CD Odyssey Disc 1721: The Modern Lovers

Last night I went dancing for the first time in a while. While the music wasn’t to my tastes, the crowd was great and the dancing an experience I’ve always loved that was long overdue for a return.

Disc 1721 is…Self-Titled

Artist: The Modern Lovers

Year of Release: 1976, but featuring music from 1971-1973

What’s up with the Cover?  A less than inspiring logo. It is OK, and I like the purple they’ve chosen, but um…could be more. This is a reissue and I believe the original has a black background with a blue heart and a white circle. That looks a bit better but still…yawn.

How I Came To Know It: Ever since my friend Casey put me onto Jonathan Richman I’ve been buying up his back catalogue. I’d never heard (nor even “heard of”) this record when I saw it in the record store and decided to give it a go.

How It Stacks Up: I have two other Jonathan Richman and the Modern Lovers albums. Technically this is not Jonathan Richman, and the Modern Lovers, this is just “The Modern Lovers” although yes, Jonathan Richman is in the band. I realize this is confusing. More on this later.

In the meantime, to remove the confusion I’m going to count this in my overall assessment of Jonathan Richman in my collection, in all his various Modern Lover contexts. That means I have three total albums, and it also means this is my final review (at least until I can find the elusive “I, Jonathan”). I rank “The Modern Lovers” at #3. Here’s the full accounting:

1. Jonathan Sings!: 4 stars (reviewed at Disc 1630)
2. Self-Titled (Jonathan Richman and the Modern Lovers): 4 stars (reviewed at Disc 1649)
3. Self-Titled (The Modern Lovers): 3 stars (reviewed right here)

 Rating: 3 stars but almost 4

Listening to the Modern Lovers self-titled debut felt a little bit like peering into a parallel universe. A place where the Modern Lovers are a punk band with some pop sensibilities, instead of the reverse. So similar, but with the emphasis differently placed.

From 1971-1973 Jonathan Richman was part of the original Modern Lovers, but they split up and Richman would go on to front a new band. Along the way, the old recordings from his original band kind of hung around, eventually getting released in 1976 – the same year Richman’s new band (also the Modern Lovers but now with is name in the front) released their eponymous debut.

The earlier record has similarities to Richman’s later solo work mostly through his quavering but confident vocals, and his propensity to observe the world in a detached but insightful manner. The song topics are a bit more straightforward tunes about love, drugs and rock and roll. No martians, no abominable snowmen in the market that you’ll hear on his other records. Still present – his idealized exploration of love.

Well, it could be idealized, or it could be ironic. With Richman it is hard to tell, but I find his music a lot more enjoyable if you assume he is being earnest. It opens you up to a world where your faith in the basic decency of people is affirmed, even if things don’t always go the way they should.

Musically, the Modern Lovers (the album I’m reviewing right now…) has a stronger punk edge, with a garage-like feel to the playing that was strongly reminiscent of early Lou Reed. This is reinforced by songs that do not get creative with the melody. A couple of chords, played in earnest.

The heavy use of organ and the meandering feel to the songs evokes a late sixties/early seventies psychedelia as well, which is a welcome addition and makes songs that could feel repetitive instead draw you into a joyful, almost manic trance.

The goofiness that defines Richman’s other albums does appear on one tune. With “Pablo Picasso” Richman muses:

“Some people try to pick up girls and get called assholes
This never happened to Pablo Picasso “

I doubt Picasso was never called an asshole, but I guess anything is possible and it is a curious thought regardless. The song further benefits from a stoner surfer vibe on guitar that makes it the best track on a record with many good ones.

On “Girlfriend” the chorus spells out the song’s title as “g-i-r-l-f-r-e-n”. We know from the title Richman knows better, but this nod to ‘whatevs’ is part of what gives the Modern Lovers their charm. They are nerds and outcasts, but they make it cool.

“I’m Straight” is a great song, but not at all about what you would think based on the current meaning of the word. Back in the early seventies, the expression meant “not high.” The song features Richman phoning around, jealous of another neighbourhood character, “Hippy Johnny” who is always high.

