Don’t Shoot Me I’m Only The Piano Player (Elton John) – Album Review

Posted on October 10, 2009 by Emilio Pérez Miguel

The Album Is Named After A Remark Elton Made To Comedian Groucho Marx During A Show.

This was my first Elton John album. I bought it on the strength of “Daniel”, a song I had always been moved by. I admit that even back then, when I had no other albums of his, I had certain a feeling when I listened to it… a sort of hunch that told me “this guy can do better”. And now, having listened to Elton’s output both sides of it, I am sad to say that the record is not only average at best, but it is also the point where his work became saccharine for all the wrong reasons.

To me, “Don’t Shoot Me…” marks the instance where singles began having priority over albums within Elton’s career. The problem was somehow more evident in forthcoming ’70s albums like “Goodbye Yellow Brick Road”, and the ’80s were characterized by such an issue, of course.

Of course, the two A-sides here are so monumental that everything is forgiven for a minute. In addition to “Daniel” (a top 5 hit) we have “Crocodile Rock”, Elton’s first chart topper and a song where the farcical element that many saddle Elton with is put to the best possible use. Continue reading →

Billy Joel – General Introduction

Posted on October 1, 2009 by Emilio Pérez Miguel

Sing Us A Song, You're The Piano Man

I discovered Billy Joel through his connection with Sir Elton John. Obviously, I had been on very good terms with songs like “Piano Man” and “Uptown Girl” long before I ever bought my fist Billy Joel record, and I recall that the one song of his that had me buying that album (a compilation) was “She’s Always A Woman”. I know the Elton/Billy comparison is a frequent one, but having listened to the output of both artists I can tell you it is a bit of a gratuitous comparison.

To begin with, Billy not only sings and plays the piano but actually writes the music and the words to his songs. Elton (as you probably know) writes only the music. That might be one of the reasons why Billy Joel only released about a dozen albums while Elton has released over 50 and counting.

But the main difference to me seems to lie in the actual subject matter. Simply put, Elton’s career has a somehow farcical value attached to it by many. Personally, I don’t like to use that expression when talking about Elton but it is the one that best defines a significant part of his career, and (most tellingly) the one that made him a star. And a fact is a fact: there is not an album within Elton’s discography that has the cultural significance of something like “The Nylon Curtain”, nor a song like “We Didn’t Start The Fire”.

Since Billy’s career has been shorter than Elton’s (he quitted recording rock and roll after releasing the “River Of Dreams” album in 1993), it is easier to get acquainted with his work and the filler is less abundant. Continue reading →

The Goo Goo Dolls – General Introduction

Posted on September 27, 2009 by Emilio Pérez Miguel

Left To Right: Robby Takac, John Rzeznik & Mike Malinin

One of my greatest projects is the eventual realization of a mini-series revolving around the lives of five friends who are in a band together, and who enter a music contest. The viewer gets to see them as they learn what matters in life through music, and I have spent a truly inordinate amount of time working the soundtrack out to the point that music has become the true protagonist of the series.

One day, I caught a song called “Sympathy” on the radio. I liked it and downloaded it. The song became part of the soundtrack I assembled. And I have a rule: if I ever come across a CD containing any of the songs I have included in that soundtrack, I buy the album immediately. When I was shopping one day, I spotted the Goo Goo Dolls “Greatest Hits” CD and I purchased it. I wasn’t sure what to expect, but a rule is a rule. Continue reading →

All-Time Greatest Hits (Crystal Gayle) – Compilation Album

Posted on September 26, 2009 by Emilio Pérez Miguel

The Cover Of The CD

The youngest sister of country luminary Loretta Lynn, Crystal Gayle has had career that began at the age of 16 (as part of the Loretta Lynn Show) and which has lasted to this day, yielding no less than 18 number 1 singles. This cut-cost compilation (first issued by Curb in 1990) boasts a representative number of them along with songs that nearly topped the charts like “When I Dream” (a top 3 hit) and “I’ll Do It All Over Again” (which hit number 2 back in 1977).

I am glad that my two favorite songs by Crystal are included – the adorable “Talking In Your Sleep” and “Why Have You Left The One You Left Me For”. Both compositions were number 1 smashes – the former was the first song of hers I ever listened to, and the latter is one of the faster songs included here in terms of tempo, and one that provides a nice break from the overall mood of the album, which is mostly middle-paced. I am also very fond of the song “Somebody Loves You” – a top 10 hit, and one that melds a bouncy melody with a set of lyrics that are simple but incredibly effective, portraying attachment and loss very deftly indeed. Continue reading →

Strangeways, Here We Come (The Smiths) – Album Review

Posted on September 22, 2009 by Emilio Pérez Miguel

The Album's Title Is A Play On "Borstal, Here We Come" From Billy Liar

The Smiths’ final studio album is a very graceful way to bow out. Leaving aside the presence of some songs that spoil its second side and which are notoriously glaring, the record adheres to the formula that had worked so well before: self-questioning lyrics over jangly guitars and very solid grooves.

The album’s opener is (in my opinion) the best opener of all their albums. The song is called “A Rush And A Push And The Land Is Ours”, and it has a roaring vocal from Morriseyy while the main melodic instrument is a piano. It is abutted by “I Started Something I Couldn’t Finish”, a song which was released as a single. I agree with that decision – while it doesn’t lead the band into unchartered territories it does play their formula to a hilt, and it plays it well. But I can’t disagree with those who claim “Stop Me If You Think You’ve Heard This One Before” would have been a better A-side.

