The Ugly American

AMG Review of The Ugly American

Jack Rabid
All Music Guide

Call Eitzel many things, but predictable is not one of them! I mean, really, going to Athens, Greece, and re-recording his old American Music Club songs in Greek style with local musicians? What's up with that? After making a well-received but actually disappointing excursion into electronic pop, then recording a whimsical, fun but unessential covers LP, you see this latest one-off project product in the bin, and think, "Man, is he foundering!" Or, "Next!"

That is until you hear one of the biggest surprises of the year. Far from pointless, or even inconsequential, these sparkling, merely Greek-flavored versions recast Eitzel's entire career, especially his early, late-1980s songs, in a new, fresh and poignant light. Respected Greek composer and producer Manolis Famellos turns out to have had an inspired idea, assembling fine players who see beautiful possibilities in songs that had a rougher, spookier, disquieting edge when they first appeared 15 years ago. Harp-like mandolins, violins, violas, light guitars, double bass, and yes, bouzouki and tzouras positively dance as if to charm snakes in these lush treatments. Even Eitzel's recent, forlorn solo material, like Invisible Man's "Anything" and the rare demos LP Lovers Leap USA's "What Good is Love" gain new wings in this tapestry of sweetness. (The quality remains on the lone new song-not two new songs, as the Record Company bio says-Famellos's lively "Love's Humming.")

Eitzel himself, moved, sings surprisingly mellifluous and enraptured, as if lulled by the unanticipated twilight of this sound. He forgoes old, raw belting for a beautiful sadness that's less lonely, desolate, detached, or desperate than remembered. Instead, like his fresh backing, he's more philosophical, bittersweet and even, dare one say it, warm and rolling with the punches. He's made an odd choice in changing whole blocks of familiar words, as if United Kingdom's "Here They Roll Down" and the later Mercury's "Will You Find Me" weren't peachy the way they were. But you don't even notice, you're so struck by the winsome, playful mood.

And hey, if this album wasn't the inspiration for the outstanding news that American Music Club has reformed and are finishing their first LP in nine years (after all, Eitzel has always included these old songs in his inspired live sets this last decade in the solo wilderness), it does highlight why one anticipates that LP so highly. If you forgot how timeless Engine's "Nightwatchman" and California's "Western Sky" were-even without this new context- you're hereby reminded of what a huge loss AMC's breakup was; and how much talent remains in Eitzel, if it's harnessed properly by the right, sympathetic band. This golden hour LP serves as perfect momentum into that joyous reunion that with the merest spark could produce more magic. The old school is rarely more new school than this. (www.thirstyear.com)