Patrick Leonard It All Comes Down to Mood

[vesalii 1,469]

Hi everyone,

Not sure if this was already posted but Patrick Leonard just released a studio album:

https://store.patrickleonardmusic.com/products/patrick-leonard-it-all-comes-down-to-mood-1

1 Hat and Coat
2 When it Comes to Giants Part 1
3 Maniac Hill
4 Jimmy Upside
5 Sad Ass World
6 Anderson and Council
7 Mary Saw Angels
8 At the End of the Day
9 Bishops of Fright
10 In Came the Fool
11 For Her
12 Devils in the Rain
13 Up in the Sky
14 Looking for a Heart
15 When it Comes to Giants Part 2
16 A Walk in the Woods

You could be forgiven for not knowing Patrick Leonard by name, but most certainly, you know his work. The esteemed producer has helped bring to life career-defining recordings by Madonna, Leonard Cohen, Pink Floyd, Elton John, Jewel, Bryan Ferry, Fleetwood Mac, Rod Stewart, and Roger Waters, to name a few. He founded the critically acclaimed early 90’s alt-rock group Toy Matinee. But for the first time in two decades, Patrick Leonard is releasing music that is all his own: “It All Comes Down To Mood”, a sprawling, 16 track double album that brilliantly conveys his artistic genius.

 

So what does “It All Comes Down To Mood” sound like? The best genre descriptor might be “art-pop”. The songwriting is adventurous, both musically and lyrically. Elemental influences of all Patrick Leonard’s famous clients emerge in an organic way – but not overtly. “My vocabulary is pure 60’s and 70’s rock ’n’ roll and prog rock, but when I’m working, if something that I’m doing reminds me of someone else’s music, I stop,” says Leonard.”I have no interest in being an emulator.” The common denominator between the classic albums which influenced Leonard and his own album is that they reward attentive listening. Each of the album’s 16 tracks are like masterpiece paintings, which reveal more the deeper you listen. The production is pristine, the playing is endlessly tasteful and the lyrics thought provoking. But what brings it together is an emotional component that is rarified in modern music.

 

Supported by a dream cast of supporting musicians: Tony Levin, Tim Pierce, Wendy Melvoin, John Patitucci, Aaron Stirling, Martin Barre, James Harrah, Ian Anderson, Anna Mjoll, Gerry Leonard and Paul Franklin – and working without the typical budgetary or creative restraints usually imposed by major labels, “It All Comes Down To Mood” is a record that probably couldn’t be made by anyone else today. It was a challenge that Leonard has readied himself for over his entire career. “You have to decide about everything – all of it,” says Leonard, speaking about taking 100% ownership of his own creative output. “I remember working with Madonna during “True Blue”, and she wanted to do something musically that I thought didn’t work and I basically told her no. Coincidentally, the album artwork with that famous cover photo by Herb Ritts had just been delivered to the studio for her approval, so she reached over, picked it up and said, “whose picture is on the cover of this record?” he laughs. “And I thought, she’s right. It’s your record, it has to represent you, not anyone else.”

 

Leonard started work on the album by writing autobiographically. “The first ideas included “Looking for a Heart, bout a state I found myself in more than once in my life, and “Mary Saw Angels” a family story about my mother and my sister Mary. Then I wrote “When it Comes to Giants”, which is about this “it’s never enough” culture of ours,” he says. “Little did I know at that time that this endeavor was going to take over a year, but that’s how it went.”

 

Leonard continues, ”At one point I realized this record had a lot to do with the 70s, so I decided to impose some rules on it. I wouldn’t use any keyboards that didn’t exist in the 70s and none that came to be after that; basically no modern synthesizers and certainly no PC-based synths. While writing the music I found myself using odd bar lengths and time signatures, something I hadn’t done or thought about in years. I think I’d discovered the subjects/ POV that the narrator was going to take on and re-discovered the 15-year-old boy inside me who loves progressive rock music as well as vinyl records, ” says the artist.

 

And Leonard has taken great pains to ensure that the vinyl package of “It All Comes Down To Mood” is something that 15 year old boy would be impressed by indeed. Firstly, Leonard commissioned the legendary StormStudios, founded by the late designer Storm Thorgerson, to design the album artwork. Analog revivalist Michael Fremer consulted with Leonard on the vinyl package, which features a tip-on jacket, was cut by Chris Bellman at Bernie Grundman Mastering, and mastered by legendary engineer Bob Ludwig as his last project on his last day at Gateway Mastering prior to his retirement. The double album was lovingly sequenced by sides, both for thematic continuity and sonic benefits. Fremer brought test pressings of the record to various audio shows over the past few months and reviewed it for vinyl enthusiasts who were “blown away” by the music and the sound – in several cases, the demo received a standing ovation when the record was done playing.

