Sail Away

This isn't the most enthralling music I've heard, but it sure is an easy and pleasant listen. Randy Newman has a very peculiar voice and accent, very recognizable, which gives his songs some very needed oomph. The music takes a backseat here, but I'll circle back to that. The focus is on the texts, which are pretty good, especially when they hit that satirical spot. "Political Science" and the titular "Sail Away" are such an interesting depiction of America, with the self-obsessed imperialism and the colonialist undertone behind the American Dream; but my favorite one has to be "God's Song". It's a dark, cynical and very much needed look at Abrahamic religions and their inherent contradictions. Quite subversive to release such a blasphemous song on an otherwise very "pop" album. The issue, however, is the music. I have more fun reading the lyrics than I have listening to the songs. That's a shame. Some songs do stand out, the ones with that ragtime influence, but overall, this album is musically underwhelming.

The confluence between the quaint folksiness of Randy’s voice and musical style and his profound and often political lyrics is what distinguishes his music. You’ll find many moments in his music ripe for a chuckle or a sigh or even a tear. It’s a unique emotional experience to listen to one of his albums. Reminds me of an angrier Tom Waits (in Rain Dogs).

Quand j’ai posé une oreille sur Good Old Boys il y a quelque temps, j’avais fini par lui coller un 3 sur 5. Non pas par provocation gratuite ni pour jouer les pisse-froid de service face au concert de louanges de la critique patentée, mais simplement parce que le cynisme en habit du dimanche, aussi virtuose soit-il, finit par me laisser à distance respectable. En revenant deux ans en arrière pour me pencher sur Sail Away, sorti en 1972 chez Reprise, j’étais curieux de voir si le mécanisme tournait déjà à plein régime ou si le bonhomme laissait encore filtrer un gramme d’humanité brute sous son vernis de composition impeccable. Au final, le constat est sans appel, c’est exactement la même chose, on est face à un disque d’une intelligence féroce, brillamment écrit, orchestré au millimètre par un mec qui en remontrerait à la moitié des arrangeurs de la planète, mais qui souffre précisément des mêmes limites que son successeur sudiste. Un chef-d’œuvre d’ironie pour les uns, un exercice de style brillant mais frigorifiant pour les autres, et pour ma part, le verdict sera le même, ce sera un 3 sur 5. Le problème Randy Newman, parce qu’il y a un problème, c’est cette fâcheuse manie de concevoir chaque album comme une visite guidée dans une galerie de faux-semblants où l’auditeur est sommé de faire des ricochets intellectuels pour capter le second degré à chaque mesure. Avec Sail Away, Newman pose les fondations de ce qui deviendra sa marque de fabrique la plus éclatante et la plus fatigante : le masque. Contrairement à la cohorte des chansonniers de Laurel Canyon qui chialaient sur leurs amours mortes à coups de guitare acoustique et de confidences intimes au début des années soixante-dix, Randy, lui, ne parle jamais en son nom. Il s’en cogne royalement de son nombril et de ses états d’âme, car lui il préfère s’inviter dans le crâne de pauvres types, d’imbéciles heureux, de fanfarons dangereux ou de salauds intégraux. Musicalement, le contraste est pourtant fascinant, et c’est sans doute ce qui sauve l’affaire du naufrage prétentieux. Newman a grandi avec le sang d’Hollywood dans les veines, entouré par une dynastie d’oncles compositeurs de musique de film, et cela s’entend dès la moindre mesure de piano. Le son de Sail Away, façonné par les producteurs Lenny Waronker et Russ Titelman, est une merveille d’orfèvrerie américaine classique où tout y est opulent, chaleureux, presque réconfortant au premier abord. On y croise des arrangements de cordes soyeux, des cuivres qui sonnent comme une fanfare municipale de la Nouvelle-Orléans un jour de fête républicaine, des réminiscences de ragtime, de Stephen Foster, de George Gershwin et de blues du Delta soigneusement filtré par le clavier. C’est la bande-son idéale du rêve américain dans ce qu’il a de plus propret, de plus rassurant, de plus majestueux. Sauf que ce bel emballage de velours sert uniquement à faire passer des pilules de cyanure. Le tour de force théorique du morceau-titre qui ouvre la marche résume toute l’ambiguïté du personnage. Vous avez là une mélodie orchestrale d’une beauté limpide, digne d’un générique de fresque pastorale sur les pionniers d’antan, sauf que le narrateur est un négrier qui vend l’esclavage en Amérique à des Africains comme s’il s’agissait d’un club de vacances tout compris où la pastèque pousse toute seule et où l’on ne travaille que si on a envie. Le contraste entre la noblesse symphonique