Marshall Crenshaw: #447 CD Track Listing

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Marshall Crenshaw #447 (1998)
Originally Released September 28, 1999\n\nAMG EXPERT REVIEW: No one has had a bumpier career ride than Marshall Crenshaw. Hailed as the next big thing, by his second Warner Bros. album he was already yesterday's news, being fed to this producer and that producer in the company's quest for the big crossover hit. In the meantime, Crenshaw went through a severe case of writer's block, funneling what little did come out into movie soundtracks and a succession of disjointed albums that sold less and less with each release. He switched labels and finally found a good fit at the small independent Razor & Tie imprint. There, he's released three fine albums in a far more relaxed manner that hearken back to his earliest -- and arguably his best -- recordings. #447, Crenshaw's fourth release for Razor & Tie, stands tall as one of his finest albums, as well as his most ambitious and perhaps perfectly realized. The big news is the wealth of great original material, plus Crenshaw's newfound interest in guitar textures, giving this album a complex weave of interesting tones that literally leap out of the mix. He's also playing a lot more guitar than on his early sides, including three delightful instrumentals. His style shows him to be something of a cross between Kenny Burrell, Danny Gatton, and Grant Green. But with Crenshaw, the pop hook's the thing, and tunes like "Dime a Dozen Guy," "Television Light," "Glad Goodbye," and "Right There in Front of Me" do not disappoint. He hasn't sounded this confident and relaxed on a record in a long time, and this disc spotlights his talent in a way that makes you smile as you're singing along with a new song that you've never heard before -- perhaps the highest praise of all. For his longtime fans, this is Marshall Crenshaw firing on all four cylinders, doing what he does best. -- Cub Koda\n\nAmazon.com Editorial Review\nPop-rocker Marshall Crenshaw's output--eight studio albums and a couple of collections of odds and ends over his nearly two-decade recording career--isn't the most prodigious in terms of size. But even the least ambitious of his records, such as #447, are suffused with a sweet puckishness that's never at odds with the resigned tone he often favors. Where 1996's Miracle of Science made up for a paucity of new songs with imaginatively chosen covers (Ray Price, Dobie Gray, Grant Hart), #447 fills space with three smooth instrumentals that suggest some smart indie-film music supervisor should hire Crenshaw. (He supplied music for the short-lived sitcom Men Behaving Badly and was seen in La Bamba and Peggy Sue Got Married.) Among the additions to his seemingly endless catalog of relationship-crisis numbers are "Dime a Dozen Guy" and "Glad Goodbye," while "T.M.D." (presumably titled "Truly, Madly, Deeply" before Savage Garden beat him to the punch) is a rarity on this record: a song about being happy in love. Go figure. --Rickey Wright\n\nHalf.com Album Notes\nThis fine album finds Crenshaw moving through middle age with grace and ease. Eschewing punched-up radio friendly mixing and mastering, this set embraces a warm sonic middle. #447 is full of a rich, woody resonance--in fact there's a string bass on many of the songs. Crenshaw still turns out wonderful and bracing pop reveries ("Right There In Front Of Me," "Tell Me All About It"), but he has also fashioned some somber and slow numbers ("Dime A Dozen Guy," "Television Light"), as well as a few gorgeously moody instrumentals ("Eydie's Theme," "West Of Bald Knob," "You Said What??").\nWhen Crenshaw burst on the scene in the early '80s, he was a breath of radio-ready fresh air. That he's managed to evolve into as compelling a songsmith without aiming his material so directly at the shine and sheen of the hit parade, is a testament to his enduring and evolving artistry.\n\nIndustry Reviews\n...'60s guitar-chord progressions and hurt-puppy love themes....but this is Crenshaw for Y2K, a summation of his many strengths and remarkably few weaknesses....Keep listening - it only gets deeper, richer, and more enjoyable. - Rating: A-\nEntertainment Weekly (10/15/1999)\n\n\nAMAZON.COM CUSTOMER REVIEW\nHighly Underated, August 9, 2002\nReviewer: Tyler "tagnusf13" (Kingston, MA United States)\nMarshall 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.\n\n\nAMAZON.COM CUSTOMER REVIEW\nGood Number, November 9, 2001\nReviewer: "leeleedee" (Lexington, Kentucky Cincinnati)\nCrenshaw's last one, "Miracle of Science," was uneven but its highlights were just about as good as anything he had done before. "Seven Miles an Hour" I was actually addicted to playing for a while, and his take on Grant Hart's "Twenty-Five Forty-One" was excellent. Instrumental was good too. Some of the other stuff was, for me, too Nashvilled-out, "sincere" as some songwriter playing for the industry rubes at Nashville's draggy Bluebird Caf? (Crenshaw's been recording in Nashville for a while now, with Brad Jones). One good thing about Marshall Crenshaw is that he was never some singer-songwriter; he was a rocker; and on the lesser "Miracle" cuts ("There and Back Again," "Only an Hour Ago") he began to drag me. Some of the songs on "#447" affect me the same way, but on the whole this is a better record, "mature" and "well-played" with a rueful edge. Marshall Crenshaw is, as we all are, gettin' older, losin' his hair, and he's doing the best he can. As a craftsman (another odious Nashville term, but what the hell) he has no peer, at least in the realm of the post-Beatles colloquial popular song. "Dime a Dozen Guy" and "Glad Goodbye" and "Right There in Front of Me" are all prime and the instrumentals are actually quite pleasant, if indicative of the vaguely jazzy area that so many power-poppers of a certain age get into (Crenshaw isn't as much fun live as Alex Chilton but he makes better records). With Chilton, it's very hit-or-miss, but Crenshaw seems to still enjoy making nice-sounding albums. Isn't that a Mellotron on "Glad Goodbye"? I guess I have just about all of Crenshaw's records, give or take a few, and this is, like, the third-best after his first two--tell the truth, I like it better than "Downtown." It's nice to know Marshall Crenshaw is around.\n\n\nAMAZON.COM CUSTOMER REVIEW\nMarshall's most experimental work, September 19, 2000\nReviewer: Jeffrey T. Powell "Web developer, music fan" (New York, NY United States)\nPeople 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.\nMarshall'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.\n\nLyrically, 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.\n\nThe 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.\n\n"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.\n\nBut 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.\n\n\nAMAZON.COM CUSTOMER REVIEW\nNot a home run, but still good, September 3, 2000\nReviewer: bruce horner (San Francisco, CA USA)\nPerhaps 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.\n\n\nAMAZON.COM CUSTOMER REVIEW\nCrenshaw's best since Downtown and Life's Too Short..., August 29, 2000\nReviewer: Wayne Klein "wtdk" (Fairfield, CA United States)\nUnexpected 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.\nThe 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).\n\n\nAMAZON.COM CUSTOMER REVIEW\nbest kept secret, July 26, 2000\nReviewer: J. Cowans (Brooklyn, NY USA)\nMost 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.\n\n\nAMAZON.COM CUSTOMER REVIEW\nSounds Unfinished, June 25, 2000\nReviewer: Kenneth Parker, Jr. (Newburgh, NY USA)\nComing after the strong and rocking Miracle of Science, this one is a let down. It sounds musically and lyrically unfinished, with a murky sound. Tough to put into words, but this lacks the cohesion of his other albums. The instrumentals are fine, but maybe he should do a whole album of them and leave them off a regular album. Here, they come off as filler. I'm still a devoted fan, though!\n\n\nAMAZON.COM CUSTOMER REVIEW\nAnother collection of home demos?, June 15, 2000\nReviewer: Jonathan B Whitcomb "Emery's Misery" (New Hampshire USA)\nMarshall Crenshaw is one of those guys you complain should be hugely successful, but are secretly glad you're in his small circle of fans. In 1998 he treated us to "The 9 Volt Years", a collection of home demos and was apparently seduced by its rough charm because this album has the feel of a collection of home demos rather than a studio album.\nI thought 1996's "Miracle of Science" was a very strong pop album. #447 has some pop elements, but Marshall Crenshaw takes this one in a different direction. It has a more rootsy feel, and the production is murkier. And while I admire Crenshaw for taking up the drums, his drumming gives this album more of a garage band feel than when he used studio drummers.\n\nThe album opens with a snippet of a sloppy swing rave-up with a spliced in backwards-masked string break. The song lurches to a halt before it really gets going. It sets the tone for the album, and you can tell Crenshaw is in an experimental mood.\n\n"Dime a Dozen Guy" is a Latin tinged roots rocker that sounds like a slightly grungy Buddy Holly. "Television Light" has a Lucinda Williams feel, with a strummed mandolin and fiddles playing over crunchy Fender guitars and bongo drums.\n\n"Glad Goodbye" has a very roots-rock feel with a Dobro riding over a base of rolling toms, a hihat clap and tambourine. Oddly, into the mix comes a Mellotron string counter melody which I find very distracting and out of place, particularly since he uses real violins and fiddles to good effect elsewhere in the album.\n\n"West of Bald Knob" is a pretty, lazy instrumental featuring a lead guitar line playing octaves. But oops, here comes the Mellotron flute! "Tell Me All About It" is more typical of MC's output over the last 10 years, but the drumming is sub-par. The ZZ Top inspired "Ready Right Now" and the instrumental "Eydie's Tune" are pleasant if not remarkable. "T.M.D." is another typical MC pop song, again spoiled by buzzy Mellotron strings. "Right There In Front of Me" recalls MC's first album's optimism, if not its hooks. The album closes with "You Said What" an instrumental with the most evocative melody of the bunch, marred only by the sloppy drumming.\n\nMy advice to the shopper is to consider this a collection of demos of Marshall Crenshaw's B material. If you're a fan you should find them interesting. Otherwise, seek out "Miracle of Science".\n\n\nAMAZON.COM CUSTOMER REVIEW\nAvoid this one, May 17, 2000\nReviewer: Tim Weber (Iowa)\nThe last Marshall Crenshaw album of the '90s is as nondescript as its title. What happened? After a rock-solid Razor & Tie debut with "Miracle of Science" that was as encouraging as could be, Crenshaw produces this mediocre effort. It's as if he decided he was tired of being tuneful. Some noodling, some instrumentals that don't really go anywhere, and few memorable tunes to hang onto. I suppose he was trying something new, which is commendable, but think it through first and come up with strong songs and I'll follow you anywhere, buddy. Not this, though; this went to my local used CD store.\n\n\nAMAZON.COM CUSTOMER REVIEW\nWorth sifting thorough for fans...., March 18, 2000\nReviewer: A music fan\nTelevision Light is the one of those songs I have to play tem times straight to get over. It's one of the best he's ever done. The record is spotty, but woth mining for the goodies. Those new to Marshall should do what long time fans did - start at the beginning!\n\n\nAMAZON.COM CUSTOMER REVIEW\nStand up (bass) for Mr. Crenshaw, December 9, 1999\nReviewer: jeffery k. frangione (ROCKville, Maryland, USA)\nAlthough 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...\n\n\nAMAZON.COM CUSTOMER REVIEW\nA REAL good record...., November 12, 1999\nReviewer: Kevin A Brady "kbrady1817" (Mars)\nFirst 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. \nSecondly, 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.\n\n\nAMAZON.COM CUSTOMER REVIEW\nWELL - IT IS MARSHALL CRENSHAW, October 21, 1999\nReviewer: A music fan\nSo, you like Mr. Crenshaw and you feel the need to own his recordings. You may as well add this but lower your expectations a bit. The MC that I know and love plays in a band. You know, guitars and drums. He's best with the basics. I'm not a fan of strings outside of an orchestra. The good songs here are very good and you'll eventually sing them but he ran out of gas. The first song is not a song but a meaningless intro that you'll skip for certain. There are 2 songs that sound like they came straight from the backwoods. There are 3 instrumentals and they are all solid (the best being "You Said What?" but there is the absence of his voice, which I always miss. Go ahead, go get it. But you'll go back and play "Someday Someway" and "Cynical Girl" more often.\n\n\nAMAZON.COM CUSTOMER REVIEW\nAlmost as good as the last Cd, but so damned short!!, October 13, 1999\nReviewer: Todd Rosenstock (Newtown Square, PA USA)\nWhile 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!\n\n\nAMAZON.COM CUSTOMER REVIEW\nA Rock Journey Back to the Future, October 12, 1999\nReviewer: Alydar "alydar" (New York)\nMarshall'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...\n\n\nAMAZON.COM CUSTOMER REVIEW\nNot only hook-laden, but long on atmosphere!, September 29, 1999\nReviewer: A music fan\nMr. 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...
This rock cd contains 11 tracks and runs 39min 51sec.
Freedb: 8f09550b
Buy: from Amazon.com

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