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In the end, the sign of Aretha Franklin's artistry is that she always leaves her mark - first, on the music, then on us.

Jon Landau

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Jon Landau
Age: 77
Born: 1947
Born: May 14
Composer
Journalist
Music Critic
Record Producer
Talent Manager
the United States of America
Ends
Music
Firsts
First
Artistry
Always
Franklin
Leaves
Sign
Mark

More quotes by Jon Landau

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What makes the Stones' arrogance so divine is that we all believe that long ago and far away they weren't rich and famous but poor and struggling, just like us.
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Sly Stone doesn't make good albums: only good records. His style is so infinite and revolves around so many crucial aspects that it has only come together perfectly on a handful of his singles.
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My ambition was to be a record producer, and I had started doing that in the late '60s with my work with the MC5 and my friend Livingston Taylor.
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I saw my rock'n'roll past flash before my eyes. And I saw something else: I saw rock and roll future and its name is Bruce Springsteen. And on a night when I needed to feel young, he made me feel like I was hearing music for the very first time.
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While the Beatles always had George Martin around to clean up their act, the Rolling Stones had Andrew Loog Oldham to coarsen theirs.
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Elton John can be a master of the sleight of hand. The arrangements make it seem like there are substantial melodies underneath the tracks - but almost nothing demands repeated listenings. Similarly, he always sounds like he's singing up a storm, but his voice glosses over the material, reducing most things to an uninteresting sameness.
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One gets the impression that Elvis Presley does what his business advisors think will be most profitable. My advice to them: Put Elvis Presley in the studio with a bunch of good, contemporary rockers, lock the studio up, and tell him he can't come out until he's done made an album that rocks from beginning to end.
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The early Bob Dylan was compulsively drawn to the conflict between stability and the search for immortality.
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Joni Mitchell seems destined to remain in a state of permanent dissatisfaction - always knowing what she would like to do, always more depressed when it's done.
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When the Beatles cut old rock n' roll, they were recording music still in their performing repertoire, and besides, they never thought of the music as old.
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There is a 'patrician arrogance' to James Taylor that accounts in part for his popularity while it at the same time explains the critical resistance to his work.
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The only criticism heard with any frequency of Elton John's first American album, 'Elton John,' was that the production was too grandiose. The melodies were superb, and lyrics frequently very good, and the performances flawless.
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Bob Dylan may be the Charlie Chaplin of rock n' roll. Both men are regarded as geniuses by their entire audience. Both were proclaimed revolutionaries for their early work and subjected to exhaustive attack when later works were thought to be inferior. Both developed their art without so much as a nodding glance toward their peers.
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It didn't matter that Charlie Chaplin may not have been a great director or a great anything else. He made great movies.
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It is by now beyond question that Elton John is a competent and classy entertainer. Few people who have achieved his popularity have succeeded in maintaining his standards for performance and professionalism.
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'Sing It Again Rod' touches all the solo bases since Stewart's departure from the Jeff Beck Band, wherein he cut his teeth on American audiences for $75 a week plus expenses, and wisely ignores his generally inferior work with the Faces.
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Carole King's second album, 'Tapestry,' has fulfilled the promise of her first and confirmed the fact that she is one of the most creative figures in all of pop music. It is an album of surpassing personal-intimacy and musical accomplishment and a work infused with a sense of artistic purpose. It is also easy to listen to and easy to enjoy.
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On first listening, Joni Mitchell's 'Court And Spark,' the first truly great pop album of 1974, sounds surprisingly light by the third or fourth listening, it reveals its underlying tensions.
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Often, equipment can as easily function as a security blanket for musicians unwilling or unable to risk anything personal in the studio. Whether one catches the feeling on a record is a subjective matter. How can you be sure? The machinery can hold out the promise of at least mechanical perfection.
Jon Landau
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To her audience, Janis Joplin has remained a symbol, artifact and reminder of late Sixties youth culture. Her popularity never derived from her musical ability, but from her capacity to link her fantasies of freedom and immortality with ours.
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