 

Patrick Leonard’s goals for “It All Comes Down To Mood” are a bit ambivalent. “There’s some liberation in this new record. I think music and its content have suffered from what technology brought to the party. I won’t go into this too deeply because I’ll just sound like a grouchy old snob (which maybe I am), “says Leonard. “I’ll admit that I liked it better when musical aspirations were more about being better as a musician, and less about chasing digital celebrity. If all the stars in the sky were digital projections except one, how would you ever find that one?” he ponders.

 

“I worked with Leonard Cohen for 6 years; his work is without peer, his methods and discipline, the same. I learned so much from him, how could you not? Among the most important lessons was the ability to know when it’s done.” With “It All Comes Down To Mood”, Patrick Leonard has put a new star in the sky, made from heart, soul, and will. It shines brightly.

[Alibaba 1,802]

Interestingly, Patrick’s bio on Spotify wipes the slate clean of any Madonna association: 

Patrick Leonard has worked with a wide variety of artists including late-period Pink Floyd and solo Roger Waters, Elton John, Leonard Cohen, Bryan Ferry, Julian Lennon, Rod Stewart, Michael Jackson, Fleetwood Mac, Jeff Beck, Bryan Adams, Peter Cetera, Jewel, Blue October, Duncan Sheik, Michael W. Smith, Marianne Faithfull, and Robbie Robertson. He was half of the art-pop group Toy Matinee with Kevin Gilbert and Third Matinee with Richard Page. He has also acted as composer for a variety of films and stage productions.
From 2009 to 2016 he collaborated with Leonard Cohen, acting as a writer and producer for 2012’s Old Ideas and 2014’s Popular Problems, and co-writer, co-producer of 2016’s You Want It Darker. "Nevermind," a song from Popular Problems that Leonard co-wrote and produced, was featured as the title theme for Season 2 of HBO's True Detective. Speaking of Patrick in 2016, Cohen remarked that, "He is such a magnificent composer. I don’t think there’s anybody working today with those kinds of skills."

His new album is good. 

[A. A. Aardvark 5,715]

[MartineX 645]

What about that album that he was crowdfunding, people Gave money but it never hapened? 

[Boombox90 7,450]

I think I gave $200 and got nothing back 😳

[ADONNA 26,740]

25 minutes ago, MartineX said:

What about that album that he was crowdfunding, people Gave money but it never hapened? 

Before he disappeared from Social Media a couple years ago, he mentioned that it was no longer happening.  He mentioning going a different direction or route. 

Anyway, he posted at Instagram yesterday, showing off his Piano. He also posted a video of himself playing on the Piano Oh Father.  I see today he's posted about the double album release of new music.  The clip sounds actually pretty good.

Here he is playing a bit of "Oh Father".

https://www.instagram.com/p/DCPhk5zxZEz/

[Stefo 8,557]

Here's the full album for the ones interested

 

4 hours ago, Alibaba said:

Interestingly, Patrick’s bio in Spotify wipes the slate clean of any Madonna association: 

Patrick Leonard has worked with a wide variety of artists including late-period Pink Floyd and solo Roger Waters, Elton John, Leonard Cohen, Bryan Ferry, Julian Lennon, Rod Stewart, Michael Jackson, Fleetwood Mac, Jeff Beck, Bryan Adams, Peter Cetera, Jewel, Blue October, Duncan Sheik, Michael W. Smith, Marianne Faithfull, and Robbie Robertson. He was half of the art-pop group Toy Matinee with Kevin Gilbert and Third Matinee with Richard Page. He has also acted as composer for a variety of films and stage productions.
From 2009 to 2016 he collaborated with Leonard Cohen, acting as a writer and producer for 2012’s Old Ideas and 2014’s Popular Problems, and co-writer, co-producer of 2016’s You Want It Darker. "Nevermind," a song from Popular Problems that Leonard co-wrote and produced, was featured as the title theme for Season 2 of HBO's True Detective. Speaking of Patrick in 2016, Cohen remarked that, "He is such a magnificent composer. I don’t think there’s anybody working today with those kinds of skills."

... this really left me in owe and disappoinment though. How unfair and unjustified.

[vesalii 1,469]

3 hours ago, MartineX said:

What about that album that he was crowdfunding, people Gave money but it never hapened? 

so he basically defrauded?

