Warren Zevon - Excitable Boy

CHARMING THE LOCALS WITH TALL TALES

Warren Zevon's a special talent. Capable of shifting the cold sober mold of 70's Singer/Songwriter into a farce, inadvertently bequeathing genuine insight and commentary along the way. When I first heard 'Lawyers, Guns & Money' as part of my Grab Bag series, I knew there was more to unfurl. And when that unforgettable piano kickstarted 'Werewolves In London' - the instant realization smacking a smile across my face - there was no doubt Excitable Boy would make a lasting mark. Curiosity was peaked with 'Johnny Strikes Up The Band,' confusion faced on 'Roland The Headless Thompson Gunner,' before the outstanding title track drew attention with a curtsy, 50's flourish. 'Werewolves In London' was icing on the cake, a delectable treat appreciated in as quick of time as it took Zevon to write it. There's a candid undercut only possible with such jesting haste, seen not just with the absurd lyrics, but the downright pedestrian piano loop. It's so cheap, so tongue-in-cheek, that it's impossible to dislike.

And while Zevon's blithely performance extends throughout the album, his approach and eclectic nature stir arousal in a myriad of ways. His charismatic nature shines on tracks like 'Lawyers, Guns & Money,' supplementing his sunken morose on dour cuts like 'Accidentally Like A Martyr.' Zevon's a human, and humans aren't as one-note as the endless line of Singer/Songwriters would have you believe. Excitable Boy's best songs are those which synthesize humor with verisimilitude. It took three listens before the lyrical content of 'Excitable Boy' dawned on me, despite how obvious and forthcoming the macabre escalation was. This, due entirely to Zevon's uplifting tone and knack for peppy Pop Rock. 'Lawyers, Guns & Money' accomplishes the same feat, and so does 'Roland The Headless Thompson Gunner' through an entirely different vein. Here, he channels old Celtic sea shanties, veering to the point of parody. Like drunkards telling tall tales whilst working on the docks. Its placement, however, is beyond jarring, situated between the album's two most prominent Rock cuts. Apart from the regretful 'Veracruz,' it's the only aberrant decision here. Even Excitable Boy's second half - typically noted as being weaker - features 'Night Time In The Switching Yard,' which toys with primitive, Talking Heads style New Wave, and the vastly underrated 'Tenderness On The Block,' with its spindly piano and elegant procession of sound. Enjoyability, Zevon never lacks. And despite the 1978 release date, Excitable Boy has weathered age with personable grace and irreverent storytelling.