My copy of the record is the 2003 re-release, which is good because it comes with a lot of extra tunes, including the aforementioned “I’m Straight” and the also brilliant “Government Center”. Unfortunately, it was 2003 and soulless record execs were feeling the need to use up the new medium’s available space. As a result, we get “alternate versions” of three of the record’s songs, (“Someone I Care About”, “Modern World” and “Roadrunner”). The first two are not even the record’s better songs and while “Roadrunner” is awesome, the original studio version is demonstrably better.

Minor complaints however on a record that otherwise shows Richman’s genius in a couple of ways. First, that the record is a master class in early punk/alternative music and the other that it came out in the same year as Richman dropped another classic record in a totally different (and yet not) style. Parallel universes, in every awesome way possible.

Best tracks: Roadrunner, Old World, Pablo Picasso, Hospital, Girlfriend, I’m Straight, Government Center

CD Odyssey Disc 1649: Jonathan Richman

I woke up today to the realization that this is the last day of my June holidays. Tomorrow will come earlier than will be welcome, but ere it does, let’s enjoy another music review.

Disc 1649 is…Self-Titled

Artist: Jonathan Richman and the Modern Lovers

Year of Release: 1976

What’s up with the Cover?  Looks like Jonathan Richman’s school portrait. At this age Richman has a ‘striking’ resemblance to Airplane! star Robert Hays.

How I Came To Know It: My friend Casey played a Jonathan Richman song at a music listening night. This piqued my interest and here I am with two albums in the collection and on the hunt for a third.

How It Stacks Up: If you are following along carefully, you already know I have two Jonathan Richman albums. I put this record in second place of the two, but it is a photo finish.

Rating: 4 stars

Jonathan Richman’s music is jaunty and full of joy, and it is never more so than on his eponymous 1976 release. At a time when America was awkwardly exiting Vietnam and England was embracing the vitriolic and visceral punk scene, Jonathan Richman is just a boy who wants to make happy music and have fun.

Many records sound better depending on where you do your listening (driving music in the car, dance music at a party, etc.). I listened to this album under perfect circumstances. On Thursday afternoon I was out consignment store shopping with Sheila. Her shopping is a lot more intense than mine and when I’m finished before she is I’m happy to wait outside. I often read, but this time I sat on a bench in the sun watching people walk by listening to Jonathan Richman.

Once you’ve immersed yourself in the playful joy of this record, the first thing you notice is the innovative use of the rhythm section. This, combined with the stripped-down production, makes every song a foot-tapper.

“Rockin’ Shopping Center” leads off the record with an infectious bass lick. Other instruments are quickly added, but all serve the beat in one way or another. Even the guitar, which has a Buddy Holly style bounce, has a riff designed to keep the beat alive.

“New England” similarly impresses. Loving the Bruins and hating the Patriots as I do makes for a complicated relationship between myself and New England. Not so Jonathan Richman. He loves everything about the place, turning that love into doo wop classic complete with an almost sea-chanty like chorus of the Modern Lovers echoing back “oh-oh, New England” at just the right time.

Richman has a hard time getting serious. The bright and friendly tone in his voice has a “gee whiz!” quality that makes everything feel less threatening. The closest he gets is with “Lonely Financial Zone” which slows the record’s tempo down, as Richman recounts the feeling of walking late at night, presumably thinking deep thoughts. Even here the beat and arrangement of the song gives it a heroic rise that makes you feel like you’re starring in a musical or maybe heading off to a parade.

There are multiple songs that feature Richman switching from silly lyrics to just a bunch of words, like an indie pop version of scatting. As a devoted lover of great lyrics this did not bother me in the least. It never feels like he’s just filling space, with every “diddly diddly” and “oh my” feeling artfully – if absently – placed. Even the “De-doily doidy doit doit doit doit diddle” in “Rockin’ Shopping Center” ends up being exactly what you need to hear at that moment.

Richman can’t resist the absurd. On this record, we have “Abominable Snowman in the Market” which is literally about exactly what the title suggests. The Snowman is noted as hanging out by the peas and carrots, with shoppers complaining and asking he be removed. Richman uses the amusing tale as a general call for tolerance and acceptance, noting that he thinks the Snowman is “a really nice guy.” This song should not work, but it does.

