leonard Cohen and Joni Mitchell. A wonderful, wonderful CD.

I have waited a long time to write my "review" for "The Hunter." As a long time devoted fan of Jennifer Warnes, I wanted to do the album justice. My heart skipped several beats when I first heard that she was releasing a new album in 1992. It was a long wait after her critically acclaimed album, "Famous Blue Raincoat" in 1986 (re-released on the Private label in 1991.) I was not disappointed in the least, only that the album lasted 46 minutes. I found the album to be a wonderful collection of songs and music with that beautiful voice of hers. I could listen to Jennifer sing all day long. There is something hauntingly painful and all knowing in her voice and yet there is strength and beauty there also. Her arrangements and vocals are so beautiful and her song writing is pure and mature. I love every song on the album yet her song "I Can't Hide" does it for me. If you have ever loved and lost or if you have had any kind of pain in your life, close your eyes and listen to Jennifer sing this song. It is her song to herself. It is so powerful and so moving that it often brings tears to my eyes. At other times it fills my heart with a calm sense that everything will be ok. Thank you Jennifer. And to the critic Phil, get a life! The song "The Hunter" is not a tribute to the sport of killing animals but a fun metaphoric twist on the act of finding someone falling in love with them. Geez, must everything be intrinsically serious?

I stumbled on the greatness that is Jennifer Warnes. Like most, I knew her peripherally by the movie themes she charted with. In the early 90's I happened to be shopping for a new CD player and Famous Blue Raincoat was in the player. The minute I heard it, it sounded like nothing I had ever heard. I bought the CD and it has been one of my top 10 favorites since then. It's unfortunately clear why she did not have the conventional pop success. There is no one like her. She's evocative of Joni Mitchell and possibly Judy Collins, but not really. She is truly an original. I bemoaned the fact that she seemed to disappear from the recording studio. Fate intervened again and I stumbled on the fact that she had indeed recorded two additional CD's, "The Hunter" and "The Well". I immediately ordered both. So far I have only listened to The Hunter and again she proves her brilliance again. As mentioned in other reviews, "Pretending To Care" is heartbreaking. I also particularly like "Rock You Gently" and "The Hunter". All of the songs are gems. Another Jennifer Warnes CD in my top 10. I can't wait to listen the next CD "The Well".

Jennifer Warnes output is very low by pop standards which is why she is not to be considered to be a pop singer but rather an artistic vocalist. A rarified group in the business of music today. Jennifer releases a very highly crafted disc every four or five years and they always prove to be worth the wait. The tunes are very carefully considered as is the disc as a whole piece. The quality of the production (sonics) is second to none.
A full, rich warm bodied sound that establishes a benchmark for all others to aspire to (but very few do .... unfortunately). Why is it that so many others produce discs which are characterised by poor production values and that someone such as Jennifer continually provides you with such a glorious sound listening experience. She is a true artist who obviously holds her work and her audience in the highest regard.

thank you Jennifer.

Jennifer Warnes is a rare stylist in that she uses her unique voice to interpret common human emotions. She does more than just sing. She makes you vulnerable to your own emotions. Although I was disappointed with the lack of punch in some of the songs on this album, I was spellbound by others. Though I am not given to emotional ballads about the agonies of lost love, her stirring rendition of "Pretending To Care" has to be one of the finest interpretive songs I have ever heard. This album almost needs to grow on you. I found I had to be patient with it, but in the end, Jennifer's unique voice wins out. It helps to be a fan.

In my opinion, while I enjoy all of the CD's I buy, only one out of every hundred or so hits the mark completely on all counts on every track: quality of all the songs (music & lyrics), arrangements, performance, and recording engineering. This is clearly one of them. Jennifer Warnes is a superb vocalist who interprets lyrics with feeling. If you like good lyrics and stories, she chooses some of the best material you'll find on any CD. She is a unique talent and gifted musician/vocalist. I love the emotions and pictures I see when I listen to her sing. I can listen to this CD over and over and over, and never ever get tired of listening. I also love all of her other CD's, particulalry Famous Blue Rain Coat, but I have to admit, this is my favorite. Listen up record executives, my only disappointment is that she doesn't have more recordings for me to buy!

