Who doesn’t want to review records?
Growing up, I certainly did. I devoured Rolling Stone, Record, Creem, Musician and other music periodicals less for the articles and more for the reviews, which I usually read first. Due to the lag between a record’s release and the review, on occasion I already owned an LP (or cassette) before I read the critic’s take. One thing that fascinated me: Why I sometimes liked something the reviewer didn’t. Another thing that fascinated me: the reverse.
The former irked me, the latter made me feel smug. But neither changed my opinion on the necessity of reviews. I was always on the lookout for something new (or new-to-me), and the magazines covered things that never made the playlists of my local radio stations, MTV or VH1. As a result, I often bought things based on a review, with new releases discovered via the magazines and catalog items from the Dave Marsh-edited Rolling Stone Record Guide. Few were four- or five-star reviews.
Over time, I came to recognize the names of said reviewers. Some found folk sanctimonious and others thought prog-rock priggish, and even more treated pop like a dirty word. (I generally subscribe to the second myself.) But the only bad reviews were those that didn’t delve beyond the rudimentary yea or nay to explain or defend the assessment, and also didn’t detail the artist’s journey. Everyone has their own criteria for what is and isn’t good music, after all, and it’s easy to be dismissive of what one dislikes. (I’ve been that in the past, though not often in these pages.) Some fans want technical precision. Others seek emotional resonance, a melody they can hum along to, and/or lyrics that shed light on the human condition. And yet others are happy with just about anything that has a good beat that they can dance to…
As I’ve matured, I’ve come to the realization that there is no right or wrong. Not really. There’s preference and personal peccadilloes – aka so-called “guilty pleasures.” That’s about it.
Anyway, I still lean on reviews – both online and in print. Whenever my wife and I visit a B&N, I pick up the British music magazines Uncut and Mojo, buy a high-octane coffee drink in the cafe, and read the reviews of the new releases and archival reissues. What I look for is tailor-made to my tastes: Is it dreamy, upbeat, reflective, melody-centric, reminiscent of the Beatles, Byrds, Flying Burrito Brothers or the Velvet Underground? Joni, Linda or Neil?
Unlike yesteryear, of course, it doesn’t cost me more than my Apple Music subscription to check out whatever I’ve just read about. (Though, since I rarely use headphones, I have to wait ’til we’re in the car going home.) That happened last week with Melody’s Echo Chamber’s latest release, Bon Voyage. It’s the brainchild of Melody Prochet, who’s akin to a French Hope Sandoval with an airier vibe.
(Sometimes, of course, I stumble upon cool artists through other means – Erin O’Dowd, who I discovered on Kickstarter, springs to mind. Nichole Wagner, who I found via a Nanci Griffith fan group on Facebook, is another. Both are worth checking out.)
All of which leads to this, one of my first reviews to make it to print – on September 18, 1984, in the Ogontz Campus News, the newspaper for what’s now known as Penn State Abington. I doubt if anyone beyond the newspaper staff and contributors read it. (And I was just a contributor; I’d pop into the office, find the editor of the entertainment section, and turn something in. On spec. Sometimes it made it into the paper; sometimes not.) Reading it now makes me laugh and cringe at the same time – but it was the first step in the journey to me launching the original Old Grey Cat website and, then, this blog. (I post-corrected a few glaring errors that slipped through the newspaper’s crack proofreading squad…)