The first time I heard the words "Modern Lovers" was in Interview magazine, and there was an interview with Jonathan Richman, the lead lover in this band. It was before I heard any music by them, and they were a band that mostly played in the Boston/NYC area. I was equally intrigued and amazed about Richman's stance on rock n' roll as a highly poetic/romantic platform but through his unique eyes. Not precisely innocence, but one who ruled out anything negative by taking ugly and making it beautiful. If rock n' roll is deformed in the sense of its decadence, then Jonathan only sees enlightenment that is borderline spiritual. Still, there are emotional feelings in every song. The way he portrays "Pablo Picasso" as a stud-in-the-make, in it's Velvet Underground minimalism. The juxtaposition of Picasso's image as an artist, human being, and Richman is treating him like a Velvet's subject matter. His observation strength is through, and his guitar playing is glued to the Lou Reed/Sterling Morrison aesthetic. If Reed is cynical, Richman is hopefully in the most profound manner. "Roadrunner," of course, is the ultimate car and get on the highway song. An essential album because it's a unique voice, which artists like Morrissey and others used as a springboard for their angst and work. John Cale's production is never fussy, just reporting the fact. With Jarry Harrison (Talking Heads), David Robinson (The Cars), and Ernie Brooks supply the foundation for Jonathan's flight into the genius level.
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