Steve Goodman, Steve Goodman, Buddah Records, 1971

This record, his first, came out when Goodman was 23. His photo on the cover looks like a high school kid. His song about taking Amtrak from Chicago to New Orleans makes it seem to be exotic and enjoyable. Yet Yellow Coat crams more alienation and despair in one song than Lou Reed singing about heroin. The singer sees an ex at a turnpike plaza; they sit together. He says he’s doing well but mentions only minor pluses that sound false. He asks whether she enjoys her life, remembering little things she enjoyed. His comments to her are ‘did you ever read the letters that I wrote,’ ‘I wish you wouldn’t look at me that way,’ and ‘have you heard a single thing I’ve said.’ It seems tragic when he says he can’t remember why they never had children. As he leaves, he says the weather is getting cold—he foreshadows getting old and dying, says me.

Two other songs make me sad. The singer of Eight Ball Blues is worried that he is aging badly as he looks in the mirror. Donald and Lydia are individuals stuck in unhappy conditions. There are lots of folks around but they are each lonely.

Stage Fright, The Band, Capital, 1970

When this record came out after the amazing Music from Big Pink and The Band (called the Brown Album), most fans were disappointed. I’ve read that Robbie Robertson said he couldn’t keep turning out songs like The Night They Drove Old Dixie Down; I think he wanted to crank out Surfin’ USA and My Sharona. This album is light-hearted (says me), less polished, without so many vocal harmonies as the first two.

Sleeping contains ‘to be called by noon/is to be called too soon.’ That doesn’t match the simple country boy pose the record adopts. Just Another Whistle Stop starts ‘to all concerned, dead or alive,’ which is just silly. It moves on with ‘to grind the axe until it’s dull/you’ve got to get it through your skull.’ It closes ‘there’s one way home that’s guaranteed’ without being morbid. The Shape I’m In has ‘out of nine lives, I spent seven/now how in the world/do you get to heaven?’ Some funny juxtapositions: ‘Save your neck or save your brother/looks like it’s one or the other’; ‘I just spent 60 days in the jailhouse/for the crime of having no dough, no, no/Now here I am back on the street/for the crime of having nowhere to go.’  Richard Manuel seemed to have fun with the lyrics. There’s nice organ work on The Shape I’m In. Stage Fright has a strong instrumental intro. Daniel and the Sacred Harp combines Robert Johnson, Faust, and an Old Testament feel. This was better than I remembered.

Twangin…, Dave Edmunds, Swan Song, 1981

This record was a big disappointment. Edmunds is a great rock and roller. Wait until we get to Khachaturian’s Sabre Dance he did when he was with Love Sculpture. In 1981 he was on a long hot streak—I Knew the Bride, Get Out of Denver, Crawling from the Wreckage, Girls Talk, Promised Land. He was working with Nick Lowe and Rockpile. This record may have been something to satisfy a contract—the Wikipedia article says much of the material was odds and ends from other sessions. Edmunds does a lot of covers—maybe his more successful projects started with better songs.