Customer Reviews

Mr. Hollywood Jr., 1947

5 star:		(9)
4 star:		(5)
3 star:		(3)
2 star:		(1)
1 star:		(0)

 

 

I have been a fan of Michael Penn since the release of his first album, "March." I have anxiously awaited the release of his every subsequent album, but I have never been so excited about any album release as I have been about "Mr. Hollywood, Jr. 1947." Going beyond the concept of the album (which I find intriguing), the songs are among the best-crafted he has ever released, and in classic Penn style, have a way of running through my mind even when the stereo is off.

One of my favorite songs on the album is "Walter Reed," which I interpret as being about a soldier returning from WWII. Not able to fit back in to the life and love he left behind, the song very movingly projects the pain, anger, and isolation that many GIs experienced (and still experience) upon their return home.

Another favorite is "OK," a soothing lullaby for a troubled relationship. No empty promises of a perfect resolution to whatever crisis the song is addressing, but there is at least the hope of a tender and sincere reconciliation.

In sharp contrast to the quiet, gentle "OK" is the bright, peppy "On Automatic." An anthem of frenetic (and possibly irrational) optimism, it's a celebration of high times and fresh starts.

I'd have to say that for me, personally, the weakest song on the album is "You Know How," which is only spoiled for me because MP's phrasing is very reminiscent of Bob Dylan in some parts. It's still a good song, but not my favorite.

In addition to the nine very solid songs on this album, three short concept pieces commemorate specific events from the year 1947, including the Roswell UFO incident and the invention of the transistor. My favorite of these, though, is the "Television Set Waltz." It sounds so much like a period recording that for the few moments it plays, I can almost imagine I'm in another place and time.

If you're a long-time fan of Michael Penn, this album is a must-own. And if you are not familiar with his music, this would be a very good introduction. I feel it represents his best work to date.

As the cliché goes, you can't judge a book by its cover-- but one look at the slightly askew portrait that graces the cover of Mr. Hollywood Jr. 1947 and you know that there will be more to this CD than what first meets the eye (or ear, in this case.)

Fans of Michael Penn will likely be enthralled by his latest CD, as he continues his tradition of presenting the listener with thoughtful, intelligent lyrics supported by memorable pop hooks.

But it's the darkness below the surface of the glimmer that makes this record hold up to repeated listening.

In some ways, this may be his most subversive offering yet. The songs are ostensibly set in 1947, but are ultimately a reflection of present day dilemmas: the relationship moored in deception - "It's like a play, and the words that I'll say are not for you. They're for the costume" "on a ruse you've come to be depending, baby I'm pretending" ("Pretending") -- or defeat "I've lost the will for fighting over everything" ("Walter Reed.")

Still it's not all doom and gloom in black and white, rather Penn focuses on the shades of gray that more accurately reflect reality in today's Technicolor world. Even the most upbeat tune "On Automatic" seems to suggest, "Yeah, things are looking up, but it's probably all going to hell tomorrow."

"Denton Road" presents one with the unusual perspective and perhaps a bit of dark humor(?) as the recently departed overlooks his viewing with the remark "what's it say about me that I'm bored" and the final verse ends with "I'm in over my head."

"Room 712, The Apache" -- the Apache being a long-gone Las Vegas casino [built in 1932, it was the first Vegas resort to have an elevator - your trivia for the day] -- makes terrific use of a gambling metaphor -- "Baby bet everything, you're gonna lose. But believe it or not, you'll be highly amused. Because what's it worth anyway? It's just another broken part. Give `em your artificial heart."

The metaphors are plentiful throughout Mr. Hollywood Jr. 1947, and the songs layered with meaning...and while I've focused on lyrics here, what makes this a record worth owning and listening to (repeatedly) is the way these little stories are presented with melodies that engage and production that enlightens.

The only song I'm not loving is "Mary Lynn" -- while it's chanting quality and dulcimer suggest a down home revival sing-a-long, it is too repetitive for my tastes.

The CD booklet contains additional narrative that ties the songs together (but not too neatly, that's not Mr. Penn's style) and creates a film noir setting.

The final track is an unlisted one -- "Who Wants to Be a Millionaire" - which manages to be simultaneously poignant and indignant (parts of aforementioned indignance seem rather pointedly directed towards the man who currently occupies the Oval Office. Bravo!)

This is a great album. It has several tracks that really impressed me. Still, there's something missing here. Mr. Penn's earliest works had a brooding quality that is certainly present here, but they also just flat out rocked. Musical themes came and went at breakneck pace, and the sound of the early albums was ritchly layered with found sounds and jangling instrumentation. Since the incredible "Resigned", Penn has seemed to prefer to use simple rhyme shcemes and slower pacing. The writing is still clever, but a cloud of depression has descended on his work, and it does not seem to want to let any sun through.

If you loved MP4 you'll definately love this. Penn's wicked tongue lashes out with clever lyrics and bitter choruses. His guitar lines are still sweet, and the pace is brisk. I would have prefered more of the angry young man who first caught my ear, but this will do.

