Will o' the Wisp
Released: April 1975
Chart Peak: #30
Weeks Charted: 40
Certified Gold: 3/9/76
I suspect that the title of Leon Russell's fine new album refers to the experience of pop stardom and the lessons, many of them painful, Russell has absorbed in the process of attempting to sustain his self-created myth. For the role Russell has portrayed over the past several years, that of a glamorous, reclusive Renaissance man of pop, has lately seemed larger than the man playing it. His efforts at expanding his repertoire beyond pop and rock to encompass first country and then jazz have proven respectively mediocre and inept, while his two-year-old live album seemed excessively long and showed Russell desperately parodying his own imitation of black gospel vocal style.
The memory of the pop consumer is short. Only three years ago, Leon Russell released his near masterpiece, Carney. An album that both defined and enshrined Russell's self-portrait with astonishing artfulness, Carney cohered as an understated, completely convincing statement from a man obsessed and confused by the roles that pop stardom demanded and suggested. It was at once monumentally egotistical and romantically agonized in its promotion of the age-old "lonely at the top" scenario. With Carney Russell definitively cinched his superstar status, securing an artistic autonomy he would subsequently squander in choices that seemed extremely self-destructive.
With few exceptions, Russell's new songs appear to be inspired by his creative relationship with McCreary. Among those that are not, the most touching and personal is "My Father's Shoes," a gospel-styled hymn in which Russell meditates on the continuity of the father/son relationship, regretting the difficulty of being able to express directly both paternal and filial love:
Equally strong is "Bluebird," a song whose powerful melody and vigorous performances paradoxically celebrate a state of complete emotional desolation. It's reassuring to hear that Russell can still belt out the cosmic blues with the best of them. The album closes with two intimate love songs. For "Laying Right Here in Heaven," which is touched with reggae, McCreary and Russell sing the very sexy lyrics as call and response. "Lady Blue," the lovely tune that ends the album, is a simple love song of total devotion: "I love you more and more and more/Lady blue." Here, Russell's vocal is remarkably unmannered and Jim Horn delivers a subtle alto sax solo.
Though Will o' the Wisp does not pretend to the intellectual level of Carney, it is warmer and more enjoyable. The arrogance, facetiousness and just plain sloppiness that have flawed Russell's post-Carney albums are hardly apparent. For a change, Russell's vocal mannerisms work for him instead of against him. To define the difference between affectation and a spontaneously felt personal style in Russell's singing is difficult. I suppose it simply comes down to one's intuiting how involved Russell is with his material. To may ears, he sounds very much involved on this album. Being the studio Pygmalion to McCreary's choir of angels has inspired Russell to find appropriately "perfect" sound settings that would enhance the beauty of his creation: an eccentric proposition that fortunately does not go over the line into craziness. The reason it doesn't is that Russell's songs remain firmly rooted in rock and pop tradition. Moreover, while Russell has only begun to explore the capabilities of synthesizer, he has resisted the temptation to indulge in experimentation for its own sake. Which is why Will o' the Wisp is such an encouraging album. Adventurous but disciplined, it goes a long way toward re-establishing Russell's artistic credibility and marks him as a pop innovator who cannot be counted out.
- Stephen Holden, Rolling Stone, 6-19-75.
Hard to imagine Leon Russell doing a "comeback" LP, but after the rather disappointing showing he made with his last effort this is just about what this amounts to. And he does remarkably well, with the vocals moving back toward the drawling, bluesy style most fans prefer but at the same time showing a sophistication he never displayed before. The same may be said for the songs, which are ballads or mid-tempo for the most part, though there is some fine blues rocking. Basically, the material here is what makes the set exceptional, including several cuts that rival the intensity of his brilliant "Song For You." There's lots of help from Mary McCreary on backup vocals and some fine Memphis musicians. Key here, however, is that Russell seems to have taken himself seriously and the LP shows just how good he can be when the effort is there. Like Willie Nelson, he can write with the best when he tries. This time he's trying. Best cuts: "Make You Feel Good," "Stay Away From Sad Songs," "Back To The Island," "Bluebird," "Lady Blue."
- Billboard, 1975.comments powered by Disqus
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