The Modern Lovers

米東海岸のアンダーグラウンド・シーンを代表する愛すべき孤高のシンガー・ソングライター、ジョナサン・リッチマン。NYでヴェルヴェット・アンダーグラウンドなどのアート・ロック・シーンにどっぷりつかっていた彼が地元ボストンに戻り、ジェリー・ハリスン(key/後にトーキング・ヘッズ)、デヴィッド・ロビンスン(dr/後にカーズ)らと70年に結成したモダン・ラヴァーズ。翌年元ヴェルヴェッツのジョン・ケイルのプロデュースでデモ・レコーディング後に発売された記念すべきデビュー・アルバムがCDで再発!
ヴェルヴェッツ直系のサウンドと哀愁漂う歌声!永遠の名曲「Roadrunner」収録!

Compiled of demos the band recorded with John Cale in 1973, The Modern Lovers is one of the great proto-punk albums of all time, capturing an angst-ridden adolescent geekiness which is married to a stripped-down, minimalistic rock & roll derived from the art punk of the Velvet Underground. While the sound is in debt to the primal three-chord pounding of early Velvet Underground, the attitude of Jonathan Richman and the Modern Lovers is a million miles away from Lou Reed's jaded urban nightmares. As he says in the classic two-chord anthem "Roadrunner," Richman is in love with the modern world and rock & roll. He's still a teenager at heart, which means he's not only in love with girls he can't have, but also radios, suburbs, and fast food, and it also means he'll crack jokes like "Pablo Picasso was never called an asshole...not like you." "Pablo Picasso" is the classic sneer, but "She Cracked" and "I'm Straight" are just as nasty, made all the more edgy by the Modern Lovers' amateurish, minimalist drive. But beneath his adolescent posturing, Richman is also nakedly emotional, pleading for a lover on "Someone I Care About" and "Girl Friend," or romanticizing the future on "Dignified and Old." That combination of musical simplicity, driving rock & roll, and gawky emotional confessions makes The Modern Lovers one of the most startling proto-punk records -- it strips rock & roll to its core and establishes the rock tradition of the geeky, awkward social outcast venting his frustrations. More importantly, the music is just as raw and exciting now as when it was recorded in 1973, or when it was belatedly released in 1976. ~ Stephen Thomas Erlewine