Before the world even had a chance to hear the Modern Lovers, Jonathan Richman had already moved on. Richman founded the group in 1970 with bandmates who would go on to acts like the Cars and the Talking Heads, and in the early 70s, they recorded some truly electric demos that would help define a sound later understood as punk. These recordings wouldnt see wide-scale release until long after the first iteration of the band broke up, and by the time of Jonathan Richman & the Modern Lovers, Richman had dropped the angst and anxiety of his proto-punk beginnings in favor of a far friendlier, quieter, and more innocent style. Ironically, the 1976 debut album of Richmans revamped, gentler Modern Lovers arrived just one month before the proper release of the earlier version of the bands recordings, emphasizing how drastic of a change had occurred. While the raw excitement of the early pre-punk Modern Lovers was groundbreaking, theres an equally revelatory quality in the softness and vulnerability of what followed. JR&tML finds Richman and his band beside themselves with joy as they create a sound thats part early rock & roll (a cover of Chuck Berrys "Back in the U.S.A." is the second track), part childrens music, and part thoughtful introspection. Upright bass, spare percussion, and minimal amplification make up most of the arrangements as Richman shouts cues to the band mid-song, adding to the albums live, off-the-cuff charm. His creaky singing doesnt exactly fit in the mold of 50s rocker that hes aiming for on tracks like "Hi Dear," "Rockin Shopping Center," and "Here Come the Martian Martians," but then again, the songs are a lot weirder than standard oldies radio fare. Even with the predictable rockabilly basslines and chord changes borrowed from doo-wop tunes, its hard to find an exact precursor for songs like "Abominable Snowman in the Market," which Richman sings with an enthusiastic sincerity usually found on much less ridiculous songs. The albums lightheartedness is easily apparent in the silly lyrics about insects and the baby-talk backup vocals, but Richmans ability to keep that lightness in moments of deeper emotional expression is what takes the album from mere fun into magnificence. Theres a coyness in how he directly asks for validation in a relationship with "Important in Your Life," but delivers the sentiment with singsong melodies and naive-sounding harmony vocals. Whether expressing heartfelt pride for where hes from on "New England," basking in the simple wonder of nature on "Springtime," or reverently taking in his surroundings during a nighttime walk on the wistful "Lonely Financial Zone," Richman is fearlessly openhearted. The sharp turn from the bleak cool of earlier Modern Lovers to the childlike sweetness of JR&tML is a marked one, but both are part of Richmans gift for translating the essence of his feelings into song. On these 11 songs, those feelings are unabashed happiness and appreciation, and its enough to make the album feel like a timeless breath of fresh air. ~ Fred Thomas

Rovi

Richmans second collection of Modern Lovers, over which he was billed (eventually, the group name would be dropped) had a lighter rock & roll sound than the first. In fact, as often as not, Richman played acoustic guitar. And his lyrical concerns had similarly lightened up, to the point of childlike whimsy on such songs as "Hey There Little Insect" and "Here Come the Martian Martians." But the focus was still Richmans unabashed vocalizing (the word "sings" is put in quotes on the back cover), giving the whole album an amateurish charm. ~ William Ruhlmann

Rovi