Randy Newman

Randy Newman Live

1971

Personnel:

Randy Newman:
Vocal, piano

Although many of Newman's albums feature full orchestras and brass, his music is rooted in traditional parlor room popular music, with only a piano and whomever might be around to sing. Most of the songs on this album are from his first two albums, though two were teasers for Sail Away, and another two only appeared on this album.

The modest audience obviously likes the songs, and the intimate setting really brings out the timelessness of the music. Newmans takes requests, and generally seems to enjoy the spotlight. Not required listening, but reinforces the simple genius of these songs.

Mama Told Me Not to Come: From 12 Songs, this song seems a little more rolicking here, than on the earlier album. The whole set is pretty pleasant, and that may be a plus or a minus, depending on how you like this kind of music to sound.

Cowboy: From the first album, the small setting gives this tune a slightly more somber feel than the original. It's interesting that Newman often plays concerts alone, without an orchestra. Perhaps the music on this album is more representative of the real feeling he wants to present.

Sail Away

1972

Personnel:

Randy Newman:
Vocals, piano

Ry Cooder, Russ Titelman:
Guitars

Jim Keltner, Gene Parsons, Earl Palmer:
Drums

Chris Ethridge, Wilton Felder, Jimmy Bond:
Bass

Milt Holland:
Percussion

with
Louis Kauffman:
Concert Master

Abe Most:
Alto sax

Newman spent two years crafting the the sounds on this album, and it is arguably his best. Where previously his orchestrations were almost kitchen-sink affairs, featuring grandiose textures and a virtuosic mastery of styles, this album is more low-key. However, his sarcasm hasn't subsided, and the overall feeling is satirical and of irony.

The gift of the composer seems to be the back-handed compliment. While the ruthless slave recruiter of the title track and the egocentric patriot of "Political Science" are obvious jabs at slavery and the American Cold War stance respectively, the music is sweet, almost solemn.

Sail Away: Classic tune about the 'riches' awaiting unknowing slaves should they choose to sail over the Atlantic to America. Uncommonly subtle satire, and absolutely gorgeous music. Cinematic textures, warm, grand orchestral arrangement, and as usual, the understated piano from Newman himself.

You Can Leave Your Hat On: Original version of a song made famous (in a much more bloated version) by Joe Cocker for the movie 9 1/2 Weeks. Lazy, bluesy plea to take it all off (except the hat), featuring a some nice slide work from Ry Cooder.

Good Old Boys

1974

Personnel:

Newman:
vocals, piano

with
Jim Keltner, Ry Cooder, Glenn Frey, Bernie Leadon, Don Henley, Milt Holland, Russ Titelman, Ron Elliott, Bob Hall, Dennis Budimir, Red Callender, Malcolm Cecil, Nick DeCaro, Robert Margouleff, Andy Newmark, Al Perkins, John Platania, Bob Porter, Willie Weeks

Satire is the mode of choice on this album, and it could be argued that Newman never really looked back after this. In later years, his music would be criticized as bitter and/or cynical. Here, though he states his case bluntly in such songs as "Rednecks", the aftertaste is still rather sweet.

It should be noted that Newman is not actually a Southener (though born in New Orleans), but is based in L.A. He hired fellow faux-Southeners The Eagles to sing backup as well. As music, this CD stands up next to Newman's best. As a historical critique, it lacks sincerity.

Rednecks: It wouldn't take a genius to outsmart the subjects of this infamous Newman tune. Most of the protagonists in his songs seem to be rather unlikable. However, the spirit is there, and Newman light-rocks his way through any number of ethnic slurs. The sound is tight, as Newman has almost completely embraced the L.A.-rock production of contemporaries like The Eagles and, later, Fleetwood Mac.

Marie: The flip side of Good Old Boys is the kind of humble romanticism featured on this tune. Newman wasn't really known for writing love songs, but "Marie" is arguably his best. Very delicate lead vocal and piano from Newman, accompanied by a gorgeous, understated string arrangement. Straight-forward and rather touching.