[Alibaba 1,802]

6 hours ago, Susan Thomas said:

Here's the full album for the ones interested

 

... this really left me in owe and disappoinment though. How unfair and unjustified.

I think there’s a palpable bitterness that resides in many of Madonna’s former collaborators. There is either a need to take ownership of their collaborations by implicitly diminishing the value Madonna’s contributions that seems to increase in intensity as the number of years since the association grows, or there is a sense of entitlement that eventually leads to talking down their noses about her. I’ve seen this in many of these people…Niki Harris, Shep Pettibone, William Orbit, and maybe Steve Bray, all come to mind as other examples of this behavior. I don’t know if it comes from the personalization of losing access to her, or if it is the result of Madonna’s behavior towards them, but judging by what I have understood through slightly cryptic language used by Ms. Harris or Orbit, it seems clear that there’s a lot of hurt ego when Madonna evolves and doesn’t bring everyone along for the ride with her. Pat has always given me this impression energetically. He has often come back to referencing Madonna, mostly because it was her fame that inflated his public profile. This is really the unfortunate curse of having been associated with Madonna. You never escape from her shadow, even when you’ve had nothing to do with her for decades. I suppose you have to wonder how that must feel for Maripol, Sandra Bernhard, Donna Delory or Pat. Then again, his first significant post since returning to IG to promote his album was playing a Madonna song, even with new compositions to promote! I guess it’s more like a blessing that can easily be experienced as a curse…Most of the people who follow him and liked his recent posts are Madonna fan accounts and former M collaborators. It isn’t Leonard Cohen fans who are going to be faithfully checking out his modern creative output, and yet it’s clear from his bio that he has decided to make this his crowning achievement. 

[EgoRod 6,433]

4 hours ago, vesalii said:

so he basically defrauded?

No he didnt. it was cancelled and no money was taken. You already made this question before :D

 

[EgoRod 6,433]

1 hour ago, Alibaba said:

 it seems clear that there’s a lot of hurt ego when Madonna evolves and doesn’t bring everyone along for the ride with her. Pat has always given me this impression energetically. He has often come back to referencing Madonna, mostly because it was her fame that inflated his public profile. This is really the unfortunate curse of having been associated with Madonna. You never escape from her shadow, even when you’ve had nothing to do with her for decades.

Exactly this.  I remember one of Stuart Price’s first interviews after he stopped working with her—in a UK DJ magazine—where he was asked if he’d consider collaborating on new music. He said working with her had been an incredible privilege and had certainly boosted his career, but he didn’t want to be defined by the ‘Madonna effect.’ He pointed out that he’d already achieved a lot on his own and wanted to keep building his career independently. He wasn’t being unkind, just subtly referring to other producers from her past.

Similarly, Mirwais often mentions how much he enjoys working with her, while also respecting the distinct paths they each follow. That mutual 'respect' is likely why they’ve stayed in touch. Then, in contrast, you have William Orbit, who seemed quite hurt after returning to work on MDNA.

[BLUE JEAN 20,822]

I don’t think Pat Leonard is one of those bitter people. He has always spoken highly of Madonna and respected her contributions.

Remember too that Leonard Cohen is a music legend also. Perhaps he is focusing on that collab because it more closely aligns with the album he is promoting. Madonna fans aren’t his target audience with this.

[Alibaba 1,802]

38 minutes ago, BLUE JEAN said:

I don’t think Pat Leonard is one of those bitter people. He has always spoken highly of Madonna and respected her contributions.

Remember too that Leonard Cohen is a music legend also. Perhaps he is focusing on that collab because it more closely aligns with the album he is promoting. Madonna fans aren’t his target audience with this.

Yes, but the conversation was developing around his Spotify bio ignoring his Madonna association completely. That is quite a stretch considering how impactful that relationship was for both of them. Almost like Paul Simon failing to mention Art Garfunkel. 

[LongIslandTea 2,000]

Maybe M team had sent him a cease and desist letter not to leak anything or using M's name to make money? Hence he removed all M related info? 

WB is very well known in doing the above mentioned.

[Roland Barthes 7,322]

14 hours ago, EgoRod said:

Exactly this.  I remember one of Stuart Price’s first interviews after he stopped working with her—in a UK DJ magazine—where he was asked if he’d consider collaborating on new music. He said working with her had been an incredible privilege and had certainly boosted his career, but he didn’t want to be defined by the ‘Madonna effect.’ He pointed out that he’d already achieved a lot on his own and wanted to keep building his career independently. He wasn’t being unkind, just subtly referring to other producers from her past.

