Customer Reviews

Standing on Shoulders of Giants

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4 star:		(2)
3 star:		(1)
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Anything on this record would sound great on AM radio in 1975 along with Big Star (like they would've gotten on radio). It's a cruel world that Bill Lloyd isn't more well known.

These songs are definately driven by Lloyd's Rickenbacker and intelligent songwriting. "Cool and Gone" is a power pop masterpeice in it simple theme and melodic impact and "She Won't Be Back" is one of the best "ahh, nuts, I finally get it" songs about a failed relationship to come out in a long time. Very direct and intelligent, but still meaningful to those who've found themselves in a bad (self imposed) position.

Along with the incredible (a real national treasure) Marshall Crenshaw, Bill Lloyd is one of the best songwriters still going. I can't wait for the next record.

Like the best pop, Lloyd's dissolves and recombines his sources until the amalgam has its own, unique flavor. Passing phrases of the Smithereens channeling Revolver-era Beatles and Byrdsian 12-string guitars rub up against the Velvet Crush's version of 60s Big Star jangle and the lyrical sophistication of the dBs. As Lloyd states in the title track, "We're all standing on the shoulders of giants," and he's far from shy about his influences.

Unusually, Lloyd's pedigree includes time atop the country chart as part of the mainstream Nashville duo Foster & Lloyd. There's nary a hint of that to be found here. In place of steel twang is layer upon layer of chiming guitars, lush vocal harmonies and a tackle-box full of melodic hooks.

Guests include friends from both pop and country (and hard-to-pin-down points in between), including Marshall Crenshaw, Dennis Diken (Smithereens), Tom Petersson (Cheap Trick), Al Anderson (NRBQ) and Kim Richey. With Lloyd as master chef, the result is very sweet indeed.

Bill Lloyd may not put out records often. But when we are treated with a new disc the wait hardly matters. "Beatlesque." "Rundgrenesque." Forget that..."Lloydesque." Witty, literate & catchy as all get out. While this is hardly revolutionary - hence the title "Standing on the Shoulders of Giants" - maybe putting a strong honest pop record out in 1999 should be considered revolutionary. Lloyd's recorded output - both solo and with Foster & Lloyd - has quietly earned him respect among pop music fans. "Standing on the Shoulders..." should be welcomed loudly! He deserves it. So do we.

What's not to like about BillLloyd's, Standing on the Shoulders of Giants? Whether you need an infusion of power pop, hard punched up rock, or a throat-lumping ballad, this album does it all. Your first reaction may be, "I've heard this before.", but you soon realize that Lloyd can not only be inspired by a Who, Beatle, or Tom Petty feel but then musically conspire to add his own dimension and take his piece even higher. From the opening strains of the title song which reminds us from whence creativity comes, to Turn Me On Dead Man, Lloyd uses one pop hook after another to paint pretty pictures of life, love, and occassionally surreal dispair. And if that's not enough, the lineup of musicians on this record is a unique smorgasbord of who's who, and even who will be. This CD will still be in my car player at the end of the year. It's that good.

Artfully crafted medium power pop executed flawlessly. Think Marshall Crenshaw on a sunny day or what if Nick Lowe grew up in Memphis.

On his three solo albums -- this one, "Set to Pop," and "Feeling the Elephant" -- as well as on his country records (where he was half of the duo Foster & Lloyd), Bill Lloyd crafts delectable pop that's both rootsy and clever, catchy and poetic.

He references other pop giants, but usually more through mood and tone than through explicit quoting. But even if you're not as well-versed as Lloyd in pop lore, you'll still find his music fun and addictive.

Viva Bill Lloyd! Buy this record!

Bill Lloyd is very, very underrated. This album will give anyone who likes pop or rock music great listening pleasure. I'd love to see Bill tour as the opening act for Fountains of Wayne.

If Bill Lloyd was a member of the country songwriting/performing team Foster & Lloyd, I sure can't tell from listening to Standing On The Shoulders Of Giants. Not the slightest hint of country here - this solo effort is Pure Power Pop: light on the Power side, and heavy on Pop attributes. The Beatles' influences are loud and clear. `Dr. Roberts Second Opinion' (If I recall, his first opinion was "Well, well, well, you're looking fine") is slow and dreamy, and `Turn Me Own Dead Man' sounds like John Lennon singing "Don't be stupid, Paul isn't dead." Lloyd is excellent with peppy sing-along melodies (Cool And Gone, So You Won't Have To, Years Away from Here), and loud and abrasive guitar rockers (Complaints, This Is The Way). The CD booklet names Lloyd as the composer of all fourteen compositions, but I'll bet my next paycheck that `Who You Gonna' Run To Now' is a Tom Petty single. Perhaps I'm delirious, and the song is simply a punchier Tom Petty rocker than Tom himself has been performing lately. On a negative note, Lloyd's vocals are less than impressive - he hits more than a handful of flat notes. The music is compelling enough to make one forget this minor flaw. Besides, Standing On The Shoulders Of Giants is a fat fifty-six minutes long - a Sixties Power Pop bargain.

Finally, the long-awaited follow-up to the equally poptabulous "Set to Pop." With "Standing..." Bill Lloyd offers guitars that jingle jangle jingle, lyrics for the literate, and plenty of clever (but not TOO clever) musical references on an eminently enjoyable CD. It will reside in your multi-disc changer for a long while. And it came from Nashville! Maybe it really is Music City, after all. Standout tracks: "Cool and Gone," "Box of Snakes," "Dr. Robert's Second Opinion," and "Turn Me On, Dead Man." Buy this. And "Set to Pop." Now.