This underappreciated, timeless gem is a must-have. No one has ever come close to equalling Jennifer's version of Todd Rundgren's beautiful ballad "Pretending to Care," -- her version has moved several people, myself included, to tears. When she sings that song's line, "Please don't let me down now," your heart will go out to her (or you don't have one). Warnes is a magnificent singer, and this album shows her coming into her own as a songwriter, too -- her title track puts her in Sondheim's territory. In this song, she puts a metaphorical spin on gender roles, and also suggests the spirit that animates this album as a whole -- she tries varying styles on the search for something beautiful and pure, with sparkling success. Warnes is a national treasure, and we can only hope that she will release another album soon.

Don't take all some of the negative hype you've heard about this CD. While it is true that Warnes work on this album is not a smooth as her earlier work this is nonetheless worth your while! Songs like Big Noise, New York, and Rock you Gently make the album worth buying in and of itself. Sadly, this album has become an import which means it's more expensive. But if you love her voice as much I do...get it...I promise you won't be disappointed.

I never heard this album before today. It seemed that every 'Audiophile' magazine and website has praised this as `the' tour de force. Brilliant, amazing recording, mastering, pressing, etc. I had high hopes and was truly looking forward to listening to it. I had heard the little samples on Amazon and thought they were... OK.

The good: Her voice is wonderful and I could listen to her for hours. A couple of the songs are somewhat worthy of the praise they have received.

The bad: Everything else. The songs are an over-produced mess of overdubs and echo's. Echo's. I mean really, this kind of late-disco era tripe went out long before this album was originally cut in 1992. This sounds like something Michael Macdonald put out in the mid `80's. `The Whole of the Moon' is so layered with echo and reverb and what???? Talk-over?? Really? You kidding me? I really expected M. Macdonald to come popping out of `Big Noise, New York'... Fagen's influence is felt, and I get it, but here it is; the worst of his sensibilities made cheesy and commercialized for those who need their emotions injected into their veins instead acting as inspiration.

For all those `audiophile's who talk up Bernie Grundman's mastering... well, how would you know? Elliot Scheiner's ham-fists are all over this, creating a claustrophobic mash-up of sound effects and processing. How would anyone really know what's well-mastered or mixed about this heavily synthesized mess?

The opening track is a perfect example of one issue with this CD. It's mastered so loud (Brick Wall effect) that the waveforms are clipped. This has lead to a harsh sibilance and raspy sound to her voice (sssshshshshshs) when singing 'S' or 'SH'. Cymbals and crescendo's are distorted and the bass has been pumped over the top. This is probably not the case with the LP, but this GOLD CD is just awfully compressed (all but the quietest tracks) and not worthy of the 'Audiophile' praise it has received. Loud and compressed may sound 'punchy', but it is not right or good.

OK, maybe I just don't get it, and I must admit that most of its production and style certainly clashes with my overall tastes, but what I do like about this album is hidden behind outdated... even for 1992... `orchestrations' and synthetic 'keyboards'.

The best track is the title track. Simple and relatively clean with Warnes' voice up front and center with the instruments mostly unprocessed and honest. But even this wonderful little song is weighed down at times with layers of overdubs put down by someone with auditory horror-vacui.

If I wanted over-'instrumentalized' pseudo drama, I'd buy a Sade album. Warnes beautiful voice and talent needs to come through loud and clear. It doesn't deserve this disservice.

And here's the big question... why all the hype? Why this re-mastering 18 years on? Gold disc, & 180 gm LP... for what? As I said, maybe I just don't get it. Even The Beatles didn't get gold discs and LP's for their massively overhyped `remastering'. This over-produced mess cost me $30. This is pandering, it's really unfortunate, and I'm irritated at myself for falling for it.

Caveat Emptor...