The Modern Lovers were an American rock band led by Jonathan Richman in the… Read Full Bio ↴The Modern Lovers were an American rock band led by Jonathan Richman in the 1970s and 1980s.
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."
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."
Lydia
Jonathan Richman & The Modern Lovers Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
My old Lydia, Oh Lydia
My old Lydia, Oh Lydia
My old Lydia, Oh Lydia
Oh Oh Oh
I saw this beautiful girl today
And yes she took my heart away
My old Lyida Oh Lydia
Oh Oh Oh
See she looks so pretty and she looks so gay
And yes she took my heart away
My old Lyida Oh Lydia
Oh Oh Oh
Well I'm wanderin around in circles since I saw her
And I don't know what to do
You see I've been cryin on my pillow, in the afternoon
When Lydia that's not so fun I should be outside wanderin around, if I could meet ya
See she looks so pretty and she looks so fine
That yes I wish that she were mine and I wanted to meet
My old Lyida Oh Lydia
Oh Oh Oh
I've just been wanderin around in circles
So I don't know what to do
And I've been cryin on my pillow, in the afternoon
And I should be outside but I'd only look for Lydia
You see she looks so pretty and she looks so fine
That I just saw her and I wish that I was hangin around with her
My old Lyida Oh Lydia
Oh Oh Oh
My old Lydia, Oh Lydia
My old Lydia, Oh Lydia
My old Lydia, Oh Lydia
Oh Oh Oh
My old Lydia, Oh Lydia
My old Lydia, Oh Lydia
My old Lydia, Oh Lydia
Oh Oh Oh
My old Lydia, Oh Lydia
My old Lydia, Oh Lydia
My old Lydia, Oh Lydia
Oh Oh Oh
My old Lydia, Oh Lydia
My old Lydia, Oh Lydia
My old Lydia, Oh Lydia
Oh Oh Oh
My old Lydia, Oh Lydia
My old Lydia, Oh Lydia
Oh Oh Oh
I saw this beautiful girl today
And yes she took my heart away
My old Lyida Oh Lydia
See she looks so pretty and she looks so gay
And yes she took my heart away
My old Lyida Oh Lydia
Oh Oh Oh
Well I'm wanderin around in circles since I saw her
And I don't know what to do
You see I've been cryin on my pillow, in the afternoon
When Lydia that's not so fun I should be outside wanderin around, if I could meet ya
See she looks so pretty and she looks so fine
That yes I wish that she were mine and I wanted to meet
My old Lyida Oh Lydia
Oh Oh Oh
I've just been wanderin around in circles
So I don't know what to do
And I've been cryin on my pillow, in the afternoon
And I should be outside but I'd only look for Lydia
You see she looks so pretty and she looks so fine
That I just saw her and I wish that I was hangin around with her
My old Lyida Oh Lydia
Oh Oh Oh
My old Lydia, Oh Lydia
My old Lydia, Oh Lydia
My old Lydia, Oh Lydia
Oh Oh Oh
My old Lydia, Oh Lydia
My old Lydia, Oh Lydia
My old Lydia, Oh Lydia
Oh Oh Oh
My old Lydia, Oh Lydia
My old Lydia, Oh Lydia
My old Lydia, Oh Lydia
Oh Oh Oh
My old Lydia, Oh Lydia
My old Lydia, Oh Lydia
My old Lydia, Oh Lydia
Oh Oh Oh
The song "Lydia" by Jonathan Richman & The Modern Lovers is a love song about a girl named Lydia who has captivated the singer's attention. He repeats her name multiple times throughout the song, expressing his infatuation with her. The singer describes how he saw her and was immediately taken by her beauty and charm, and now he cannot stop thinking about her. He feels lost and unsure of what to do because he cannot move on from his thoughts of her. The singer also expresses how he wishes he could be with her and spend time with her, as she seems like a perfect match for him.
Overall, the lyrics to "Lydia" express the singer's love and admiration for this girl who has captured his heart. He is so smitten with Lydia that he cannot think of anything else and wishes he could be with her. The song is a sweet, simple tribute to a romance that has yet to happen.
Line by Line Meaning
My old Lydia, Oh Lydia
The singer repeats the name of the girl he is infatuated with, Lydia.
Oh Oh Oh
The singer repeats this phrase to emphasize his enthusiasm for Lydia.
I saw this beautiful girl today
The singer describes the moment he first saw Lydia and how beautiful she is.
And yes she took my heart away
Lydia's beauty and charm have completely won him over.
See she looks so pretty and she looks so gay
The singer admires Lydia's physical appearance and upbeat demeanor.
Well I'm wanderin around in circles since I saw her
The singer is so lovesick for Lydia that he can't focus on anything else.
And I don't know what to do
His infatuation with Lydia has left him feeling lost and unsure of how to proceed.
You see I've been cryin on my pillow, in the afternoon
The singer is heartbroken and spends his days crying alone, pining for Lydia.
When Lydia that's not so fun I should be outside wanderin around, if I could meet ya
The singer recognizes that he should be out exploring the world and looking for new experiences, but his obsession with Lydia is holding him back.
That yes I wish that she were mine and I wanted to meet
The singer expresses his longing to be with Lydia and finally get the chance to speak with her.
I've just been wanderin around in circles
The singer is still aimlessly wandering around, consumed by his infatuation with Lydia.
So I don't know what to do
His love for Lydia has left him confused and uncertain about his next move.
And I should be outside but I'd only look for Lydia
The singer realizes that he should be enjoying the world around him, but can't help but constantly search for Lydia instead.
That I just saw her and I wish that I was hangin around with her
The singer is struck by Lydia's beauty every time he sees her, and wishes he could spend more time with her.
Lyrics © Sony/ATV Music Publishing LLC, A SIDE MUSIC LLC D/B/A MODERN WORKS MUSIC PUBLISHING
Written by: MORGAN C ROBINSON
Lyrics Licensed & Provided by LyricFind
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C. F
Good version of the Lewis Lymon classic.
Lydia van den Meerendonk
Een liedje met mijn naam, vroeger veel beluisterd,opnieuw opgezocht ,en ja heel leuk ,nog gevonden ook,ben er heel blij mee.
Rogerarry Sheldon
thanks for getting this version on here fnally
DogsnTacos
fucking perfect!!!
Livia Darling
Heck yes 😻
pivoinelys
wow
Lydia W
hehe this is a good song
astro boi
yay!
Angus Blair
hipster
joeytronix
Angus Blair in the best way