I think The Envoy is alright. The only cut that doesn't really work for me is the second one, "The Overdraft," which always struck me as a forced rocker and kind of forgettable. "Ain't That Pretty At All" sounds as if it was written out of a wild jam and is - like the best of Zevon - hilarious and cutting at the same time. And "Jesus Mentioned" is a career highlight for him, I think.
It's definitely second-tier, but he was such a high-caliber songwriter that even his weakest releases have some essentials on them. He just never pulled it together for another front-to-back marvel like his self-titled - in my mind, at least.
For me, the real clunker is "Never Too Late for Love." The rhymes are forced and awkward. It doesn't really go anywhere. It's repetitive. It doesn't have much to say. And yet he ends a record with it. Confuses me.
Warren Zevon: the man behind the demons.
The singer/songwriter, best known for Werewolves of London, died 10 years ago next month. His family and friends, including the writer Stephen King, explain why, despite his dark side, they still miss him.
Bump. After looking into more Zevon than the popular classics (Roland, Werewolves, Lawyers), I think my new favorite song is Frank and Jesse James. This guy's work needs to be recognized outside of weird Kid Rock splices.