This cd continues Michael Penn's unapologetic extension of his creatively beatlesque evolution. In some songs he builds upon his last album and matures in his lyrical content and ornate, layered musical composition. In others, he steps away from the mixing board and renders pure talent in his singular, unadorned, pleading vocal quality and accomplished acoustic guitar acompaniment. I am ready to see him in concert.

Mr. Hollywood Jr., 1947 by Michael Penn is a brilliant album. Penn is an excellent songwriter/storyteller in the tradition of classic folk artist's like Bob Dylan and Stephen Stills. While the music on this album reminds me of older artists, it is by no means dated. It has a fresh sound to it. Refreshingly deep, while still having pop sensibility. Wonderful harmonies and superb musicianship. The first single/video "Walter Reed" is a great representation of the album. Heady lyrics with beatlesque harmonies and music, while still maintaining and identity that is uniquely Micheal Penn.

This is a great album. The first two songs are fantastic! A bit depressing when one considers the concept of the album. I would have preferred a bit more of Michael Penn's trademark guitar, but you have to take into consideration what he is trying to get across with this CD. This work shows the depth of M. Penn and his songwriting skills. A good buy for anyone not too impressed with the current music scene. Hints of the Beatles.

Michael Penn never lets you down. Being a fan since his first album "March" from 1989, i've been with him all the way. Not the most productive artist to be a huge fan of (5 albums in 16 years), but well worth the wait. It's another great album.
The sadest part is that probably never will be able to experience him live, as he does'nt tour that often, and when on the road never comes to Europe. I live in Denmark.
So, when i win 1st prize in the national lottery, i have promised myself to spend some of the money on a trip to the States to see Michael live.
Best regards
Rasmus Normann, Denmark

I liked the new album, I did...I have everything Michael did since March. I can only describe this album as MP4...MArk 2 but slightly better. After waiting though for 5 years for a new album, I figured Michael would be doin much more than we he's issued here. His songs are sounding exactly the same as they did on MP4, which i liked but thought could have been better. He needs to rock out more again....too many slow songs. The problem is that whenever he produced himself, the results aren;t as good as with other producers. Tony Berg and Brendan O'Brien were GREAT for him, but as soon as he starts to produce, or co-produce, as he did on Free-For-All, the results seem lacking a bit. Stick with other producers Mike, seriously.

I've waited 5 years for a new release from Michael Penn. My waiting is over and the elation begins. For other fans of MP, let me say I have always been a "Resigned" man. Others will argue for "March" or "Free For All" but I've always looked at "Resigned" as Michael's masterpiece. Not any longer. This is by far the most accomplished work of Michael's career. Most of these songs hit you from the instant you hear them, and the rest infest your mind in a manner of days.

You know how sometimes you will hear an album and then a day later catch yourself humming or singing a song from the album, so you go back and listen to that song again? Well, trouble with this album is that all the songs are so damn infested in my brain that several of them keep popping into my head as I shower, mow the lawn, walk the dogs....whatever.

I can not fully describe the joy this album brings me. I got it last night and today is my birthday, so my favorite present is the one I gave myself. Well, actually, the one MP gave me.

One last thing, when you DO buy this album, and I'm sure you will, you must listen at least once through some quality headphones. When it comes to MP you can't let anything, even air, get between you and the music. I just wish there was a way to have it intravenously injected.

OK, I'd like to pretend I could be objective about this and say that I have no idea who Michael Penn is and I got this CD on recommendation from a friend and fell in love with it immediately, but I can't. Truth is I've been a Michael Penn fan since the late 80's early 90's when I owned a cassette single of "No Myth." That purchase begot the purchase of his first album "March" and ever other album since then. So realistically I was destined to really like this album pretty much no matter what. What was unexpected for me was that I would come to consider this new album his best work ever, but I truly believe that it is.

In My Eyes, this is the most consistently good album Michael has released to date. Not since "Free for All," or perhaps "Resigned" have I been so thoroughly enthralled with one of his records.

Yes the songs and characters are set in 1947, but is that really important? In all honesty, not really. The songs stand on their own without having to think about them in reference to the year 1947. Though I believe that the song "Walter Reed" is about Michael's father Leo and his struggles with coming home from the war only to be blacklisted and unable to work, the songs lyrical and emotional content works just as well if put in the context of a modern day GI returning home from Iraq disjointed, perhaps dealing with Post traumatic stress disorder, or even the dreaded gulf war syndrome.

Lyrically michael is as good as ever, but what really shines about this album for me is the production. Manning the soundboard again, as he did for nearly all of his last release "MP4," Michael takes these beautifully and intelligently written songs to another level. Anyone who has not listened to this album loudly through headphones, or at the very least a REALLY good stereo system hasn't had the opportunity to fully appreciate what this album has to offer. The song "Mary Lynn" is, in my opinion, a great example of this. This piece is all production. Michael begins simply and slowly adds more and more layers of complexity and sound to it, but yet it never sounds complex or forced.

There's not a bad song on this album. Though after the first listen, the three instrumental pieces (which do add ambiance) tend to get in the way. I prefer to think of this album as a 10 song set and generally skip those (except "the television set waltz" which I occasionally let play through.)

If you like intelligent well written music, then go get this album, give it at least 2 spins of undivided attention (loudly on the aforementioned headphones, and/or good stereo system.) Believe me you won't be disappointed.