et l’abjection absolue du propos est d’une cruauté inouïe. Newman tape là où ça fait mal, il démolit l’hypocrisie fondatrice des États-Unis sans jamais lever le poing, sans jamais crier au scandale, simplement en laissant la bêtise et l’ignominie s’exprimer avec la plus parfaite courtoisie. Mais une fois qu’on a compris le tour de passe-passe, qu’est-ce qui reste ? Une satisfaction cérébrale indéniable, un rictus amusé, puis une forme d’indifférence polie au fil des réécoutes, parce que la blague, aussi grinçante soit-elle, ne surprend plus personne une fois éventée. C’est cette même logique qui irrigue la majorité du disque. Quand il torche une ritournelle ultra-accrocheuse pour proposer de raser la planète à coups de bombes atomiques afin d’économiser l’aide internationale et de préserver un parc d’attractions pour les Américains, c’est d’une drôlerie féroce. Le texte est un modèle de satire géopolitique qui anticipe des décennies de politique étrangère impérialiste et décomplexée. Mais là encore, le côté farce noire tourne court dès lors qu’on le remet dans le contexte global de l’album. À force de défiler, ces portraits d’abrutis finissent par ressembler à un numéro de cabaret pour universitaires branchés, un catalogue de sketches où l’auteur regarde ses personnages de haut, avec ce sourire narquois qui ne le quitte jamais. Et puis il y a cette voix, oui parlons en deux minutes. Le chant de Randy Newman est une épreuve en soi avec ce timbre traînant, mi-grommelé, mi-nasillard, ce phrasé de faux feignant qui articule à peine en mâchonnant ses syllabes comme un vieux chewing-gum usé, cela fait partie intégrante du folklore, certes. Voir dans certains registres, cela renforce la médiocrité pathétique de ses personnages, comme sur cette ébauche voyeuriste et glauque qu’est la version originale de ce morceau de strip-tease que Joe Cocker transformera plus tard en tube de foire graisseux. Mais chez Newman, ce n’est pas du tout sexy : c’est sordide, malaisant, minable, et le chant pataud colle parfaitement à la crasse du type qui commande à sa copine de se déshabiller. J'ose l'avouer cette voix sans coffre et sans nuances finit par me taper sérieusement sur le système. Ce n’est pas une question de virtuosité vocale — je n’ai aucun problème avec les voix éraillées, fausses ou limites, non le problème avec Newman, c’est que son détachement vocal n’est pas le résultat d’une faiblesse technique assumée, c’est le reflet d’une posture globale. Il reste planqué derrière son clavier, bien assis sur son tabouret, à distribuer les bons et les mauvais points avec une morgue d’intello new-yorkais parachuté à Los Angeles. Même lorsqu’il évoque des désastres écologiques bien réels, comme cette rivière de l’Ohio tellement polluée qu’elle a fini par prendre feu spontanément, il en fait une petite valse élégante et désabusée. C’est charmant, ça dure trois minutes montre en main, mais ça ne remue absolument rien en profondeur. En comparant directement ce disque avec Good Old Boys, les ressemblances sautent aux yeux, au point que les deux galettes forment presque un diptyque indissociable. Dans l’album de 1974, il resserrait la focale géographique sur le Sud des ploucs, des politiciens véreux et des rednecks racistes, en poussant l’ambiguïté morale jusqu’à rendre certains de ses monstres presque attachants par leur misère culturelle. Sur Sail Away, le spectre est plus large : il vise l’Amérique dans son ensemble, son impérialisme, son rapport névrotique à l’argent, sa religion hypocrite, ses névroses urbaines et ses stars déchues avec cette ritournelle sur la solitude des puissants qu’il avait initialement écrite pour Frank Sinatra — lequel a eu le bon goût de refuser de la chanter tant le sous-texte puait le sarcasme à plein nez. La cible est plus vaste, mais les armes sont strictement identiques : piano bastringue, violons somptueux, orchestration digne de la Metro-Goldwyn-Mayer et chant de crooner sous Tranxène. À l’arrivée, je me retrouve devant Sail Away exactement dans la même posture que face à Good Old Boys. Je reconnais sans peine le talent exceptionnel, je salue le courage d’écrire des horreurs absolues avec l’air de ne pas y toucher en plein âge d’or du Flower Power finissant, et je prends un plaisir ponctuel à écouter trois ou quatre titres isolés pour admirer la mécanique qui s’y déploie. Mais dès que le disque se termine, le silence qui suit ne me laisse aucun manque, aucun frisson, aucun écho durable. C’est une œuvre brillante, glaciale et confortable dans sa cruauté, faite pour être disséquée et louée dans les salons d’esthètes plutôt que vécue intensément au quotidien. Un 3 sur 5 mérité pour le talent d’écriture et l’audace formelle, mais certainement pas la claque émotionnelle que certains voudraient me vendre depuis cinquante ans.

