{"id":1131,"date":"2016-10-21T14:01:06","date_gmt":"2016-10-21T14:01:06","guid":{"rendered":"https:\/\/cherscholar.com\/cherblog\/the-i-paralyze-re-release\/"},"modified":"2023-02-20T08:18:34","modified_gmt":"2023-02-20T15:18:34","slug":"the-i-paralyze-re-release","status":"publish","type":"post","link":"https:\/\/cherscholar.com\/cherblog\/2016\/10\/the-i-paralyze-re-release\/","title":{"rendered":"The I Paralyze Re-Release"},"content":{"rendered":"

\"Ip3\"<\/a>The re-release of the album I Paralyze<\/em> came out recently with a booklet of liner notes by Quentin Harrison whose bio talks about \u201cequalizing the commentary field for music in need of critical dissemination.\u201d Sounds a bit wordy but surely good for cultural re-evaluations of Cher. He says she is, \u201cinstantly synonymous with glamour, empowerment, humor and wit\u201d and that \u201cher reach has extended into both music and acting, forming a two pronged approach to her legacy.\u201d Do legacies have prongs? If so, Cher has more prongs than two. The great thing is, Harrison interviewed album producer David Wolfert who provided valuable insight into this obscure album as being one of the \u201cpockets of lost Cher music\u201d which I take to mean awesome but underappreciated Cher albums. Harrison lists 3614 Jackson Highway, Bittersweet White Light<\/em>, (a controversial inclusion but one I agree with), Stars<\/em> and I Paralyze<\/em>.<\/p>\n

Harrison talks about Cher\u2019s \u201cpyrric stay at Casablanca records." I looked it up: pyrrhic means "won at too great a cost to have been worthwhile for the victor." I'm not sure how to use this adjective with Cher's Casablanca albums. Two were not that victorious at all. One is arguably a good disco album. He calls Take Me Home<\/em> \u201cshrewd but satisfying.\u201d I can accept that. Prisoner<\/em> he calls \u201cmuddled.\u201d Ditto. He says Cher signed with Columbia in 1981 while she was launching an acting career in New York City. He calls this \u201cCher\u2019s most cohesive LP since Stars.\u201d TMH seemed pretty cohesive to me if too light. Cherished<\/em> was cohesively kitschy.  <\/p>\n

David Wolfert says, \u201cWe didn\u2019t want to make a dumb pop record, neither of us were in the mood" and that they worked to streamline "the ambition of Black Rose but avoiding the fluff of Prisoner.\u201d He talks about \u201cthe sensuous, sci-fi grove\u201d of IP. Wolfert wanted make an album you\u2019d listen too from end to end.  \u201cWe took a long time to decide what order things were in…Cher and I talked a lot about the sound of the album\u2026it wasn\u2019t going to be slick, it wasn\u2019t going to be overproduced.\u201d<\/p>\n

\"Ip\"<\/a>Wolfert said he went through a thousand songs and narrowed a list down to 40 or 50 and Cher and Wolfert picked from those. Cher brought in \u201cRudy\u201d and wanted Wolfert to write with Desmond Child [on \u201cWalk with Me\u201d] \u201cwhich was fantastic,\u201d Wolfert says. Harrison describes the song \u201cGames\u201d as \u201cthe shadowy ballad gave Cher\u2019s contralo room to breathe." Wolfert says \u201cWe worked long and hard on that one, especially the vocals.\u201d<\/p>\n

Wolfert wanted "Walk With Me" to be first single instead of "I Paralyze" but Cher scholar Dishy reminded me that it was actually "Rudy" that was released as a single first. \u201cI wasn\u2019t around for the decision,\u201d Wolfert says, adding IP was recorded \u201cas an afterthought because they thought it had the best shot of being a single.\u201d This sounds like Cher\u2019s first overproduced moment. I doubt "Walk with Me" would have fared better.<\/p>\n

I remember reading my first People Magazine Cher album review about swallowed vowels. This People Magazine review<\/a> was not what I remember but it's interesting nonetheless:<\/p>\n

