VINYL FORMAT. IMPORT. On 180 gram vinyl! Originally released on Beserkley in 1976. Collection of tracks produced mostly by John Cale in 1971. Includes such classics as 'Roadrunner', "Astral Plane', 'She Cracked', and 'Girlfriend'. Nine tracks, original artwork, gatefold sleeve, 180 gram vinyl.

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A lo-fi effort cut in a California basement, I, Jonathan returns Richman to the full band setting and manic diversity that recent conceptual efforts have forsaken. Sloppy and wild, the album is a blast from start to finish; among its many concerns are skydiving ("Tandem Jump"), sea life (the surf instrumental "Grunion Run"), nightclubbing ("I Was Dancing in a Lesbian Bar"), and hero worship ("Velvet Underground"). ~ Jason Ankeny, All Music Guide

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Jonathan Richman's 19th album doesn't sport the raw passion of his debut with the Modern Lovers, nor does it showcase his vastly underestimated songwriting skills as superbly as prior solo albums like I, Jonathan and You Must Ask The Heart. It's just another exploration of the lovable troubadour's longstanding obsessions: the places he's been ("Springtime in New York," "Give Paris One More Chance"), the pitfalls of love ("Couples Must Fight," "I Took a Chance on Her"), the Spanish la   [ read more ]

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One of his better '80s efforts, and certainly one of the most basic, performed in an acoustic trio format. It's nonetheless quite rocking, with heavy debts to doo wop and Bo Diddley rhythms, and a jolly (though not sappy) summertime campfire feel. Some of his best uptempo tunes are here, including "I Love Hot Nights," "California Desert Party," and "Gail Loves Me." ~ Richie Unterberger, All Music Guide

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The Skeletons' Lou Whitney and D. Clinton Thompson as well as a number of seasoned session vets join Richman as he ventures into Nashville territory. The material consists of a batch of originals, a few covers and a couple of old songs reworked from 1983's Jonathan Sings! The music's country affectations are entertaining without being gimmicky, and Richman sounds right at home in his twangy environs. ~ Jason Ankeny, All Music Guide

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While the proto-punk genius of the Modern Lovers' first records is well known, not so publicized is their short-lived tenure as a live band. The live treatment has mixed results on the Modern Lovers' repertoire; Jonathan Richman has two types of songs: the fast-and-furious rockers ("She Cracked"), which benefit greatly from the live setting, and the slow-burning love songs ("Hospital"), which are not as well suited. Also, the sound quality leaves something to be desired; at times {^Live at   [ read more ]

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As basic and bare-bones as its title, Jonathan Richman is a solo effort modeled after Richman's live show, spotlighting only his voice, guitar and percussive foot stomping. An eclectic mixture of originals and covers (occasionally sung in either French or Spanish), the record's simplicity is its charm; the high point, "I Eat With Gusto, Damn! You Bet," is a spoken-word paean to the joys of bad table manners. ~ Jason Ankeny, All Music Guide

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Combining studio and live recordings, this Party is a rather quiet affair with just Jonathan and his guitar. Richman is more pensive than usual; while interpersonal dynamics remain his primary focus, his thoughts turn to relatively serious examinations of adultery ("My Career as a Homewrecker") and commitment ("Just for Fun"). Similarly, the minutia of romance is the concern of "The Girl Stands Up to Me Now," "When I Say Wife" (a fretful essay on nomenclature and possessiveness), and {&   [ read more ]

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Of the major pre-punk bands of the late '60s and early '70s (such as the Velvet Underground, the MC5, the Stooges, and the New York Dolls), the Modern Lovers probably seemed the most eccentric -- while the aforementioned groups each took a very individual approach to rock & roll, they were still rock bands who worked hard to deliver on stage for an audience. Jonathan Richman, on the other hand, was just as likely to let his bruised and bleeding heart hang on his sleeve for five long, slow    [ read more ]

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Following the dissolution of the Modern Lovers, Jonathan Richman ended up recording seven albums for the folk label Rounder Records. The not-so-unusual alliance resulted in a new/old sound for Richman and the results are readily evident on the collection Action Packed: The Best of Jonathan Richman. Unlike the noise and sneer barrage the Lovers were loved for, his solo recordings demonstrate Richman's emotive, stream-of-consciousness spazz rock with a stripped-down honesty. The son   [ read more ]

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Surrender to Jonathan was Richman's return to a major label, and he constructed the album as a showcase of his finest, or at least most notorious, songs of the early '90s. "Egyptian Reggae" and "I Was Dancing in the Lesbian Bar" are hauled out of the woodwork and given moderately polished reworkings by Andy Paley. Even with the slicker sound, Jonathan remains Jonathan, and no amount of studio polish can erase the fact that his goofball, naive pop is better-suited for small clubs than recor   [ read more ]

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Ric Ocasek steps in to produce a lush-sounding record for Jonathan Richman, employing quirky keyboards, percussive effects and background vocalists. "Nineteen in Naples" is one of his typical, naive travelogues: "When I was 19, I went across the pond and I found myself in the demimonde." But his charming nasal voice seems to have all but disappeared; it's been replaced with a sort of arty croon, as on the title cut and the dour "Affection." Yet it suits the song treatments, which sound similar t   [ read more ]

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