Customer Reviews

Golden Age

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To those in the know, Mark Eitzel's AMC have made some of the most marvellous but melancholy music known to man.
American Music Club were the forerunners of thought provoking/anguished alternative American rock during the '80s and early '90s.
But after a 10-year hiatus, the band reformed in 2004 for a triumphant reunion tour and subsequent album Love Songs for Patriots.
Although the lead singer and songwriter Mark Eitzel has always remained productive in his solo capacity, he really appears to be finding his form again with AMC.
The line up boasts a new rhythm section with bassist Sean Hoffman and drummer Steve Didelot replacing Danny Pearson and Tim Mooney who stayed up in San Francisco working on their own individual projects while Eitzel decamped down to LA to work more closely with long time guitarist Vudi.
"The Golden Age" is exactly what you'd expect - the finest lyricism with dreamy Seventies pop settings.
But there is a lively spring to their step, helped no doubt by the new rhythm section.
The marching-band lilt of "I Know That's Not Really You" injects some well placed, positive upbeat relief with pumping accordion and mariachi horns before closing down the record with more contemplations of fallen beauty.
The opener "All My Love", is a serene, understated beauty of a track that washes over you in effortless fashion: it begins with acoustic arpeggios and brushed drums before Eitzel immediately engages with his earnest and poetic lyrics. "I wish we were always high, I wish we could swim in the sky", he sings with intimate emotion - Eitzel's dusky vocals working well in tandem with the lovely acoustic guitar licks.
Typically colourful and provocative in his storytelling, "The John Berchman Victory Choir" introduces a somewhat brighter pop sensibility before Vudi's articulate guitar personality begins to shine on "Decibels And The Little Pills".
With drums locked in country shuffle it recalls a sedated Glen Campbell as Eitzel contemplates futile efforts to find salvation in a rock crowd.
"The Sleeping Beauty" is one of the most beautiful offerings here, alongside "The Stars" with a blanket of harmony vocals and guitar work that does provide some indication of why Coldplay found such inspiration at Vudi's fingertips.
"All The Lost Souls Welcome You To San Francisco" is an instant highlight as Eitzel generates that sullen drama and soul searching and strangely recalls the melodic style of '80s favourites Prefab Sprout without really sounding '80s.
"The Golden Age" is filled with Eitzel's self deprecating, resolute, unrestrained and defiantly hopeful lyrical prowess - enough to justify his reputation as one of America's finest lyricists.
The result is that "The Golden Age" contains his finest songs for some time.
An album that once again should make American Music Club more than a best-kept secret. The only trouble is that there have been plenty more like this in the past!
Standout Tracks: "Sleeping Beauty", "All The Lost Souls", "Windows On The World", "All My Love" and "Decibels And The Little Pills".

The Collection
Songs of Love
Kings of Rock 'n' Roll: the Best of

If Love Songs For Patriots sounded like a tenative reunion to some, The Golden Age rolls up its sleeves and gets down to business. Though Eitzel still treads the dark waters, there is indeed a silver lining lurking behind the gathering storm clouds. Those looking for the angst of Mercury or Everclear are likely to say they've mellowed but there's still enough self-doubt to cling to.

"All My Love" starts things off with a gentle, dreamlike atmosphere & pretty much sets the tone for the whole album. That's not to say Eitzel's world weary cynicism has been abandoned in the least. "Victory Choir" is a fairly sarcastic swipe at the high & mighty religious right. Despite any upbeat smoothness, "Decibels & Pills" takes an all too familiar seat at the bar where "names are only good for gravestones".

In "Lost Souls" Eitzel seems to have written an all too ironic little anthem to the city that has long since harbored him. Without a doubt, "The Sleeping Beauty" is the album's standout ballad. Elsewhere, there's "The Stars" & "Who Are You" to keep fans coming back for more. While catchy, "The Dance" is by far the most unsettling track---around & around they go till his gun "paints her face all red". The angst ridden Eitzel of old, rears his head on the demented accordion waltz of "I Know That's Not Really You".

Any claim that AMC were just a glorified backing band has hopefully been laid to rest by Eitzel's somewhat erratic solo career. Truth is, no guest or session guitarist can quite bring what Vudi does to the proceedings. The man knows his Eitzel having been there from the start, & throughout they're in brooding simpatico. Despite a new rhythm section, there's a chemistry here that makes it clear they're far more than temporary replacements.

While Love Songs For Patriots was a promising reunion, Golden moves on with confidence. If you consider Everclear, Mercury & the crimminally out of print, California among their best, time to add another to the list.

Mark Eitzel is at his best when he is at home with American Music Club. I own and treasure several of Mark's solo albums, but with Sean Hoffman, Steve Didelot and Vudi Mark makes AMC a band that is very special. The songwriting on The Golden Age is particularly outstanding. No credits are given so apparently all the songs were written by Mark [?]. I know I will be listening to this album many times, now and in the future.

The Golden Age is American Music Club's second album since reforming in 2003, then moving from San Francisco to Los Angeles last year. (There are a couple of odes to the former city included, the best of which is "All The Lost Souls Welcome You To San Francisco.") The album is a relaxed, laidback affair for the most part, enlivened by some excellent, often heavy sounding electric guitar work by Vudi on songs like "The Decibels And The Little Pills," "The Windows On The World," both album highlights, and "On My Way." Mark Eitzel, leader of the band, sounds great, and his literate, often sardonically funny lyrics are matched to a fusion of rock with Americana, country, even a bit of waltz on "I Know That's Not Really You." Some of the songs go on too long and start to meander a bit, but in general, this is a very strong album. Other standout cuts: "All My Love" and "The Sleeping Beauty."