There is something about Randy Newman's voice that gives me incredible comfort. It's probably due to being exposed to Toy Story and especially Monk at an early age. It's certainly ironic that this feeling carries over Sail Away, since it's an overall sarcastic and nihilistic album. It's well hidden if you don't pay much attention, though, because the music itself feels like a warm hug. Anyhow, enjoyed this one. It has some glaring consistency issues, which is felt even more on such a short album, but there is definitely more good than bad here. Favourite track: Political Science

This is certainly easier to listen to than "Good Old Boys" but it says a whole lot less. The songs are nicely written and are simple and performed with Newman's distinctive voice obviously; without it this album would be pretty boring. While I agree with all of his notions about God, America, and politicians, he's said it all in a very standard and not incisive way. Maybe this was more effective at the time but doing this now would get you laughed out of the room for being cliche. This is musically fine, pretty average aside from his voice.

I don’t get it, kinda schmaltzy

I’ll always appreciate Randy Newman’s satire, voice, and songwriting chops. “Political Science,” “God’s Song,” and “Sail Away” are striking, while maintaining some heart in their own way. The album is rather bare at times, though I don’t know if that’s really a problem. It’s a good record, though it probably hasn’t stood the test of time quite as well as some other albums of its time.

i'm sure with something like this there's people out there who've been profoundly affected by these songs, especially considering how much work randy newman's gotten since but i can't help but zzzzzzzzzzzzzzzz favourite songs: lonely at the top, idk what else least favourite song: none in particular

A lot more piano ballads, this time with a voice I don't particularly care for. The orchestra was probably my favorite part. There was some interesting lyrics and things, but overall it didn't do much for me

From the depths (previous album) to the heights (this one): very glad to see this one come up! I remember seeing (and occasionally hearing this album), probably dating back to shortly after my parents saw Newman (opener: Bonnie Raitt) perform in South Bend, I believe in December 1971 (although Sail Away wasn't released until May 1972, it appears that he previewed some of the songs from the not-yet-released album at the concert). As a kid, I don't think I totally got Newman's (sometimes dark) humor, but by the time I was in college, I'd become a big fan (and still am today, even more so). I'm tempted to say that Randy Newman is one-of-a-kind, sui generis; certainly, I can think of few, if any, comparable singer/songwriters (Paul Simon, and/or John Prine, maybe, kind of, if you squint? -- except that Newman has a mordant lyrical edginess that is all his own). Anyway, to rate this album: what a great collection of songs; each and every one of them a treasure! When I hear them now it's like being greeted by a dear, old friend. The original album is only about 30 minutes long, but I think this has to be 5 stars, especially since I like all 12 songs, a lot.

