The Modern Lovers — The Modern Lovers

The Modern Lovers starts off with Richman counting “1–2–3–4–5–6!”, a twist on the classic four-count that begins so many songs. It’s a little familiar, a little odd, and strangely endearing, all threads that run deep in the band’s definitive proto-punk opus as well as in the work of the countless artists that were inspired by the album.

The first I heard of The Modern Lovers was James Murphy’s name-drop in “Losing My Edge.” I’ve been working my way through all (well, most) of the bands he mentions, and the Modern Lovers Wikipedia page intrigued me, so I got the album. As soon as the first notes hit, I could tell that I was going to witness something unique.

The album begins with “Roadrunner,” The Modern Lovers’ biggest hit and easily their catchiest song. The groove established on this opening track carries on through the rest of the album, creating a driving force that doesn’t pause until “Hospital.” A lot has been said about this one already, so I’ll just add that it’s one of the best road-trip songs ever written. The second track, “Astral Plane,” sounds like a missed connection in a hazy basement backed by a trademark Modern Lovers seventies groove — the atmosphere the band manages to create here is palpable. Unfortunately, the rest of the tracks don’t stand out as much, especially in comparison to “Roadrunner.” However, the band exchanges a lack of standouts for consistency, and the album is so well-executed that the trade off is worthwhile.

One key feature of the album is Jerry Harrison’s keyboard. It shows up in all the right places, propelling “Roadrunner,” “Pablo Picasso,” and “Modern World” but hanging back on the guitar-driven “She Cracked” and “Old World.” Bassist Ernie Brooks contributes similarly, displaying the ability to play in several different styles depending on what fits the song best.

This album is definitive proto-punk, but what really sets it apart for me is the heart-on-sleeve nature of the lyrics. When Jonathan Richman rants about Picasso’s womanizing ways in the incredibly clever “Pablo Picasso,” (which features the refrain Pablo Picasso never got called an asshole) you get the sense that Richman has been called an asshole too often. Even when Richman cheesily spells out the title of “Girlfriend,” he sounds earnest and wide-eyed instead of inane. This is particularly impressive considering the nasal sneer he carries throughout the duration of the album, creating a masterful contrast of punk power and pop vulnerability.

Give The Modern Lovers a listen. It’s a classic collection of strong songs, and there’s never a dull moment. It’s well worth counting past four for the opportunity to experience the roots of punk taking shape.

Artist: The Modern Lovers
Album: The Modern Lovers
Score: 4.0
Label: Beserkley
Release: 1976/08