NEIL INNES/How Sweet To Be An Idiot (review)

Neil Innes was best-known for his work with the Bonzo Dog Doo-Dah Band, The Rutles, and his association with Monty Python. However, it almost seems unfair that a gentleman so musically gifted is remembered for his humor more than his fantastic and wildly eclectic back catalog of great songs. From his ‘60s recordings with the Bonzos to his final album released just prior to his death in December, 2019, Neil Innes was an exceptional songwriter, taking his influences, blending them together and creating many instant classics. He may not have been prolific, but he sure made each release matter.

HOW SWEET TO BE AN IDIOT was his official solo debut album after five albums with the Bonzos (1966-1972), one with The World (1970) and two with Grimms (1973). While his overall history of bing involved with humorous projects and the title and album cover of HOW SWEET TO BE AN IDIOT may lead you to believe that this is a comedy album, that isn’t entirely true. The album is funny, fun, eccentric, and eclectic but it shouldn’t be filed under ‘comedy’ in your local shops. This is a Pop album, through and through.

If you loved Innes’ work with the Rutles, there are certainly plenty of musical nods to The Beatles here, although they are far more subtle than anything by the Rutland lads. “Dream (On)” could be a Ron Nasty solo release, followed by “L’Amour Perdu”, which could be a Rutles-era Dirk McQuickly vaudeville-influenced nuggets. Then again, “Momma B” could easily have been a Rutles rocker…

There’s more to HOW SWEET TO BE AN IDIOT than Rutles references. “Song For Yvonne” is the perfect vehicle for his eclectic creativity and his gift or melody. “Immortal Invisible” has a wonderful Gospel groove. “Topless-A-Go-Go” could have been recorded in the middle of a New Orleans bender. “Feel No Shame” is a good-time rocker with a shot of Rhythm & Blues – and boy does that instrumental riff sound familiar! The album’s closers are the most serious cuts on the album – “This Love of Ours” and “Singing A Song Is Easy”. The former is a heartfelt, moody mid-tempo ballad with a slight reggae stomp, while the latter is a melodic, uplifting sing-along with a hint of Gospel and a touch of melancholia. If all you’ve heard is his more humorous material, you’ll be surprised at how emotional Innes can be on these last two tracks.

And about the title track, “How Sweet To Be An Idiot”… this reviewer used to own a vinyl copy of the album that featured the ‘piano and vocal’ version of the song, so hearing the ORIGINAL album version with full band and string quartet was a surprise and a real treat. The two different arrangements may be radically different, but the feel – the ‘vibe’, if you will – is still very similar.

BUT WAIT! THAT’S NOT ALL!

This expanded reissue features 10 bonus tracks including the ‘piano and vocal’ version of “How Sweet To Be An idiot”, and some great non-album material including the miraculous “Recycled Vinyl Blues” (you have to hear it to believe it!) and so much more.

HOW SWEET TO BE AN IDIOT is proof that Neil Innes should be considered, first and foremost, a musician and songwriter before you even add in humorist, comedian, or whatever silly names you want to throw at him. Don’t think of him as a former Rutle, Bonzo, or Python – just think of him as Neil Innes. You’ll rest easier at night, trust me.

Rest in peace, Mr. Innes.

Keep on truckin’,

Stephen SPAZ Schnee

AMPED™ FEATURED ALBUM OF THE WEEK: AURORA/A DIFFERENT KIND OF HUMAN (STEP 2)

Norway isn’t just the hotbed of Black Metal, you know. While that genre has kept a handful of Norwegian musicians gainfully employed, the country has also given us some artists who remain popular throughout the rest of the world. Mentioning Classical composer Edvard Grieg is a given, but many other influential artists hail from Norway including a-Ha, Jan Garbarek, Royksopp, Terje Rypdal, Jaga Jazzist, production team Stargate, and Anni-Frid ‘Frida’ Lyngstad, one of the two A’s in ABBA. With each passing year, Norwegian artists make their presence known outside their homeland and Aurora Laura Aksnes, who releases music under the name Aurora, is now making waves as she dances on the cup of international stardom.

AMPED™ FEATURED ALBUM OF THE WEEK: KEIKO MATSUI/ECHO

Smooth Jazz and New Age music are genres that have always received the short end of the stick. Jazz purists and Rock critics have continually written the music off as ‘lifeless’ and/or ‘boring.’ However, both Smooth Jazz and New Age have survived decades of critical neglect thanks to a large – and continually growing – audience. And why has this music survived and prospered for so long? Because the music connects with the listener in a way that most musical styles don’t. These are not genres that have continually gone after the big bucks. This is music created from emotion – sadness, joy, desire, etc. – and because it comes from an honest place, listeners can easily absorb those feelings that went into creating the art. In turn, they bond with the music because of those emotions. It becomes a very personal experience. And isn’t that what helps us get through life? All of those very personal experiences, good or bad? Thankfully, music will always fall on the side of good.

