The original band, billed simply as "The Modern Lovers", existed from 1970–74 but their recordings were not released until 1976 or later. It featured Richman and bassist Ernie Brooks with drummer David Robinson (later of The Cars) and keyboardist Jerry Harrison (later of Talking Heads). The sound of the band owed a great deal to the influence of The Velvet Underground, and is now sometimes classed as "protopunk". It pointed the way towards much of the punk rock, new wave, alternative and indie rock music of later decades. Their only album, the eponymous The Modern Lovers, contained stylistically unprecedented songs about dating awkwardness, growing up in Massachusetts, and love of life and the USA.
Later, between 1976 and 1988, Richman used the name Modern Lovers for a variety of backing bands, always billed as "Jonathan Richman and the Modern Lovers." These bands were quieter and featured more low-key, often near-childlike, songs, as Richman drew on folk-rock and other genres. Out of Richman's original bandmates, only Robinson was part of any of the other Modern Lovers incarnations.
Richman grew up in Natick, Massachusetts, a suburb of Boston, and began playing guitar and writing songs in his mid teens, first performing solo in public in 1967.[1] He became enamored with the Velvet Underground while he was still in high school, and after graduating in 1969, he moved to New York City where he became personally acquainted with the band and on one occasion opened the bill for them. Richman spent a couple of weeks sleeping on Velvets’ manager Steve Sesnick's sofa before moving into the Hotel Albert, a residence known for its poor conditions.
After nine months in New York, and a trip to Europe and Israel, Richman moved back to his native Boston. With his childhood friend and neighbor, guitarist John Felice, he organized a band modeled after the Velvets. They quickly recruited drummer David Robinson and bass player Rolfe Anderson, and christened themselves "The Modern Lovers". They played their first date, supporting Andy Paley’s band The Sidewinders, in September 1970, barely a month after Richman's return. By this time their setlist already included such classic Richman songs as "Roadrunner", "She Cracked" and "Hospital". Richman’s unique character was immediately apparent; he wore short hair and often performed wearing a jacket and tie, and frequently improvised new lyrics and monologues.
In early 1971 Anderson and Felice departed; they were replaced by Harvard students bassist Ernie Brooks, and keyboardist Jerry Harrison, completing the classic lineup of the Modern Lovers. This new configuration became very popular in the Boston area, and by the fall of 1971, enthusiastic word-of-mouth led to the Modern Lovers' first exposure to a major label when Stuart Love of Warner Bros. Records contacted them and organized the band's first multi-track session at Intermedia Studio in Boston. The demo produced from this session, and the group’s live performances, generated more attention from the industry, including rave reviews from critic Lillian Roxon, and soon A&M Records was interested in the band as well.
In April 1972, the Modern Lovers traveled to Los Angeles where they held two demo sessions; the first was produced by the Velvet Underground's John Cale for Warner Bros. while the second was produced by Alan Mason for A&M. The Cale sessions were later used on the band’s debut album. While in California the band also performed live, and one gig at the Long Branch Saloon in Berkeley was later issued as a live album. Producer Kim Fowley courted the band, traveling to Boston to produce some poor-quality demos in June 1972. Felice rejoined the group for a few months after his graduation, and the band moved together to live at Cohasset, Massachusetts.
The Modern Lovers continued to be a popular live attraction, and on New Year’s Eve 1972 supported the New York Dolls at The Mercer Arts Center on a bill which also included Suicide and Wayne County. Early in 1973 they were finally signed by Warner Brothers. However, before returning to the studio in Los Angeles to work with Cale, the group accepted an offer to play a residency at the Inverurie Hotel in Bermuda. While there, Richman heard and became strongly influenced by the laid-back style of the local musicians, as documented in his later song "Monologue About Bermuda". There were also growing personality clashes between the band members.
Although on the band’s return Richman agreed to record his earlier songs, he was anxious to move in a different musical direction. He wanted to scrap all of the tracks they had recorded and start over with a mellower, more lyrical sound. The rest of the band, while not opposed to such a shift later, insisted that they record as they sounded now. However, the sessions with Cale in September 1973 also coincided with the death of their friend Gram Parsons (a former Harvard student, like Harrison and Brooks), and produced no usable recordings.[1][2] The record company then recruited Kim Fowley to produce more sessions with the band, this time at Gold Star Studios, with better results. Recordings from these sessions with Fowley were later released in 1981 on an album misleadingly titled The Original Modern Lovers (reissued on CD by Bomp Records in 2000).
