Customer Reviews

#447

5 star:		(4)
4 star:		(6)
3 star:		(5)
2 star:		(1)
1 star:		(0)

 

 

Although I agree that as far as running times go, this effort is a bit short, but there are the usual gems we have come to count on from M.C. With surf guitar sounds on "Dime a Dozen Guy," to the instant classic "Television Light" (By the way, this was originally titled "What I didn't Want to Do"), this is trademark Crenshaw--not to imply he doesn't flirt with several styles. Instrumentals are sprinkled throughout, and the moodiness of the album ebbs and flows. Tell me that "Right There In Front of Me" wasn't lifted from Mary Jean & 9 Others sessions and I would doubt you. Overall, another M.C. jewel, And one That gets better with repeated plays. One further note, I love M.C. with a rock band, but the addition of strings and stand up bass add to the atmospherics...

People who have just recently purchased MC's new "Best of" CD, which is fantastic, may now be interested in building a Marshall Crenshaw collection. This CD may surprise or possibly disappoint those who have been digging on his best of album for a few weeks and are looking for something similar. This CD takes awhile to grow on you, but once it does, you will enjoy seeing a different side of Marshall.

Marshall's last two studio CD's have highlighted him as a musician - a brilliant guitar player whose use of guitar effects and complex technique has certainly evolved in the last decade. Marshall's mostly guitar solo-less early work has become a thing of the past, as his most recent work has centered on his playing more than his ability to write a perfect two or three minute pop tune. The music here is much more textured and experimental, although Marshall's stamp is certainly on these songs.

Lyrically, this CD leaves a little to be desired. However what is most present here is Marshall's incredible (and continually evolving) prowess as a musician. All of the drum and bass tracks are Marshall himself, as is most of the guitar. Other musicians, mainly string players and keyboardists (including the wonderful David Sancious), add flourishes but musically, this album is almost all Marshall.

The instrumentals are a treat. The jazz-inflected "You Said What??" is fantastic, and each instrumental shows Marshall has been spending a long time perfecting his technique.

"Television Light" and "Dime A Dozen Guy" are both gems and trademark Crenshaw pop tunes with a modern edge, and would have fit in well on the best of CD.

But those expecting a duplicate of his first two albums will be disappointed. This CD shows a much more experimental side, and if you are ready to explore that, then you will enjoy this.

Mr. Crenshaw takes a bit of a turn on this CD, with mucho atmospheric production created by use of strings, stand-up bass, bongos, etc., all used to back-up his still-solid and varied use of, yes, the guitar (electric and otherwise)...Definitely mature but still in love with rock n roll, the album gets happier as it progresses, and a few moody instrumenstals placed throughout make for nice change of paces...I don't know if this'll win any new converts (take a chance!), but any Crenshaw fans who strayed around the time Warners stopped considering him "commercially viable" should perhaps consider this the portal with which to reaquaint themselves with his catchy and plaintive world...

While not quite up to the really polished gem of Miracle of Science, this new CD eliminates the covers (a MOS strong point) and substitutes instrumentals and some inane filler (the intro). Most of the songs are up to his normal standards, especially the gorgeous "T.M.D." and "Dime A Dozen Guy". The collaborations with Richard Julian and Bill Lloyd are surprisingly weak (the latter is the worst song on the disc). And guess what--2 out of 3 of the instrumentals are excellent ("You Said What?" is a standout). Crenshaw is still the power-pop king, and this CD does nothing to tarnish that rep. Minus one star for a running time of just over a half-hour; going retro does not mean ignoring that CD's run 60-75 minutes!

Marshall's new one needs 3 or 4 listens and then it hits you. WOW ! From the first cut, Opening which rockabillies like a Bill Haley's Comet you then change stations and find yourself hearing the Beatles and John Lennon in Dime a Dozen Guy and next get ready for a major jump to a Gin Blossoms/Jakob Dylan folkie rock twang then sweep into a Buddy Holly romp in Glad Goodbye into a Santo & Johnny styled - West of Bald Knob (instrumental)...and that's all I have been to - I keep listening to it over and over and over .... I Can'T Wait to discover the last 6 tracks and I hope there's a #448 out there Mr. Crenshaw. You never cease to amaze me! Another great talent in the shadows...

First of all, the truth --- the last time I heard anything by Marshall Crenshaw was "Someday, Someway" back in, what, 1980? I have this enormous collection of LP's, 45's, and CD's and not one note of it is by Marshall Crenshaw... until now. I heard "Dime A Dozen Guy" on a non-commercial radio station out of the Philly area (XPN, Penn State radio) and at first thought that a McCartney-MacManus album had finally come out. When I heard it was Marshall Crenshaw I was, admittedly, floored.

Secondly, more truth --- I bought this from Amazon along with the latest from Billy Bragg... and on first listen I have to say this beats the Billy Bragg hands down. A big surprise. Lots of nice songs here... other great one on first listen --- Right There in Front of Me. Buy this.

Perhaps as a diehard Crenshaw fan I'm willing to give him more slack than most, but I really like this album, flaws and all. While it's clearly not nearly as good as Miracle of Science, and three instrumentals seem like two too many, there are some solid songs here that rank right up with anything he's done over the past 15 years or so. "Dime A Dozen Guy," "Tell Me All About It," "T.M.D." and "Right There In Front Of Me" would have made a killer EP. The Steely Danish "You Said What??" is the best of the instrumentals, though the others grow on you. Clearly Marshall is someone who needs plenty of time to recharge his lyric-writing batteries, and perhaps he should have waited another year or two before plunging into another album, but this still wears better than his third or fourth albums, or the out-of-print Life's Too Short. My main complaint is that the otherwise fine "Television Light" and "Glad Goodbye" go on for too long; even on a short album, the songs always benefit from Crenshaw's customary economy. It is good to see him continuing to branch out musically, and I hope to someday see his name on a movie score.

Unexpected and full of interesting twists and turns #447 is one of Crenshaw's most rewarding albums. He manages to expand on his skills as a song writer. Even the two instrumentals have merit and work within the context of the album. Most folks expecting Marshall to keep churning out material like his first album (which is great by the way) will be sadly disappointed. Those that want to hear Marshall try something new and tag along for a fun ride are in for a treat.

The opening track sets up the playful nature of the album and also highlights the more experimental nature of the #447. Nearly every track is a winner. Highly recommended along with Downtown, Field Day (and underrated classic--again if you expect Marshall to produce the same stuff by rote then you'll be surprised)his self titled debut and Life is Too Short (if you can find it).

Most people seem to know only of Marshall Crenshaw's early 80s music, but 447 is as good as his early records, and sounds better to boot. The instrumentation is fuller -- lots of good keyboard work on this disc -- and the arrangements are full of interesting touches. Of course, the songwriting is top-notch as usual. Only the first cut on the disc is weak. A must for anyone who finds well written pop songs all too rare lately.

Marshall Crenshaw's 1999 release, "#447" is dismissed by most as a "good" or "not bad" record. I must say, that i couldn't disagree more. This record includes three instrumentals, all of which will be pleasing to the ears of lounge jazz afficianados. Some say tat three is far too many, however they act as perfect segues between three or four of Marshall's soothing melodies. All tracks standout as well done singer sonwriter compositions in vain of Warren Zevon and Jackson Browne. My favorite is "Television Light." The lyrics provide 1000 pictures of surburban evenings in Autumn. This album is highly underated! Should be considered a classic.