AMPED™ FEATURED ALBUM OF THE WEEK: J.P. HARRIS/SOMETIMES DOGS BARK AT NOTHING

If you go to Wikipedia and look up ‘Honky Tonk’, you’ll find the following description: “A Honky Tonk is both a bar that provides country music for the entertainment of its patrons and the style of music played in such establishments. In the 1950s, Honky Tonk entered its golden age, with the popularity of Webb Pierce, Hank Locklin, Lefty Frizzell, Ray Price, Faron Young, George Jones, and Hank Williams.” So, given that description, it’s no wonder that singer/songwriter J.P. Harris is often referred to as one of the finest purveyors of Honky Tonk music in America today. As ‘modern’ Country takes up space on the charts, it is refreshing – and dare I say it, exhilarating – to experience an artist so in tune with the roots of the genre’s pioneering artists. Harris ain’t no Americana bandwagoneer – he is as Country as Country Music gets.

AMPED™ FEATURED ALBUM OF THE WEEK: AMY RAY/HOLLER

Amy Ray is best known as one-half of Indigo Girls, the Grammy-winning Folk duo she formed with Emily Saliers. Formed in 1985, the duo released an EP before signing with Epic Records and becoming one of the most popular Folk-Rock duos of all time. Although they have remained active for over three decades, Amy would use her downtime between projects to follow her own path. Beginning with her 2001 solo debut, STAG, Amy has pursued a slightly different path than that of Indigo Girls. Her voice may be instantly identifiable but her solo releases tend to travel down different musical paths that eventually converge onto the same road that she travels down with Indigo Girls. HOLLER, her 2018 album, is no exception…

JLIN: An EXCLUSIVE Q&A

STEPHEN SPAZ SCHNEE: AUTOBIOGRAPHY (MUSIC FROM WAYNE MCGREGOR’S AUTOBIOGRAPHY) is about to be released. How are you feeling about the project and the reaction you’ve had so far?
JLIN: I am very pleased with the reaction so far. It’s truly an honor. Composing the score for AUTOBIOGRAPHY was a life changing experience for me.

AMPED™ FEATURED ALBUM OF THE WEEK: COURTNEY HARTMAN & TAYLOR ASHTON/BEEN ON YOUR SIDE

Courtney Hartman and Taylor Ashton were already successful in their respective outfits before coming together as a duo. Hartman, the singer, songwriter and guitarist for Nashville-based Americana outfit Della Mae, met Canadian singer, songwriter and clawhammer banjo player Taylor Ashton when her band crossed paths with his band, Fish & Bird, while out on the road. The two began writing songs together and within four years, they decided that they had enough material for an album. Named after one of the first songs they wrote together, the duo is now releasing BEEN ON YOUR SIDE, their debut album as a duo. On paper, their collaboration may sound like a perfect match but, in reality, it is so much better than that.

the innocence mission: An EXCLUSIVE Q&A with Karen and Don Peris!

SPAZ: When writing an album like SUN ON THE SQUARE, do you tend to let the compositions flow naturally and reveal the album’s direction over time? Or do you have a preconceived idea on where you want the album to head, musically?
KAREN PERIS: We don’t usually have a plan, especially in regards to writing songs. So many songs, for me, begin and then fall away. So, an album builds slowly out of the songs we remain close to after a period of time.

AMPED™ FEATURED ALBUM OF THE WEEK: JESSE DAYTON/THE OUTSIDER

Even if you don’t instantly recognize Jesse Dayton’s name, you have probably heard his work over the years. He has created music for some of Rob Zombie’s films (including THE DEVIL’S REJECTS and HALLOWEEN II), played on recordings by Johnny Cash, Waylon Jennings, Kris Kristofferson, the Supersuckers, and Willie Nelson, and even filled in for Billy Zoom during one of X’s U.S. tours. And that is just the tip of the proverbial iceberg. There’s much more to Jesse Dayton’s career than his work with other artists…

AMPED™ FEATURED ALBUM OF THE WEEK: THE MYSTERY OF THE BULGARIAN VOICES/BOOCHEEMISH

While many musicians can wring emotion out of their instrumental weapon of choice, there’s no denying that the most emotional instrument of all is the human voice. The song’s melody and lyrics mean nothing if the voice does not connect with the listener. A notable example would be Gospel Music – the soaring voices of a church choir can melt the heart of the most hardened atheist. However, the best example belongs to The Mystery Of The Bulgarian Voices, a female choir that has mastered the art of the voice… and I don’t use the word ‘art’ lightly here. The sounds these voices make are soul-stirring and heartbreaking in equal measures.

Alliance Entertainment Blog

Tag: Records