I began listening to Randy Newman in late August 2021. After Good Old Boys, the genres and production he dabbled with usually resulted in somewhat disappointing albums, particularly the three that directly followed his last great album, but he remained one of the best and funniest lyricists throughout his entire career. Interesting note: my review of his self-titled debut has one of the very few explicitly retrospective reviews on my blog. That is, I rewrote it entirely after further advancing in Newman's catalog.
Randy Newman (1968): B+ [Originally: A-]
12 Songs (1970): A+ [Originally: A]
Randy Newman Live (1971): B
Sail Away (1972): A- [Originally: B+]
Good Old Boys (1974): A-
Little Criminals (1977): C+ [Originally: B-]
Born Again (1979): B-
Trouble in Paradise (1983): B-
Land of Dreams (1988): C+
Randy Newman's Faust (1995): C+
Bad Love (1999): B
Harps and Angels (2008): B
Dark Matter (2017): B-
Randy Newman (1968):
I was a little harsh on Sail Away following Newman's unrelenting masterpiece but there's no doubt that I would have had a much more difficult time with this if it came after. Several of the songs are unmistakable throwaways with barely melodies and absurd vocals. As a debut and as a statement, however, it remains an incredibly original and strange record to behold. Although Newman's vocal delivery is somewhat reminiscent of Dylan, I'd bet he takes just as much influence from Dylan on this record as he does from the Beatles: probably none. While the lyrics boast their own distinctive character in comparison to his sophomore effort, they share the ridiculous, jocose lyrical style that remains Newman's most convincing and entertaining to date. B+
12 Songs (1970):
Although settling into a more recognizable lane of rock music, Newman treads on as one of the most original and unique voices of the kindling singer-songwriter movement. His character-driven lyrics have evolved somewhat but for the most part, Newman has just refined his abilities and this album announces him as a stellar satirist. Primarily, he's so effective because he doesn't takes satire itself too seriously. Balancing out the hard-hitting "Old Kentucky Home" are songs like "Suzanne," which is basically athematic. On the musical side of things, Newman assembles a star-studded cast of pro-sessions players to produce a dozen songs that mix roots rock, swing, blues, and country. A+
Randy Newman Live (1971):
I bet Randy had much better sets down the road but I'd recommend fans listen to this anyway because Newman gives brief monologues before the start of several songs, which provide insight into his thought-process when writing character studies. It also has a few songs not seen elsewhere and a pretty amazing and vulnerable rendition of "I Think It's Gonna Rain Today," which is already shaping out to be one of the most valuable songs in the Newman catalogue. B
Sail Away (1972):
I was happy to suggest that some of Newman's lyrics from his previous 12 Songs had no useful take-aways because the music was perfectly crafted and the songs' subjects were less consequential. Now, he's approaching his subjects--politics in particular--more head-on. This is problematic on several levels. First, it's worth lamenting the disappearance of the more original and entertaining lyrical style of his first two albums. Second, his lyrics haven't become more thematic in conjunction with the rise in his political conscious. True, it's funny to suggest that we drop "the big one" on everyone who despises America, but what good is it if it doesn’t go any further? Some of the non-political lyrics are also disappointing, such as "Lonely at the Top," which was funnier on Randy Newman Live and probably isn't good enough to be on a studio album. Despite the disappointment in the lyrics, Newman has only put forth top-shelf melodies that perfect and expand upon the orchestral direction attempted on his debut. A-
Good Old Boys (1974):
Maybe Newman is still singing about politics, which didn't seem to suit him on Sail Away, but this time his politics concern racism and the Southern issue, which he has firsthand experience with. Although the idea of a concept album following a southern man Johnny was thrown away early in the writing process, it is easy to imagine it’s the same guy throughout. The scathing "Rednecks," which simultaneously condemns the racism of the North and South, is gracefully followed by Johnny's tribute to "Birmingham," a love song to his wife "Marie" (which he only had the courage to write under the influence of whiskey), and a plea for Nixon to pity the workingman. All three work brilliantly to make you forget he's the blatant racist from the opener. A little less musically satisfying than 12 Songs, Newman's second best album continues to build and complicate the Southern issue until all that's left to do is plop Johnny down on a couch in complete ignorance to his role in it all. A-
Little Criminals (1977):
