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────┤ Info ├─────────────────────────────────────────────────────────────────
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Artist | Marty Cooper
Title | I Wrote A Song: The Complete 1970s Recordings
Genre | Folk/Rock Format | Album
Source | CDDA Time | 66:53
Label | Big Beat Records Store | 2012
Catalog | CDWIKD 309 Rip | 2016
Bitrate | 242 kbps Size | 122.67 MB
Freq | 44.1 kHz Encoder | Lame 3.98.4
┌────────┐
────┤ Tracks ├─────────────────────────────────────────────────────────────────
└────────┘
01. To Say Goodbye To Annie 3:08
02. Cowboys And Daddies 2:51
03. Tell The Singer I'm Sorry 3:22
04. Oh Country 3:52
05. The Indiana Girl 2:46
06. I Wrote A Song 3:51
07. The First Band I Played With 3:21
08. Another Day, Another Year 2:48
09. Mama Was A Cowgirl 2:00
10. The View From Ward Three (A Minute Of Your Time) 3:03
11. Like A Gypsy 2:51
12. Stephen 4:22
13. Wine, Wine, Wine 3:07
14. A Little Bit Country, A Little Bit Rock N Roll 2:54
15. Calhoun 3:13
16. The Mississippi Blind Boy 4:07
17. A Second Hand Song 2:34
18. Ten Dollar Room 3:00
19. Sometimes Cowgirls Get The Blues 3:22
20. If You Were A Singer 2:44
21. The Biplane, Evermore (with Rick Cunha) (Bonus Track) 3:37
┌────────┐
────┤ Notes ├─────────────────────────────────────────────────────────────────
└────────┘
Marty Cooper enjoyed most of his success in the music business as a
behind-the-scenes figure, writing songs and producing records for other
artists, though he did occasionally step into the spotlight with his own
material. James Martin Cooper was born in Denver, Colorado, and moved to
California in his early teens, settling in Los Angeles. By this time,
Cooper had developed a keen interest in music, and began singing and
writing songs; while still in high school, he contacted a small label,
Crest Records, that he found in the telephone directory, and they liked his
material well enough to put out his first single, "Can't Walk æEm Off" b/w
"You Bet Your Little Life," in 1958. The record was a flop, but it got
Cooper's foot in the door of the music business, and after completing high
school, he attended college by day (studying business administration) as he
made contacts with fellow musicians in his spare time.
Cooper wrote "Peanut Butter" for the Marathons and "The Lonely Surfer" for
Jack Nitzsche, was a member of the pop-folk act the Shacklefords with Lee
Hazlewood, and produced a few R&B hits for Bobby Day. If that sounds like a
curious rΘsumΘ for a singer/songwriter whose style is soft rock with a
pronounced country influence, let's just say the '70s were not much like
the '60s in the music business, and if Marty Cooper's creative evolution
was a bit out of the ordinary, an examination of the two albums he cut in
the '70s suggests he was entirely sincere about what he was doing at the
time.
"I Wrote A Song: The Complete 1970s Recordings" compiles the LPs Cooper
released during the Me Decade, 1972's "A Minute Of Your Time" and 1979's
"If You Were A Singer", and if neither sound like a lost masterpiece, this
is solid and well-crafted singer/songwriter material that suggests the
influence of the progressive wing of Nashville and the burgeoning Cosmic
Cowboy scene in Texas, both a bit off the beaten track when the first album
appeared. "A Minute Of Your Time" is a gentler and more contemplative set,
with Cooper sounding impressively lovelorn on "Oh, Country," "To Say
Goodbye to Anne," and "The Indiana Girl" (which was a minor hit), while
showing off his storytelling skills on "The First Band I Played With,"
"Cowboys and Daddies," and "The View from Ward Three (A Minute of Your
Time)," a tale of a songwriter whose failing career takes a particularly
heavy toll.
"If You Were A Singer" is louder and more demonstrative than the first
album, but is still firmly in the laid-back country-rock mode, and is full
of tales of busted romances, colorful alcoholics, and the redeeming powers
of music. The album also includes Cooper's original recording of "A Little
Bit Country, A Little Bit Rock n Roll," which is considerably less dire
than Donny & Marie's better-known interpretation. Cooper's voice is warmly
subtle and emotionally evocative, the production and arrangements on both
albums are smooth and expert, and there were plenty of acts from the era
that fared far better on the charts with much weaker material than this.
The liner notes include an extensive interview with Cooper that details the
many detours of his career, and the packaging is attractive and includes
lots of rare photos; this is an unexpectedly lavish celebration of a
seemingly minor artist, and if you have any interest in Cooper's body of
work as a headliner, this will show and tell you all you need to know.
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