Today is a good day. I am starting
to feel better and I’ve had a relaxing morning watching old movies on daytime
T.V. and recharging my batteries. I probably should have done something useful,
but I think I deserve points for honesty.
Disc 841 is….Robbie Robertson (Self-Titled)
Artist: Robbie
Robertson
Year of Release: 1987
What’s up with the Cover? And so Robbie’s giant head
continues to haunt the…train station? Stadium? A&W drive in? Whatever it
is, it has Robbie looking pensive and distracted. That would happen to anyone
who was having their hair melt away into the sky.
How I Came To Know It: This album belongs to Sheila. She’s
liked it since it first came out and bought it on CD to replace her cassette tape
copy when that technology died. I’m just along for the ride.
How It Stacks Up: Unless you count Spooky Tooth’s remake of
the classic Band song “The Weight,” this is all the Robbie Robertson we have,
so it can’t really stack up.
Ratings: 3 stars
Listening to Robbie Robertson’s first solo album I
couldn’t stop thinking about Peter Gabriel’s “So” (reviewed back at Disc 777). Robertson’s album has a lot in common with that album, except it was
released a year later and is not as good. Sorry, Robbie.
It makes sense that the albums have a similar sound
and not just because of their release years. Both are produced by Canadian
Daniel Lanois and both benefit from the atmospheric majesty that is Lanois’
signature sound. “Fallen Angel” even
features Gabriel on backing vocals, so the connection was more than just in my
head. Unfortunately, Robertson’s record doesn’t achieve the same level as “So,”
principally because the songs are not as strong.
There are still things to like about the record. I
liked the gravel in Robertson’s voice and the songs are well constructed with
solid progressions. That they didn’t appeal to me has more to do with my
general dislike of what the mid to late eighties did with music than any
particular sin on Robertson’s part.
The big hit on the record was “Showdown at Big Sky” which made it all the way to #2 and was
everywhere on the radio back in the day. I don’t hate this song, but I could
never figure out what the fuss was all about. It is just OK.
For me the magic happens on “Broken Arrow” which is far and away the best song on the record. I
love its slow and measured start and I love its whimsical and romantic lyrics:
“Who’s gonna bring you a broken
arrow?
Who’s gonna bring you a bottle of
rain?”
Everything from Robbie’s soulful delivery to the
light touches of reverbed electric guitar is perfect, even the slow fadeout
(which usually annoys me) works on “Broken
Arrow.” This is a song for everyone who ever lost their breath when they
first saw a beautiful girl and wondered what would be the perfect thing to say
to win her heart. Just walk up to her and smoothly ask:
“Do you feel what I feel?
Can we make that so it's part of
the deal?”
And if that scares her off (which is likely, by the
way) she wasn’t feeling it anyway. Just as well you didn’t break out the “bottle
of rain” stuff and really freaked her out. I’m just happy to live in Robbie
Robertson’s world, where that kind of heartfelt and slightly cheesy line works,
if only for the 5:24 that the song lasts.
The other standout is “Testimony” which sounds like James Brown crossed with David Bowie. Robertson
clearly enjoys testifying as he celebrates the life of the artist, even
invoking the name of Apollo himself. It is big, ballsy and celebratory.
Other than these two songs, the album didn’t hold my
attention. “Sweet Fire of Love” felt
like U2 (again, under the influence of Daniel Lanois) but without the majesty
of Bono’s voice. “Somewhere Down the
Crazy River” is a spoken work piece where Robertson is trying to sound
chill and relaxed but instead comes off like a watered down Tom Waits.
While uneven, Robertson’s first solo effort is solid
enough that I’m going to give it 3 stars. “Broken
Arrow” is a classic and if the rest of the album didn’t blow me away, it
was still a pleasant enough listen overall.
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