After exploring politics and racism on his last two records, Newman has stridently returned to the quasi-meaningless songwriting of his first two records with the bigoted "Short People." The roots rock of 12 Songs does not accompany this homecoming however. Instead, the clean production and frequent backing vocals from the Eagles create a mildly interesting pop record that suggests Newman is looking for a commercial breakthrough. Although the attempt is basically on his own terms, the songwriting is out-and-out the worst of his career--only the lyrics of "Texas Girl at the Funeral of Her Father," which features one of the more insipid string arrangements in his catalog, move me in any way. Very seldom do I mind such a stab at commerciality. But for Newman, a dip in songwriting seems to be the inescapable product. C+
Born Again (1979):
With Newman taking several shots at the music industry, Born Again and its synthetic sound are a tongue-in-cheek parody I can only half-heartedly enjoy. Synthesizers at every turn is certainly not how I prefer my Randy Newman, but I’ll take it any day over the easy-breezy sonic malaise of the Eagles' record Little Criminals. Although the lyrics have some of his old-timey bite and humor--"Mr. Sheep" stands out as his best song since '74 and "Half a Man" is a pretty great critique of homophobia--most are just as void of leaving power as the showboating bands he seeks to criticize. Plus, did "It's Money that I Love" have to be so direct? B-
Trouble in Paradise (1983):
As with "Short People," I have no problem with Newman’s newest commercial anthem "I Love L.A," which is one of Newman's better social commentaries. As with Little Criminals, however, this is a mixed bag. I enjoy most of the jokes--none of them more than the bizarre tale "My Life Is Good"--and the melodies are certainly his strongest since 1974, but from the daft synthesizers to the trivial lyrical topics, just about everything makes me lament what Newman has become. His first four records, despite their occasional hiccups and the ever-present strings, had him on track to become an undisputed great. Now, he's a talented parody. B-
Land of Dreams (1988):
Despite my immense displeasure with the direction on Newman's past three albums, I will admit that they still had okay songwriting all things considered. This is his second project where a significant creative dip is evident although it does inspire two of my favorite Newman tracks--damn if "Dixie Flyer" and "New Orleans Wins the War" aren't reminiscent of that roots-rock swing that reigned supreme on his best album. "Four Eyes," "Masterman and Baby J," and "Red Bandana"? Throwaways with breadcrumbs leading back to Trouble in Paradise. But surprisingly--whether it's his two best songs in years or that I've come to accept Newman's sometimes questionable taste or that, in the face of the void, I'm still desperately hoping Newman will quit dicking around and do a whole album that gives me one iota of the jolt 12 Songs does--Land of Dreams has convinced me not to quit Newman's catalogue here. C+
Randy Newman's Faust (1995):
In a way, this is Newman's best album since 1974--musically, it's quite an impressive and consistent project--but I have no use for musicals, no interest in reading Newman's interpretation of the classic play, and no affinity for the voices of James Taylor and Don Henley, whose characters remain integral throughout. C+
Bad Love (1999):
Releasing a back-to-the-basics album after the synthetic sounds of his past three studio albums, Randy has basically given me what I've long asked for. The melodies are pleasant enough, not much is superb, but his most cynical lyrics ever so closely parallel his own life--songs about missing an ex-wife and an aging rocker who just keeps getting worse--I'm not sure whether I should laugh, admire his balls, or worry about the man's current mental state. Such critical uncertainty on a sizable bulk of the album leaves me no choice but to balance my first thought upon hearing "Shame"--"oh Randy you've done this one before"--with my first thought upon hearing "I Want Everyone to Like Me"--"he's still got it." B
Harps and Angels (2008):
As with his previous LP, Newman is in a lyrical form we haven't seen since Good Old Boys. His biting humor is also in top shape--take the Clarence Thomas joke on "A Few Words in Defense of Our Country," his surprise realization on "Only a Girl," or the instrumental interlude preceding the chorus of "Korean Parents." Like Bad Love and Land of Dreams, which had "Masterman and Baby J" and "I'm Dead (But I Don't Know It)" respectively, Harps and Angels, with "A Piece of the Pie," continues Newman's habit of putting ridiculous instrumental tracks over some of his best jokes. But otherwise, the album harbors Newman's strongest melodies since 1974 and, combined with the lyrics, makes this easily his best album since you guessed it. B
Dark Matter (2017):
Newman has consistently used strings on his records since the beginning of his career but as of late their arrangements have been pretty bland, making his songs pretty boring. His songs have also become more dynamic, which are necessary for complicated lyrics like "The Great Debate," "Brothers," and "Putin." They're impressive on some level but not particularly grabbing. Only the melody of "Lost Without You" seems inviting enough for a revisit. B-
