| The Confessor | |
| Type: | Studio Album |
| Artist: | Joe Walsh |
| Cover: | Joe Walsh - The Confessor.jpg |
| Recorded: | 1984 |
| Studio: | Goodnight LA Studios (Los Angeles) |
| Genre: | |
| Label: | Warner Bros. |
| Producer: |
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| Prev Title: | You Bought It – You Name It |
| Prev Year: | 1983 |
| Next Title: | Rocky Mountain Way |
| Next Year: | 1985 |
The Confessor is the seventh solo studio album by American rock musician Joe Walsh, released on May 21, 1985 by Warner Bros. Records, and Full Moon Records. It was produced by Grammy Award-winning producer and sound engineer Keith Olsen as well as Walsh himself. The album peaked at number 65 on the Billboard 200.
The cover art for the album features the painting Zwei Männer in Betrachtung des Mondes (Two Men Contemplating the Moon), a famous work by the German nineteenth-century romantic landscape artist Caspar David Friedrich, with a grainy photograph of Walsh in behind. The back cover is another painting by Friedrich, Der Wanderer über dem Nebelmeer (Wanderer above the Sea of Fog).
The album includes a cover of Michael Stanley's "Rosewood Bitters," which got some FM airplay in the US;[1] Walsh played slide guitar on the original recording which Stanley originally recorded. On this version instead he plays an electric guitar.[2] "Slow Dancing" is a song written by Loz Netto for Walsh. Netto was the guitarist in the English band Moon from the mid 1970s and the band Sniff 'n' the Tears from the late 1970s.
A variety of styles are explored on this album, including elements of blues, pop, and even Caribbean music. The title song is more in the vein of progressive rock.
Walsh's new girlfriend Stevie Nicks would get involved with the recording of this album, as her old friend Keith Olsen was hired to produce the album. The superimposed LA session stalwarts like Jim Keltner, Mike Porcaro, Waddy Wachtel, Randy Newman, Alan Pasqua and a lot of musicians Walsh had never worked with before were the musicians who played on the album. However, the only familiar face was Timothy B. Schmit (of the Eagles) who only recorded backing vocals.[3]
Upon its release, the album was poorly received by many critics but sold quite well. Guitar World critic Bruce Malamut wrote that the album is "the apologia of a strictly raised mid-western episcopalian after living in rock and roll sin for ‘Fifteen Years’ on the road," and that "The balance … is a sober retrospective from rock’s own Harpo Marx."[4] Rolling Stone said that "Walsh is trying to make the kind of record he used to make a decade ago, and the result is, well, out of date, sound [sic] like something out of a 1975 time capsule."[3] Writing retrospectively for AllMusic, critic James Chrispell highly complimented the title track, but wrote of the album "Joe Walsh just hasn't been able to produce a complete album of great material, and The Confessor is no exception. The first half is dreck... Worthwhile for the title track alone."
After the release of the album, Walsh toured again with Joe Vitale in Australia and in the US. In Australia the band was called Creatures from America. In the US they were the opening act on some gigs for Foreigner.[5]
"The Confessor" and "Good Man Down" were the only tracks from this album which were performed live on that tour.[5]
Musicians
Engineering
Album artwork