Similarly, Mirwais often mentions how much he enjoys working with her, while also respecting the distinct paths they each follow. That mutual 'respect' is likely why they’ve stayed in touch. Then, in contrast, you have William Orbit, who seemed quite hurt after returning to work on MDNA.

Yes but he praised her twice after attending the Celebration tour in Paris and in his itws the year before to promote his new album, he really praised her, insisting SHE produced him. And that she has an incredible ear.

He only criticized MDNA because Elton John and David Furnish made a post on Facebook mocking the second week drop. Then Orbit argued with people in his comments. He was apparently drunk and high. He apologized later and shut down his profile on fb. He did not like how Demo engineered the album, he thought there were too many dj's involved as well and 2 years ago he criticized his own work on it. 

Around MDNA and right after he was not doing well, he started experimenting with drugs and had a nervous breakdown, he had to be institutionalized. There are many itws he did for The Painter where he talks about how he hit rock bottom... 

guardian itw

[BLUE JEAN 20,822]

6 hours ago, Alibaba said:

Yes, but the conversation was developing around his Spotify bio ignoring his Madonna association completely. That is quite a stretch considering how impactful that relationship was for both of them. Almost like Paul Simon failing to mention Art Garfunkel. 

He’s promoting his own music. I wouldn’t read too much into it.

[Boombox90 7,450]

5 hours ago, LongIslandTea said:

Maybe M team had sent him a cease and desist letter not to leak anything or using M's name to make money? Hence he removed all M related info? 

WB is very well known in doing the above mentioned.

They can put effort into that, but not acknowledge anniversary’s? 🤐

[ADONNA 26,740]

6 minutes ago, BLUE JEAN said:

He’s promoting his own music. I wouldn’t read too much into it.

You do have to admit it's odd though, right? They named pretty much every other artist he worked with.  He worked with her the most I believe.  How can they miss mentioning her?  I'd think it would be great promotion for his own work?

[Stefo 8,557]

11 hours ago, BLUE JEAN said:

Remember too that Leonard Cohen is a music legend also. Perhaps he is focusing on that collab because it more closely aligns with the album he is promoting. Madonna fans aren’t his target audience with this.

That's the first idea that crossed through my mind when I read the long list of collabs he reported on Spotify, excluding M. At the same time, his stuff is very different than Jacko's music too and Elton John or Bryan Adams are not that close to Roger Waters or Leonard Cohen either. I agree this can be connected with his album promo but I think the principle was the percieved "prestige" of the names.

He can do wathever he likes to me, he'll always remain her best author. Period. She had maybe more edgy producers later but never better writers. And I neither can see him being bitter with her at all. I sadly think that M is not considered a proper musician by some and he might have thought it was not prestigious enough to include her name. Even Michael JAckson, commonly connected to pop music, is righteously considered a talented musician ... M not (and I really can't understand why on earth, especially now that I see Swift or Beyonce or Gaga being that appreciated).

[BLUE JEAN 20,822]

29 minutes ago, Adonna said:

You do have to admit it's odd though, right? They named pretty much every other artist he worked with.  He worked with her the most I believe.  How can they miss mentioning her?  I'd think it would be great promotion for his own work?

It is weird. But if you go to his website in his bio her name is the first mentioned there. Plus he’s still mentioning her in interviews and playing Oh Father on Instagram. So it doesn’t seem like he’s trying to distance himself from her or anything. Maybe a PR person submitted that Spotify bio?

[Ian 2,596]

is Emily working for him too? she kinda forgets things y'know...

 

[ADONNA 26,740]

2 minutes ago, BLUE JEAN said:

It is weird. But if you go to his website in his bio her name is the first mentioned there. Plus he’s still mentioning her in interviews and playing Oh Father on Instagram. So it doesn’t seem like he’s trying to distance himself from her or anything. Maybe a PR person submitted that Spotify bio?

Yeah, I don't believe he's purposely distancing himself from her either.  It's just odd to leave her off.  In fact, he may not realize she was left off as like you said it was probably written up by a PR person. 

[BLUE JEAN 20,822]

7 minutes ago, Ian said:

is Emily working for him too? she kinda forgets things y'know...

 

Nah. His release actually happened.

[Alibaba 1,802]

I suppose he did also exclude Jewel and Natalie Imbruglia. 😜

[vesalii 1,469]

19 hours ago, EgoRod said:

No he didnt. it was cancelled and no money was taken. You already made this question before :D

 

I did but since you’re not Patrick Leonard I wanted to ask him about it directly and he replied: