Randy Newman: Randy Newman (Creates Something New Under the Sun) (1968)

I had an entirely different entry planned for my next post on the blog, I had my vinyl rip ready and everything. But then something happened, I heard Nilsson Sings Newman. I had heard about this album, it has a bit of a quiet mysticism about it, even if some of the reviews had more than just a hint of elitism about them. But still I was intrigued about the idea of the album itself. Nilsson was fresh off the success of having his first breakthrough hit, "Everybody's Talkin'", featured in the 1969 film Midnight Cowboy, the perfect time in his career to really showcase his chops as a songwriter and vocalist. But Nilsson didn't want to do it the traditional way (as he rarely did). Instead, he wanted to record an album of songs composed entirely by a relatively unknown singer/songwriter named Randy Newman. I'm sure RCA Records was just thrilled (yes, sarcasm is intended) with this choice as Newman's material, although quite good, was very much an "acquired taste". I only just in the last few weeks have acquired the taste, so to speak, and my earlier preconceptions about Newman's stuff were totally wrong. This guy is special. Newman's songs, while fairly traditional, rarely had distinct "pop" hooks or melodies, and his delicate chord progressions wandered almost aimlessly behind his trademark slurry, rambling voice. And upon hearing Nilsson's takes of Newman's early material, I just had to hear the Randy Newman debut album, which I had just recently become familiar with, to compare.

Newman's debut album, released in 1968, went virtually unheard, despite being produced by two prestigious LA music scene talents in Van Dyke Parks and Lenny Waronker. Newman had worked with the two on the Harper's Bizarre's first two records and I really think there was a mutual admiration that the three had for each other. Parks and Waronker had experienced legitimate commercial and critical success with their contributions to the Harpers and Beau Brummels records and Parks' own debut album, but Newman had remained out of the spotlight, mostly just writing songs for other acts to record. But obviously Parks and Waronker saw something in Newman, probably the same thing Harry Nilsson saw. Newman was a unique and unusual talent, drawing heavily on early Americana, Blues and Ragtime for lyrical and musical inspiration, much like Van Dyke Parks. But Newman's record was stripped of all the psychedelic trimmings and excesses of Song Cycle, leaving only Newman's voice, a piano, some guitars and a very prominent orchestra. And while Waronker's production is top notch, the songs are what really shine through.

The lead-off track, "Love Story (You and Me)"  showcases all the album has to offer in one song, a delicate piano melody, sarcastic Newman lyrics, and fantastic orchestral flourishes supplied by Waronker. The next track "Bet No One Ever Hurt This Bad" is a breezy, front porch-y country folk tune with great guitar work from Ron Elliot, former Beau Brummel member. "Living Without You" is a tremendously beautiful song, with Newman's voice getting the closest it's ever gotten to "sweet sounding". With another lilting piano and harpsichord melody that builds up into a thunderous chorus where Newman declares in defeat "Baby, it's so hard... living without you." The next track "So Long Dad" is a typical and bittersweet Newman narrative, an account of a man coming back to his hometown to visit his dad, who he wonders "do you still work at the drugstore, is that true?...I miss my good ol' dad." The song, backed by a wandering piano and orchestral arrangement, is quintessentially odd and "Newman" in that it really has no traditional song structure and just seems to flow and morph as Newman shares his story.

"Linda" is another highlight, the song starts out with a quiet Newman intro, accompanied by an accordian and mandolin, then segues into a section with harpsichord melodies that are eerily similar to the piano and harpsichord motifs that Brian Wilson employed on the Smile album (remember, Van Dyke Parks did co-produce this record). Then the tune turns into a wild, carnival ride of sound, with tubas and trumpets blaring and bells ringing. You start to feel like you're at some turn of the century amusement park, a really fun song.
"Cowboy" finds Newman lamenting the disappearance of the ranch-hand, as his world becomes increasingly industrialized. "Cold grey buildings, where a hill should be". The song begins a desolate and drifting orchestral piece, punctuated with some very delicate harp notes when suddenly Newman bursts into an angry revelation "can't run, can't hide, too late to fight now" with the strings and horns picking up steam. This song really blew me away when I first heard it

"I Think It's Gonna Rain Today" finds Newman at his most somber and honest. It's a devastating ballad, equal parts sad and beautiful, with a peaceful piano intro. Strings join in on the second part of the verse and they add a certain intensity to Newman's world weary lyrics. Newman, who was only 26, sounds convincingly like a sad old man here, as he sings barely above a whisper. Seriously beautiful song.

This record has really been opening my eyes lately. Newman's music and storytelling really showcase what good lyrics can do to a song, they can really take you places. This is escapist music at it's finest. The album deserves so much more recognition for the masterwork that it is. It wasn't just a collection of Newman songs patched together to get his name out there, the record has a truly uniform sound, alot of it due to Waronker's brilliance as a producer. Waronker and Newman would work together on most of Newman's subsequent work, which may be more popular in the public consciousness, but this album really shines just as bright as Sail Away or 12 Songs. It's just such beautiful music.

-Casey

P.S. Didn't put up a download to this album as it is available on CD having been reissued in 1995 by Reprise. Order a copy on Amazon.