By Jeff Gage
By Rob van Alstyne
By Jeff Gage
By Youa Vang
By Dave King
By Rob van Alstyne
By CP Staff
By Youa Vang
One of Randy Newman's greatest subjects is a peculiarly American brand of know-nothingism, a state of ignorant bliss that he slyly savages, yet whose allure he acknowledges, even celebrates. Newman has spent much of his 30-plus-year career pouring mugs of this elixir, yielding hits like "Short People," and "I Love L.A." But the opening shot of Bad Love (Warner Bros.), his first straight-up pop-rock album in a decade, represents this theme at its most intoxicating. The midtempo piano churn of "My Country" builds to a calculated grandeur. Gently stirring, patriotically pastoral, orchestral yet utterly contemporary, the song sounds like soft-rock Copland. Its protagonist sings a hymn to vicarious living that could be Newman's version of a network theme song: "We got comedy, tragedy," he sings. "Watching other people living/Watching other people play." But he finds an oddly affecting kind of peace in the image of a family with "faces softly glowing in the light" of "a television big as all outdoors."
On paper this may read as sarcastic, but the singer plays it impossibly straight. He believes it. He makes the glow beautiful. The only way it could be a more perfect Randy Newman tune is if Must-See TV really did crib it for promos hawking the new fall lineup, while failing to notice lines like "Feelings might go unexpressed/I think that's probably for the best."
It's the sort of mistake that has been made before. With any Newman song, the narrator's position is hard to pin down. His characters are rarely as smart as their creator, but he never condescends to them. With his majestic arrangements cutting against a mocking blues-guy oratory, Newman never reveals his attitude toward the couch potato of "My Country," a man who is grateful for the relief from social interaction that the tube provides. Why do his grown-up children keep coming over, he wonders, when they live alone now and have TVs of their own? The sentiment is reminiscent of the Kinks' "Waterloo Sunset," another arresting song delivered in the voice of someone content to be a spectator in the human race.
Newman's eschewal of direct self-expression as a singer-songwriter has rarely been to his commercial benefit, of course. In a pop realm where audiences still equate first-person narrative with confessions of the soul, Newman's musical storytelling is unique in its insistence on that rarest of songwriting devices: the unreliable speaker. Newman's self-perpetuating marginality isn't likely to be altered by Bad Love, his finest record since 1974's Good Old Boys, even if the gap between the singer and his characters seems to have narrowed dramatically.
In fact, Newman has never sounded more like himself. While most of his early albums were populated by widely varying personages, Bad Love plays like a multifaceted dissection of a very specific cultural type. Nine of the album's twelve songs are about failed patriarchy; the other three sound like throwaways. And if the composite bastard at the album's center isn't exactly Newman, he may be unsettlingly close to him. Witness the far-from-coincidental similarities between the deadbeat dad of the admittedly autobiographical "I Miss You" and the prevaricating pops of the fictional "Big Hat, No Cattle." The first, a love song to his ex-wife and their children, offers an apology of heartbreaking simplicity from a man who would "sell my soul and your souls for a song." By comparison, the good-for-nothing husband and father on the faux-country "Big Hat, No Cattle" steps up to deliver a quintessentially Newman punch line. "Ofttimes I have wondered what might I have become/Had I but buckled down and really tried," he sings. "But when it came down to the wire/I called my family to my side/Stood up straight, threw my head back, and I lied, lied, lied."
Bad Love follows the train of thought of this shape-shifting antihero from the album's cheapest joke, "The Great Nations of Europe," a bitter sing-along primer on 16th-century imperialism, to much more expensive insights. His protagonists can be repulsively familiar--the despicable lecher of "Shame"--or comically clueless, like the aging rocker of "I'm Dead (But I Don't Know It)," a deliciously mean has-been anthem that might have been funnier (if less self-depreciating) had Newman cut to the chase and called it "Rod Stewart." Twice the singer plays an ugly old bastard preying on women half his age, and twice he plays the same old bastard giving jaded advice to a younger counterpart. The same guy from "Shame," who implores the "little baby girl" to come over and see his new Lexus, turns around on "Better Off Dead" to complain about women who "just treat you like dirt/They make you feel all fat and fumbly/Make you feel kind of dirty."
Newman is getting older (55 this fall) and richer; his film scores from the Eighties and Nineties are more profitable than his rock records ever were. So Bad Love may be less conjecture than he claims. At the very least, the album plays like a behind-the-scenes report on Newman's demographic--the L.A. bizzers, trophy wives, and jailbait girlfriends. The way these characters clutter his stories lends Bad Love's ethnography a distinctly Hollywood air.