The other single, by the way, was “Girlfriend In A Coma”. Again, it incarnates their classic sound. It doesn’t take the listener anywhere he hasn’t gone before, but it lets him enjoy the ride for sure. Continue reading →

Mummer (XTC) – Album Review (Part 2)

Posted on September 18, 2009 by Emilio Pérez Miguel

Part 1 is found here. It deals with the songs on the original LP.

Like every other XTC album, this was to be reissued in the ’90s. Every single CD comes with additional tracks, and I must tell you that the booklets are uniformly subpar. Upon release, Mummer was quickly (and deservedly) hailed as the XTC album that was bonus-tracked the best.

Six songs have been added. Two are instrumentals from the Homo Safari series, and while they are the weak links they do work. If there is an album where you could throw anything into the mix and get away with it, that is Mummer. The songs would have stood as a sore thumb anywhere else.

The four actual songs that have been added, though, would have worked here, there and everywhere. But in the context of Mummer, they work like a dream. You have two incredibly uplifting numbers in the shape of “Jump” and “Gold”, whereas “Toys” is one of Andy’s most whimsical tunes of the period, but it is absolutely lovable because (unlike the Mummer tracks) he stays more true to the sound that always characterized XTC’s most soaring pop moments. Continue reading →

Mummer (XTC) – Album Review (Part 1)

Posted on September 18, 2009 by Emilio Pérez Miguel

The Cover That Was Accepted By The Record Company. A Cover With The Band In Mummer Regalia Was Rejected.

XTC’s music is characterized by marked twists and turns, both in terms of melody and lyrics. As a new listener of the band, I always knew that any of their albums would be an experience akin to a mystery to be elucidated, and I was ready for anything. I wasn’t, however, ready for Mummer. And the fact that it was one of the last XTC albums I bought makes that all the more significant.

As you probably know, this was the first album to be released after Andy’s nervous breakdown and his decision that the band was to become a studio entity from that point onwards. It was also the first album without Terry – he left the band and moved to Australia with girlfriend Donna (and son Kai), and worked there as a drummer for some time before leaving music behind for good. Also, the ties with manager Ian Reid were to become severed and lead to an exhausting litigation shortly. Continue reading →

Tumbleweed Connection (Elton John) – Album Review

Posted on September 12, 2009 by Emilio Pérez Miguel

The Original Cover

Released the same year as the superb “Madman Across The Water”, “Tumbleweed Connection” stands as one of Elton’s best-loved albums. No singles were drawn from it, and as a result it is never represented when it comes to “Best Of” packages. This makes listening to it all the more refreshing and novel, especially as more than a handful of compositions are as good (or better) than the albums both sides of it.

This time, there is a concept unifying the songs – they all revolve around the Far West. Bernie always loved the topic, and he concocts together stories of gunslingers, confederates, American natives and furtive love adequately enough. As I said before, it took Bernie some time to get places. But Elton was up to the challenge from day one, and he always managed to give his lyrics the right accompaniment. Leaving aside the lyrically accuracy or lack thereof, “Where To Now, St. Peter”, “Amoreena” and “Country Comfort” are A-side material, and so is “My Father’s Gun”, the song that would be featured 30 years down the line as the key tune to Cameron Crowe’s “Elizabethtown”. Continue reading →

Goodbye Cruel World (Elvis Costello) – Album Review

Posted on September 11, 2009 by Emilio Pérez Miguel

The Front Cover

Costello defines this album as his worst ever. After listening to it attentively, I dare say it was (up to that point in his career, 1984) the album that was approached the worst. Some of the material holds well under scrutiny, but the fact that the best songs are segregated on the first side does lead to an exhausting listening experience. Continue reading →

Ophelia (Natalie Merchant) – Album Review

Posted on September 10, 2009 by Emilio Pérez Miguel

The CD Cover - Natalie As Demigodess

I consider Natalie Merchant’s “Ophelia” as the point when her solo career really commenced. She had released an album before (1995’s “Tigerlily”), but that album was more like the closing of a stage than the start of a new one. Conversely, “Ophelia” (released in 1998) is her first truly realized artistic statement, using every device that she wants to use, and letting her own voice and musical vision dominate every single minute of the album.

In actuality, “Ophelia” was a multimedia project – the CD was accompanied by a short video, and stills from the film constitute the artwork of the album. A concept is clearly discernible, although there are songs like “King Of May” that deviate from the overall study of the famed Ophelia, a female figure par excellence, and an obvious choice for Natalie, someone always concerned about the way women are perceived and how these perceptions can end up being lies which are always true.

That is the theme of the album’s eponymous track, and the first thing you listen to when you play the CD. Incidentally, it will also be the last thing you will listen to – an orchestral reprise closes the album. The song studies the character of Ophelia all through history, her feats and the eventual disgraces those achievements were to bring about. The fate of Ophelia reminds me of the words of Yeats: “I’ve grown nothing/being all”. Is Natalie studying the role of women from a perspective that implies so much effort to be regarded as equal did nothing but accentuate differences that were actually small to begin with? And is the result of such a situation that women end up being relegated to submissive romantic roles, such as in the song “Frozen Charlotte”? Continue reading →

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