Two years ago Michael Penn received MTV's, "Best New Artist," award for his debut album, March. You might think he would have a hard time living up to all the critical acclaim associated with that album when returning to the studio to record this one. Not to worry. He simply remains true to his muse. "I don't think it's a different direction," he says of, Free For All. "It's just more of my songs. It's as different from, March, as every song on, March, is different from each other. Something I hoped would happen, happened. I went out to the extremities more. The aggressive stuff is more aggressive, the folky stuff is more folky." A modest, candid statement from an uncompromising artist who deserves far more recognition than he'll probably get from the industry as a whole. But, you dear music lover, can avoid, "missing the bus," by plunking down some of your hard earned cash to buy this disc. The reward will be an immediate aural gratification and endless satisfaction that will continue to grow with each listen. For instance,when I first played, Free For All, I didn't think too much about it, good or bad. (As a point of reference, March, was one of my favorite albums from 1990.) After the second or third time through, it became blatantly obvious, this will be on my list of all time favorites without question. Michael was born in Greenwich Village and moved to California when he was a year old. From a very young age he was captivated by music. His parents bought him an acoustic guitar for his eighth birthday. By the time he turned twelve, he was already writing, "stupid little things." And true to most musically inclined adolescents, he jammed with a variety of garage bands in his junior and senior high school years. "The idea of a band," he confesses, "became almost like therapy. It's like the appeal of sports or a Masonic Lodge, that kind of camaraderie." In 1981 he formed,"Doll Congress," which became a legendary fixture on the Los Angeles club scene. They broke up after five years with an indie EP as the only record of their existence. But, during his time with the group, Michael made two lasting friends and collaborators: keyboardist, Patrick Warren and producer, Tony Berg. While working in a restaurant he saved enough money to buy a small 4-track recorder, set up a small studio in his bedroom and began writing and recording demos that would eventually become his first album. Someone at RCA heard the stuff and was ready to release it in demo form, certainly the ultimate compliment for an unknown songwriter. Instead, Penn chose to augment his bedroom demos with the help of Warren and Berg. The rest as they say, is history. Needless to say, with the resounding success of his debut, the anticipation surrounding a second album was well founded. Free For All, opens with, "Long Way Down (Look What the Cat Drug In)," a quiet acoustic piece which belies the biting anger and ominous lyrics. The story of a love gone wrong brimming with the bitter veracity of another person's moral agenda. "Now I would suppose that I'm not the only one and one never knows... but I got a feeling she's been sleeping with the whole wide world." (Guess some of us have known those feelings at one time or another.) The second tune, "Free time," is a catchy little number in contrast to the preceding cut. But don't let the music fool you, even if the words are wrapped up in an immediately hummable melody. "The other shoe will drop, just an aftershock. Nice hat; you look like a referee Nice watch; why are you timing me? If I'm pale, it doesn't mean something's wrong. If I'm blue, I just held my breath too long." "Seen The Doctor," is the first single and video. In it he deftly blends metaphor with reality, all in a toe-tapping 3:12, "I loved a girl once beyond compare, She saw inside me and gave me air, She was assisting my surgery my heart was opened as she put a mask on me, I'm breathing but it's become a chore, now that you've seen the doctor don't call me anymore." Sounds like bare-handed open heart surgery to me. The rest of the album follows a similar path. "By The Book," is illustrated with acoustic guitar and sparse instrumentation. "If this ain't by the book than the book must be wrong. And maybe it is what you hoped all along. Now you did not think I would go quietly, when something about you is sticking with me." The pop flavored, "Drained," is next and it's a happy tune, right? Sorry, with lines like, "Forget the plumber, call a priest, the convicts have all been released and I just screwed this up, at least I think I have, but left you with one thing clear, the times come when all of our love is drained." Serious stuff, this. Glenn Tillbrook, (from Squeeze), adds background vocals to "Strange Season," with its fade-out chorus of, "Ignorance is bliss, Ignorance is bliss." All of the guitar and keyboard noises you'll hear on, Free For All, were performed by, Penn and Warren, respectively with no other outside assistance besides the occasional, studio drummer, bass player or background vocalist. I'd say they did a remarkable job, one that deserves lots of attention. Penn has a unique talent. He can express a lot of the darker emotions without becoming depressing or heavy-handed. I don't know of any other artist who can create upbeat, sing-along, tunes that are as lyrically serious as this. Funny thing is, if you don't really listen to the words you'll never know that he's pissed or in pain and you'll miss out on all the depth, substance and clever wordplay, which, when added to the multi-layered music, opens up to reveal new meanings and levels of enjoyment on repeated spins. His songs strike with the melodic immediacy of all great pop but, are imbedded with wry wordplay, psychological twists, and subtle musical surprises. As he puts it, "I think subversion is the only way. That's always the most powerful writing." And that makes Michael Penn a national treasure. (SC) © 2000 Dr. Rock'n'Roll
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