Break-up of the band and release of the first Modern Lovers album
Following the failure to complete a debut album, Warner Brothers withdrew their support for the Modern Lovers, and Robinson left the band. They continued to perform live for a few months with new drummer Bob Turner, but Richman was increasingly unwilling to perform his old (although still unreleased) songs such as “Roadrunner”, and after a final disagreement between him and Harrison over musical style the band split up in February 1974.
Despite the original group's premature break-up, many of its members found considerable success elsewhere: founding member John Felice formed the seminal Real Kids, Jerry Harrison later joined Talking Heads, David Robinson co-founded the Cars, and Ernie Brooks would later work with David Johansen, Arthur Russell, Elliott Murphy, and Gary Lucas.
Richman continued recording on his own, eventually moving to California in 1975 to begin working with Beserkley Records whose boss Matthew King Kaufman had met Richman when he worked with A&M. While Richman never returned to the Velvets-inspired sound of the original Modern Lovers, the demo recordings made with that group eventually surfaced in various formats. The first of these releases came in 1976 when Beserkley compiled a posthumous LP from the first two demo sessions produced by Cale and Mason; issued on Beserkley's Home of the Hits subsidiary, the album was simply titled The Modern Lovers and included celebrated tracks such as "Roadrunner", "She Cracked", and "Pablo Picasso".
Richman did not recognize this compilation as his "first album," preferring to recognize his debut as 1976's Jonathan Richman & the Modern Lovers, an album pursuing the lighter, softer direction he had in mind with a completely different band. (The two collections were released within months of each other.) However, The Modern Lovers was given an enthusiastic, critical reception, with critic Ira Robbins hailing it as "one of the truly great art rock albums of all time," and it influenced numerous aspiring punk rock musicians on both sides of the Atlantic, including the Sex Pistols (who covered "Roadrunner" on The Great Rock 'n' Roll Swindle).
[edit]Jonathan Richman and the Modern Lovers, 1976-1988
In early 1976, Richman put together a new version of the Modern Lovers, with Leroy Radcliffe (guitar), Greg "Curly" Keranen (bass) and the returning David Robinson (drums). Keranen had previously played with The Rubinoos, and Radcliffe with Woody's Truckstop. They recorded the album Jonathan Richman & the Modern Lovers, but Robinson again left after Richman persisted in reducing the size and volume of his drum kit, and was replaced by D. Sharpe. Keranen also left and was replaced by Asa Brebner. This band recorded the album Rock and Roll with the Modern Lovers, and toured, but finally split up at the end of a UK tour in 1978.
In 1980 Richman again formed a new Modern Lovers, with Keranen, drummer Michael Guardabascio and backing singers Ellie Marshall and Beth Harrington. They recorded the album “Jonathan Sings!” in 1981/82, but it was not released until 1983. The group toured to support the album, often regarded as one of Richman’s best,[3] but split up after Keranen again left in 1984.
The final version of the Modern Lovers, with Andy Paley, Brennan Totten and (initially) Asa Brebner again, toured and recorded between 1985 and 1988. Richman finally retired the Modern Lovers name after the album Modern Lovers 88.
Richman continues to perform, often solo and preferring acoustic instruments, and currently has no plans to undertake another group like his original band. A tribute album comprised primarily of Modern Lovers songs, If I Were a Richman: a Tribute to the Music of Jonathan Richman, was released by Wampus Multimedia in 2001.
[edit]Influence
The band was highly influential on the then-burgeoning punk rock and later New Wave and indie musical styles, as well as some songs (eg., "She Cracked", "I'm Straight") containing ideas that predicted the straight edge scene brought to prominence by Minor Threat.John Cale, Iggy Pop and David Bowie have all covered "Pablo Picasso". Seminal punk group the Sex Pistols covered "Roadrunner" on The Great Rock 'n' Roll Swindle. Additional covers of "Roadrunner" include label mates The Greg Kihn Band. Joan Jett also covered "Roadrunner" on her cover album, "The Hit List."
Back in The U.S.A.
Jonathan Richman & The Modern Lovers Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Oh well, oh well, I feel real good today,
You see We touched ground on an international runway
Jet propelled back home, to the usa
New York, Los Angeles, you know that I yearned for you
And Detroit, Chicago, and Chattanooga, Baton Rouge
(I'll tell you somethin)
Now Did I miss the skyscrapers, and the long freeway?
