Customer Reviews

Good Evening

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

 

 

While Marshall Crenshaw's first two releases were self-contained efforts, built around his voice, guitar, and songwriting, and the rhythm section/backing vocals of Chris Donato and brother Robert Crenshaw, his third, Downtown, brought an assortment of studio hands on board without really sacrificing what makes him special. Following a return to a scaled-down configuration for Mary Jean & 9 Others, Good Evening, like Downtown, employs the services of various sidemen and backup vocalists - including Kenny Aronoff, Graham Maby, Syd Straw, Robert Crenshaw, and the BoDeans - and seems to be geared towards a more contemporary, marketable sound. Producers David Kershenbaum and Paul McKenna bring a veneer to his pop/rock, adding the occasional keyboard, steel guitar, fiddle, mandolin, and accordion, while Crenshaw, for the first time, brings in a handful of ringers (Sonny Landreth, David Lindley, and James Burton) to share lead guitar chores for the majority of the record. Furthermore, for the first time, he looks elsewhere for the bulk of the record's material, with half of the songs coming from other sources (two seemingly written to order), and three of the remaining five being collaborations. Still, he slips naturally into the words and music of artists such as Richard Thompson, John Hiatt, the Isley Brothers, and Bobby Fuller, bringing as much of himself to these tunes as he does to his own. Whatever the reason for the delegation of work on Good Evening, the choices are good ones, and it works to varying degrees. Good Evening, which was his final recording for Warner Brothers, may not reach the heights of the first three, but there's a spark here that was missing last time out. - Brett Hartenbach, All Music Guide

Good Evening is not a great album...but it's certainly better than "What's In The Bag?" I must admit, I like Good evening and put it on semi-frequently...but it brings sadness because it was Marshall's last major release album with Warner Brothers. Marshall's heart was just not into Good Evening at all...it was more of a record company obligation album than anything else. Marshall has admitted he hates this one. But, all in all it's pretty damned good. Marshall released one semi-major release with MCA Records after this and then he went the underground release route. It's a shame because he had the talent and the chops to be a the next Buddy Holly...but I think somewhere along the way he lost his direction and vision. He's too old to be Buddy Holly now...but I think if he embraced what made him so popular in 82-87 he's be able to put out another Classic Crenshaw album. Good luck Marshall...keep believing.

Steve O.

Great rock and roll album of the Buddy Holly variety. Would recommend this CD to anyone who loves the original sound of rock and roll.

If you took the trouble to look this album up on Amazon, you obviously appreciate great pop and rock. Good Evening certainly falls into that category even if it's not as strong as his 1982 debut. Part of it is that many of these songs were not written by Marshall. Still he does an excellent gorgeous version of Diane Warren's "Some Hearts" (sorry Ms. Underwood, Marshall kicked your Idol ass), and a lovely version of John Hiatt's "Somewhere Love Won't Find Me". Still it contains songs that have become staples of Crenshaw's songbook like "You Should've Been There" and "Valerie". It's great to see Wounded Bird reissue the last of the Warner Bros. albums and makes a solid and welcomed addition to the Crenshaw catalog.

I don't know why this album is overlooked. The guest artists (Jame Burton, Sonny Landreth and Kenny Aranof)and song selections (Somewhere Where Love Can't Find Me and You Should Have Been There)are memorable. I'm not as fond of pop-friendly Marshall Crenshaw tunes. This album is a little edgier. I rate it 1/2 star over my next favorite Crenshaw album, Downtown.

I love the guys sound,and his approach,what can i say? I've had other records (records?)by him and this one just takes the cake!! First track is a minor key lament with no less than Sonny Landreth turning in a swell slide backing. Track two brings us a cajun romp that swings complete with accordian. Track three paints a lonely portrait of the party girl, who, of course, hates to go home. Devastating! Track four he picks up the pace with a John Hiatt tune nicely delivered, and more nice slide work. (Thank you Mr. Landreth!)(Thank you very much!) Track five is a fantasy in which Mr. Crenshaw calls his favorite sexy latenight DJ out of loneliness and she rocks his world in bed each and every night. I tell you folks, these tracks are standouts!! The remainder of the record is of this same caliber of performance, some tracks featuring David Lindley, legendary James Burton, steelman J.D. Maness, yeah that Dixie Chicks pa!

Marshall Crenshaw is utterly incapable of recording a bad album. But he is fully capable of recording an average one. And "Good Evening" falls into the latter category. Whatever was left of the WB camp that still liked the guy forced some neutering factors into "Good Evening," and Crenshaw was chafing. It shows in the bland production of David Kershenbaum and the inclusion of outside songwriters - in particular Diane Warren. Even though "Some Hearts" is a great pop song (and finally got its due on American Idol winner Carrie Underwood's debut album some 15 years later), it just doesn't suit the singer. A better choice for first single might have been John Hiatt's "Somewhere That Love Can't Find Me" or even the more dramatic "You Should Have Been There."

But not to be. Crenshaw doesn't seem particularly engaged here - he sounded ready to turn "Good Evening" into a contract filler before he split WB. "She Hates To Go Home" is one of the most lifeless performances he's ever turned in (with "Whatever Way The Wind Blows" not far behind), and Kershenbaum's production is uncharacteristically flat throughout. There are still some terrific performances here - "You Should've Been There," and the covers of The Isley Brothers' "Live It Up" and Richard Thompson's "Valerie" are stellar. When you get used to albums being 100% spot on, less than that just won't do. Even the period oldie, Bobby Fuller's "Let Her Dance," can't make up for the mediocrity.

Crenshaw was done with Warners after this, and the follow-up on paradox/MCA "Life's Too Short" is superior in every way. Keep that in mind if you are looking at Crenshaw CD's other than "Good Evening," also bearing in mind that Crenshaw not totally on his game can whup most artists at their best.