Other tunes don’t work quite as well. “Hey There Little Insect” has Richman trying to befriend a bug and asking it not to bite him. “Here Come the Martian Martians” is less an invasion and more of a whimsical exploration of what Martians would be like if they came for a visit. The beat is as infectious as anything, but unlike “Snowman” I couldn’t get behind the silliness. One step too silly, I suppose.

Overall, this record is a joyful experience. Sitting on that bench, I listened to it twice through and would have been happy for a third. As I listened, I nodded and smiled at passersby who, sensing something wonderful was happening, smiled back without artifice or hesitation.

Best tracks: Rockin’ Shopping Center, New England, Lonely Financial Zone, Hi Dear, Abominable Snowman in the Market

CD Odyssey Disc 1630: Jonathan Richman

It was a long day but it is now…over. Let’s celebrate with a music review to warm the cockles and restore our sense of peace with the world. Few records do that as well as this next one.

Disc 1630 is…Jonathan Sings!

Artist: Jonathan Richman

Year of Release: 1983

What’s up with the Cover?  A painting by Billy Sullivan, or so saith the credits. I find this cover muddy and indistinct and not at all indicative of the sound of the music awaiting you.

How I Came To Know It: My friend Casey played a song off this record at a night of music listening not that long ago. I liked it and it set me on a musical exploration of Jonathan Richman’s catalogue. I missed out on Richman when he first released this music, but you might say I’ve become a “modern lover” of his work.

How It Stacks Up: I have two Jonathan Richman albums and I’m on the lookout for a third. They are both solid, but I think “Jonathan Sings!” takes #1 by a narrow margin.

Rating: 4 stars

It is hard to listen to a Jonathan Richman album and not wish you could see the world the way he sees it. He has a childlike joy in everything he does, and listening to him sing a song is like an adult version of a Sesame Street episode: sunny, friendly, whimsical and sneakily educational.

Richman is indie pop before that was a thing, and while I’ve seen him referred to as post-punk I just don’t see it. Punk has a level of visceral anger that Richman has no interest in exploring. His deadpan delivery is a little like Lou Reed, but only if Lou Reed were happy as hell, and was addicted to only life’s small pleasures, and the thrill of discovering music can have three chords.

“That Summer Feeling” leads things off with an exploration of all things from that season. This song is a collage of images, smells and emotions that taken together is one of the better expressions of what it is like to wander through a lazy summer day. It’s verses simultaneously explore that flood of sentiment when you recall days of summer’s past that will not come again.

There is an enthusiasm to these songs that creates an irrepressible joy. “Somebody to Hold Me” and “Stop This Car” have a jaunty delivery that had me thinking favourably of old classics like “Under the Boardwalk” mixed with a dose of Dick Dale surf.

The music is rarely serious, but still finds a way to create nuanced characters with something to say. Sure, they might seem to be saying little more than “I want a hug” or “I like going for a walk” but he does it with a carefree art that is very hard to resist. He reminds you that the simple things can also be the best things, and when they’re happening, you should be present for that moment.

The most serious he gets is “The Neighbours” which is a song about having a girl over when your wife is out. But no, not like that. Yes, Richman and his visitor walk close, and hold hands but they are literally just close friends. Is our narrator here unreliable? With most rock songs it would be a certainty, but Richman possesses such a childlike innocence you can actually believe nothing untoward is going on.

Most of all, the songwriting on this record is great, and easy to overlook given sparse arrangements and the jingly quality of the tunes Richman prefers, but he explores all sorts of different pop and folk sensibilities, bending each to his will to tell stories that are open-hearted and celebratory.

There are a couple of places where this “childlike” aspect of the record goes one step too far, particularly on “Not Yet Three” which is a song sung from the perspective of a toddler. I could’ve lived without that one, but overall I’m happy with the schlocky, sappy ear-to-ear grin of this record.

Best tracks: That Summer Feeling, This Kind of Music, The Neighbours, Stop This Car, Give Paris One More Chance