This album seems largely a regression, with Cher yelling her way through such adolescent rock \u2018n\u2019 roll<\/strong> as Rudy, Games, Back on the Street Again and The Book of Love (a new song by Desmond Child, unfortunately, not the old Monotones hit). It\u2019s hard to tell how seriously she\u2019s taking all this, since her delivery often sounds as if her tongue were literally as well as figuratively in her cheek.<\/strong> There are two interesting tracks. One is I Paralyze, co-written and produced by John Farrar with the intriguing tone and synthesizer feel <\/strong>he used on Olivia Newton-John\u2019s Physical LP. The other is a Micheal Smotherman-Billy Burnette tune, Do I Ever Cross Your Mind, a slow, moody piece in which Cher seems to be drawing on her talent and experience instead of the same kind of awkward, unflattering decorations she uses on her body. <\/strong><\/em><\/p>\n

[They did not just go there.]<\/p>\n

\"Cher_i_paralyze_vinyl_back_cover\"<\/a>This Popdose review<\/a> has another take, saying the song IP sounds like an outtake from Olivia Newton John\u2019s album of the same era, Physical.  <\/em>Let\u2019s revisit a few of these ONJ Physical<\/em> tracks for comparison:<\/p>\n

– Landslide<\/a>:  This songs has really full drums and depth and more unique accents than the IP tracks.
– Make a Move on Me<\/a>: This song has hit all over it\u2014what a great aerobic song it was. It probably encapsulates my entire philosophical and sexual ethos at age 16. Unfortunately, my love life then was as hot as Olivia Newton John\u2019s dancing.
– Physical<\/a>: Just tighter sounding than IP.
– Recovery<\/a>:  Wow. What a video. Men inexplicably in a cage. This reminds me fondly of John Wait\u2019s video for his song Tears<\/a>.
– The Dolphin Song<\/a>: The pre-teen animal rights activist in me loved this song.<\/p>\n

\u201cWe all felt that record was under promoted,\u201d Wolfert argues. According to Popdose: Cher only made \u201cdulsatory (\u201cmarked by absence of a plan") appearances on Solid Gold<\/em> and a rapidly aging American Bandstand<\/em><\/a> to market it.\u201d I\u2019ve never seen the Solid Gold<\/em> episode.<\/p>\n

\u201cNo one tells Cher what to do,\u201d Wolfert says. We\u2019ve heard this sentiment from time to time since the late 1970s from producers of her solo albums. Is this an overreaction to a decade of being pushed around by Snuff Garrett and Sonny in the studio?<\/p>\n

The liner notes talk about the album\u2019s \u201cpolite touch of new wave.\u201d And here is where the album's issues sit, in the new wave sensibility of its sounds and photo artifacts. Something about Cher just doesn't meld with New Wave. Yes, Cher\u2026an artist who can meld with just about anything.  I actually like this album but I can completely see why it didn\u2019t fly with new wave audiences.<\/p>\n

Rudy<\/strong> \u2013 I liked the new tough-sounding belting from Cher, especially at the bridge but the music seems too low and muddled, not defined. The song could have kicked ass with more oomph from the backing vocals, keyboards and drums. Overall, it\u2019s a kid-culture fail. There are also some awkward moments on the \u201cwhy-y-y\u201d and the \u201cRemember\u201d vowel slippages. But this is only recently post-Black-Rose and Cher is just getting her rock-voice legs.<\/p>\n

Games<\/strong> is a lovely vocal and a great potential format for a Cher song. It\u2019s a smart lyric about life experience. The metaphors are good but the production feels like a demo instrumental. There are more vowel slips. Like \u201cRudy,\u201d it needed more instrumental texture. The guitar bridge almost sounds like a Little River Band song.<\/p>\n

I Paralyze<\/strong> is fun but like a drum-machine among plodding instrumentals. Her vocals are fine but after many years I still can\u2019t parse out some words and phrases. In fact, I could use help with the chorus if anybody knows the words. "Everybody\u2019s sober and no one lies?" "Green as a dollar bill" or is it "greed as a dollar bill?"<\/p>\n

\"Ip4\"<\/a>When the Love is Gone –<\/strong> Again I like this song and its movements from soft to hard. But the piano just doesn\u2019t sound present<\/em>. Again it's just demo quality. The bridge sounds very similar to Earth Wind and Fire\u2019s "After the Love Is Gone<\/a>" (1979) without that song\u2019s soft groovines. I have listened to this song probably over 200 times since 1979. The words in the bridge I cannot decipher at all.<\/p>\n

