Requiem for an Almost Lady

Rating

Album: Requiem for an Almost Lady
#	Song Title		Time
1)	I'm Glad I Never...	More Info...
2)	If It's Monday Morning	More Info...
3)	LA Lady	More Info...
4)	Won't You Tell Your Dreams	More Info...
5)	I'll Live Yesterdays	More Info...
6)	Little Miss Sunshine (Little Miss Rain)	More Info...
7)	Stoned Lost Child	More Info...
8)	Come On Home to Me	More Info...
9)	Must Have Been Something I Loved	More Info...
10)	I'd Rather Be Your Enemy	More Info...
11)	I Just Learned to Run	More Info...
12)	Little Bird	More Info...

Album: Requiem for an Almost Lady
#	Song Title		Time
1)	I'm Glad I Never...	More Info...
2)	If It's Monday Morning	More Info...
3)	LA Lady	More Info...
4)	Won't You Tell Your Dreams	More Info...
5)	I'll Live Yesterdays	More Info...
6)	Little Miss Sunshine (Little Miss Rain)	More Info...
7)	Stoned Lost Child	More Info...
8)	Come On Home to Me	More Info...
9)	Must Have Been Something I Loved	More Info...
10)	I'd Rather Be Your Enemy	More Info...
11)	I Just Learned to Run	More Info...
12)	Little Bird	More Info...

Performer Notes

Requiem for an Almost Lady is the rarest of Lee Hazlewood's albums because it was released in 1971 exclusively in Sweden (where Hazlewood also completed his cult classic Cowboy in Sweden album) and the United Kingdom. The album is one of the most beautifully agonizing breakup records to ever hit wax, culled from a composite of Hazlewood's relationships gone wrong. Spoken word introductions precede each of the ten brief songs and reveal Hazlewood's poetic soul, while the songs themselves are full of longing and witty, clever cynicism coupled with a sad-eyed idealism that paints the music as even more visceral and grievous. Hazlewood spares none of his past loves. Requiem is often cutting, even harsh, as is evident with songs such as "I'd Rather Be Your Enemy" and "I'm Glad I Never..." (as in never owned a gun), but there is an underlying feeling of tenderness, as if Hazlewood is only talking tough to hide his own deep hurt. The album creates an impossibly cavernous warmth, with only acoustic guitar and electric bass backing provided by Jerry Cole, Donnie Owens, and Joe Cannon. Although there are hints of Hazlewood's cowboy sound on "L.A. Lady" and "Must Have Been Something I Loved," Requiem actually steers much closer to folky psychedelic pop territory, particularly the sound of California at the end of the '60s. The subject matter is sophisticated and somatic, but the tone of the music veers much more toward the mystical, existential, and hippie-ish. Hazlewood is meditative without seeming overly fragile. His perspective is world-weary, but it doesn't stop him from tossing in a campy sense of humor to leaven his obvious passionate disappointment, and it makes the album that much more lyrical, intelligent, and emotionally poignant. ~ Stanton Swihart

Professional Reviews

Q (10/99, p.150) - 4 stars out of 5 - "...Pervading longueurs and whimsical, cinematic lyrics...characterise [this] reverb-soaked album....a full-blown, intriguing concept set in which a sardonic Hazelwood picks over the debris of a failed relationship..."

Alternative Press (2/00, p.83) - 4 out of 5 - "...speaks of the dissolution of relationships...but this disc may tickle the modern listener more, as it possesses the post-psychedelia epochal aura..."

No Depression (3-4/00, pp.101-3) - "...The recording features acoustic guitar, bass and occasional acoustic lap steel and sitar strums, but no drums. Lyrically, it blends Hazelwood's subtle humor with sadness and displays his poetic prowess..."