From the coast of California to the shores of the Delaware Bay
Oh yes I did, till I got back to the usa
(rock a while, let's go)
Well take me to a drive-in, take me to a corner café
Where hamburgers sizzle on an open griddle night and day
I wanna see a juke-box jump with records in the usa
(let's talk about it)
You see, I'm so glad I was brought up in the usa, oh yea
I'm so glad I'm livin' in the usa, its true
What you want, we got right back in the usa
??? look out
Just take me to a drive-in, any little corner café
I wanna hear hamburgers sizzle on an open griddle night and day
I wanna see a juke-box jump with records in the usa
Let's go
Well, I'm so glad I'm livin' in the usa, oh yea
Well. I'm so glad I was brought up in the usa, I am
'Cause what you want, what you want, it's here in the usa
The song "Back in the U.S.A." by The Modern Lovers is a triumphant ode to the United States from the perspective of someone who has been away from home for a while. The first verse describes the feeling of excitement and relief at touching down on American soil after being abroad. The singer lists several American cities he has missed and expresses his happiness at being back in his hometown of Boston.
In the second verse, the singer reflects on some of the things he has missed about America, such as its skyscrapers, freeways, drive-ins, and corner cafes. He seems to have a particular fondness for the sights and sounds of American pop culture, such as jukeboxes and sizzling hamburgers on open griddles.
Line by Line Meaning
Oh well, oh well, I feel real good today,
I am ecstatic to be back in the USA today.
You see We touched ground on an international runway
After travelling on an international flight, I have now arrived on the runway of a USA airport.
Jet propelled back home, to the usa
I travelled back to the USA using a jet engine, and I'm happy to be home.
New York, Los Angeles, you know that I yearned for you
I missed the cities of New York and Los Angeles, and had a strong desire to return to them.
And Detroit, Chicago, and Chattanooga, Baton Rouge
I also missed the cities of Detroit, Chicago, Chattanooga, and Baton Rouge.
Not to mention me at home in Boston Massastu-sus
I can't forget to mention that I missed being at home in Boston, Massachusetts.
Now Did I miss the skyscrapers, and the long freeway?
I wondered if I missed the tall buildings and the lengthy highways.
From the coast of California to the shores of the Delaware Bay
I missed the entire stretch from California's coast to the Delaware Bay's shoreline.
Oh yes I did, till I got back to the usa
I certainly missed them until I got back to the USA.
Well take me to a drive-in, take me to a corner café
I want to go to a drive-in theater and any small café.
Where hamburgers sizzle on an open griddle night and day
I want to eat a hamburger that sizzles on an open griddle anytime, whether it's night or day.
I wanna see a juke-box jump with records in the usa
I want to see a jukebox play music with records in the USA.
You see, I'm so glad I was brought up in the usa, oh yea
I am very happy that I was raised in the USA.
I'm so glad I'm livin' in the usa, its true
It's true, I'm very happy that I live in the USA.
What you want, we got right back in the usa
We have everything you could ever want, right here in the USA.
Just take me to a drive-in, any little corner café
Again, I want to go to a drive-in movie theater or any small coffee shop.
I wanna hear hamburgers sizzle on an open griddle night and day
I want to hear the sound of hamburgers sizzling on an open griddle anytime of the day or night.
I wanna see a juke-box jump with records in the usa
Once more, I want to see a jukebox playing records in the USA.
Well, I'm so glad I'm livin' in the usa, oh yea
I am very happy that I am living in the USA.
Well. I'm so glad I was brought up in the usa, I am
I am also very happy that I was raised in the USA.
'Cause what you want, what you want, it's here in the usa
Whatever you may want, you can find it right here in the USA.
Lyrics © OBO APRA/AMCOS
Lyrics Licensed & Provided by LyricFind
@sauquoit13456
On this day in 1959 {June 22nd} Chuck Berry's "Back In The U.S.A." entered Billboard's Hot Top 100 chart; eventually it peaked at #37 and spent 8 weeks in the Top 100... In 1978 Linda Ronstadt covered it; her version peaked at #16 on the Top 100 chart... The B-side was "Memphis"; two covered versions of this song made the Hot Top 100, in 1963 Lonnie Mack reached #5 with his instrumental version and in 1967 Johnny Rivers' 'recorded live' version peaked at #2 {for 2 weeks}...
@giuliogrifi7739
Primordial rock'n'roll...if possible, more than that of Chuck Berry, Elvis Presley, Carl Perkins................................!!!!!!!!!!!!!!!!!!!
@chrisz6381
I'm so glad I was brought up in the USA
@nowaylon2008
It's true!