Say What\u2019s On Your Mind<\/strong> is ok. Some fine belting.<\/p>\n

Back on the Street Again <\/strong>– What is not to like here? The original is great as it is,  <\/a>(although, I could digress with a whole other post about that red jumpsuit). The synthesizer is a bit cartoonish and Cher inexplicably went safe with \u201cgave every night\u201d instead of \u201ccame every night\u201d but then wanted to be on the \u201cstreet again\u201d instead of on her feet. Is this an empowering 80s woman \u201ctaking back the night\u201d moment? Is it best not to represent anyone as being overly orgasmic? She gives the bridge a strong go of it and I imagine she probably loved the guitar part. It\u2019s the best track on this album, IMHO. I was irked by the liner note\u2019s attempt to correct the misspelling of The Babys with the dumbfounding possessive The Baby\u2019s instead of The Babies (the baby\u2019s what?) and then calling the song in the liner notes \u201cBack On My Feet.\u201d There are more than a few typos in the booklet.<\/p>\n

Walk With Me<\/strong> is the Desmond Child song with typical Desmond Child atmosphere and his recognizable 90s pop-rock transitions. This song could easily have found itself on any of Cher\u2019s Warren-Child infused Geffen albums. Similarly, it\u2019s repetitive and plodding.<\/p>\n

The Book of Love<\/strong> is very 80s-campy. I like the Michael Myers sounding piano<\/a> and the bitchy chorus. \u201cChains of lovers\u201d recalls the 80s magazine profiles of Cher with the obligatory sidebar of her love relationships. Another good guitar solo.<\/p>\n

Do I Ever Cross Your Mind<\/strong> ends the album on a Allman-esque country note. It\u2019s a quiet, sincere vocal although you have to sit through a dated keyboard arrangement in order to enjoy it.<\/p>\n

This expanded edition of the album gives us two alternate versions of "Rudy," both with an alternate bridge of \u201cI Love Yous\u201d that was probably good to dispense with.<\/p>\n

All of Wolfert\u2019s instrumental tracks are included as well. Do these instrumentals add anything since they\u2019re not that impressive in the first place? Not that they\u2019re necessarily bad but it makes me wonder if  someone involved in the project preferred the album without Cher in it? David Wolfert maybe, considering "I Paralyze," the John Farrar\u2019s single is the only track lacking an instrumental doppelganger?<\/p>\n

To be fair, these are some interesting experiments in Cher doing new wave and it sounds like she is enjoying doing it. But she\u2019s better suited, dare I even say it, to Bon-Jovi rock. Cher is too much for this genre.<\/p>\n

The album does get good Amazon reviews<\/a> and it\u2019s one of Gordon Ashenhurst\u2019s favs<\/a>.  He says, \u201cof all her Geffen releases it is only on I Paralyze<\/em> where the one-size-fits-all power-rock formula is not relied upon\u201d Oh, he says she\u2019s singing \u201cyou\u2019re as real as a dollar bill!\u201d Huh.<\/p>\n

  <\/p>\n","protected":false},"excerpt":{"rendered":"

The re-release of the album I Paralyze came out recently with a booklet of liner notes by Quentin Harrison whose bio talks about \u201cequalizing the commentary field for music in need of critical dissemination.\u201d Sounds a bit wordy but surely good for cultural re-evaluations of Cher. He says she is, \u201cinstantly synonymous with glamour, empowerment, […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","om_disable_all_campaigns":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[15],"tags":[],"class_list":["post-1131","post","type-post","status-publish","format-standard","hentry","category-music","wp-image-borders","post-preview"],"yoast_head":"\nThe I Paralyze Re-Release - I Found Some Blog<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cherscholar.com\/cherblog\/2016\/10\/the-i-paralyze-re-release\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The I Paralyze Re-Release - I Found Some Blog\" \/>\n<meta property=\"og:description\" content=\"The re-release of the album I Paralyze came out recently with a booklet of liner notes by Quentin Harrison whose bio talks about \u201cequalizing the commentary field for music in need of critical dissemination.\u201d Sounds a bit wordy but surely good for cultural re-evaluations of Cher. 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