Album III

by

Loudon Wainwright III

Edit

When you see reviews of fringe artists like LWIII in Amazon, they are usually done by zealots like me. We give 4 or 5 stars to anything our boy does, even the ca-ca. We tell you how great all his songs are and what an unappreciated genius the artist is. We do that because we are cultists, and can't possibly utter blasphemy about our cult-object. Please forgive us our excesses. We mean well.

So if you've just seen him perform or heard one of his songs, are contemplating a purchase, but don't know which of his recordings to pick, read on.

I finally got this CD after going thru two vinyl versions and a several self-recorded tapes. I'm glad I did.

It starts out with 'Dead Skunk', the witty, popular novelty song that that he will most probably (and regretably) be remembered for. I saw him perform this about mid-tour in the Fall of '72, at the Red Herring, a Champaign, Illinois church-turned-coffeehouse with a few hundred other devoted fans. It was soon after the album was released, so repeated and incessant shouts came from the audience for 'Dead Skunk! Reluctantly yielding to his fans, Loudon said something like, "God, I'm so f***ing tired of this song."

I don't ever recall hearing him perform it again.

More's the pity, because *Dead Skunk* is an excellent example of LWIII's talent to successfully synthesize subject, melody and lyric.

I agree with the reviewer who said that Album III was a push by the record company to make Loudon a 'pop star'. And Loudon was glad to participate, late into his thirties. Aside from those indulgences, there are a few successful syntheses on this disc that are must haves for your collection.

*Muse Blues* is the all time artist's/writer's block song (are there any others?). Loudon nails the emotion, frustration and pain associated with the creative process. The lyrics are universal---substitute 'any lover's name' for 'Muse', and it becomes a damn fine love song. His rollicking acoustic guitar captures the twisted angst he feels as he thrashes for creative insight.

On *New Paint*, Loudon shows his under-appreciated sensitive side. The song is so romantically pure; taking you back to the tenderness of that first date with your first love, walk in the park, watching TV on the sofa, meeting the parents, and that first kiss "that tastes so sweet, like you hoped it would."

Alcohol consumption, one of his favorite subjects propels *Drinking Song*. Unlike most of his songs of this genre, it is one of his best song stories and is sung in the third-person. Accompanied by a rollercoaster guitar melody, a fast and furious fusillade of image and metaphor assails our senses. "Back to the yachts and the subway cars, to the hip flasks and the fruit jars, flat on your back and flat on your be-hind." Sounds a lot like *Muse Blues*. Perhaps the change in perspective burst his creative dam.

As with most discs, there are a few stinkers. But over the years I've grown to find hidden beauty even in *Home team Crowd* and *B-Side*.

If you're a new Loudon fan looking for a good first disc, get this one or *Attempted Moustache*. These are Loudon at his youthful best. I've been a Loudon fan for over 30 years. This disc made me a zealot.