Marshall Crenshaw
Marshall Crenshaw
(Yep-Roc)
4 1/2 out of 5 stars
Videos by American Songwriter
It’s difficult to convey how fresh, enthusiastic, and exuberant Marshall Crenshaw’s music sounded when this, his debut album, was first released in 1982.
To put things in perspective, it was the year of Michael Jackson’s Thriller, The Cure’s Pornography, Prince’s 1999, Springsteen’s Nebraska , R.E.M.’s first EP, and Roxy Music’s Avalon. That’s a wildly diverse sample of what was going on. None of these sounded like the other. And Crenshaw’s joyous guitar pop, influenced by Buddy Holly and the early Beatles, didn’t either.
From the sweet lope of the opening “Here She Comes Again,” to the better-known selections like the crisp guitar licks and hook-heavy chorus of “Someday, Someway,” the cynical “Cynical Girl,” the chiming “Mary Anne” and irresistible, Nick Lowe-styled bounce of “Brand New Lover” there wasn’t a bum track out of the dozen.
Crenshaw’s boyish voice (he was pushing 30 at the time) sounded thrilled to be singing these songs, mostly about “Girls…” and relationships good and bad, and that feeling was contagious. Co-producer Richard Gottehrer (Blondie, The Go-Go’s) kept the sound stripped down but sharp and immediate, even with some overdubs. On its almost 40th anniversary (specifically 41st but who’s counting?), the set gets its second expanded reissue (Rhino’s 2000 version is frustratingly out of print) which will hopefully find a new audience who previously missed it.
The word “timeless” is often carelessly thrown around often when describing older music, but in Crenshaw’s case, it fits. These peppy, melodic slices of upbeat roots rock sound just as unassuming, fun, and compelling today as they did four decades ago. All are under four minutes and most don’t even make it to three, which speaks to Crenshaw’s ability to squeeze plenty of hooks into a tight package. Forget guitar solos, extraneous introductions, or overwrought lyrics. Everything jumps from the speakers as if the players had an extra dose or three of caffeine before the record button was pushed.
Seven bonus tracks include early versions (Crenshaw, in his new liner notes, doesn’t like the term “demos”), alternates, and rare recordings, although only one of the five live tunes is available on the first reissue. That edition also includes better overall graphics, including a nifty fold-out collage of reviews and clippings. If you own it, hang onto it.
Yep-Roc is reissuing the rest of Crenshaw’s Warner albums over the next few years. Each has at least a few pop gems that, like this, retain their sparkle decades after their initial appearance.