Sentimental and feel good music

incredible singer but its just not what i want

The LA boy that stole the hearts of the community with his piano beats.

just randy newman, singing about what he sees surprisingly bluesy god's song is pretty cynical tho 💥lonely at the top 💥last night i had a dream 💥political science

I feel like a pixar character. "Political science" is very impactful tho

Okay album

I do not get how people have patience for this material

A decent, pleasant album brought to you by the guy from "Toy Story." I enjoyed this one, but it's not life-changing. The satire holds up well (maybe too well), and it's a very consistently solid album. I don't have any problems with this at all, it just didn't leave a very big impression on me. Favorite track: "Political Science"

Still not into him. Something about the snark and quirk combines in an unlikeable way. 2.5 rounded up Heard before? Some Owned: No, 113/455 (24%) Will I get: No

Its a mixed bag. Some songs are very well written and have a nice piano part. Some were just cliche singer songwritter piano ballads with lyrics that looks like they are there just because he needed to write lyrics. Overral, I think its a good album but I think their are way better singer songwriter albums.

2026.10.22.

My second album by Randy. I felt this one was better than Good Old Boys, I can't remember why I rated that one how it is (3.0 on rateyourmusic and 3.0 for this website.) This has a lot of charm to it, and his shtick is very satirical and sarcastic combined with political and very conscious parts, and it's done to a very high degree. The instrumentation is mostly very cabaret-like and other stuff is very orchestral-heavy like you might hear on some Frank Sinatra stuff. I really liked this album. I think it definitely deserves a place. I might definitely have to revisit Good Old Boys, perhaps this album might make me appreciate it more. Highlight Song/s: "Lonely at the Top", "Memo to My Son" and "You Can Leave Your Hat On"

P’tit piano jazz swing, j’aime bien !

That voice! It's so warm and distinctive - it was nice to spend a little time in the company of this record. In my mind he's become synonymous with Toy Story and The Muppet Show but they're both great, so it's no bad thing. In fact, when Simon Smith and the Amazing Dancing Bear came on, I grinned from ear to there. Not sure I've ever listened to one of his albums before - it was slow going in places, but it left me feeling warm and fuzzy. Musically, some of it put me in mind of Tom Waits, which I really wasn't expecting. I might have to dig deeper. Essential listening, though? Not really.

Spooky Billy Joel is not for me

The Muppets did Simon Smith and the Amazing Dancing Bears a million times better

Idk about this one. So dramatic that it's a bit goofy

Sounds exactly like what I expect people to sing at a piano karaoke bar

You can leave your hat on is fun. The rest is a bit dull.

Its a good album, easy to listen to the piano and Randy's voice accompany each other well

Everyone knows Randy Newman right away, probably one of the most recognizable singing voices of all time. But I don't ever really think of Randy Newman as someone that I would listen to on purpose. It's sort of hard to listen to Randy Newman's actual records because I associate him so strongly with film. But damn can this man write a song, he's an impeccable lyricist. Off topic but remember the concept album he did about Faust? I took a Faust class in college and we listened to it. Very strange but worth a listen. I really liked this record, much more than I thought I would. There's something sort of inherently calming about Randy Newman's voice. You listen to the lyrics and it's maybe not quite as calming all the time but it's still a great listen. I never really thought much about Randy Newman outside of film scores, but I enjoyed this album a lot. 4/5

Fine

Artiste inconnu. Album très ennuyeux, l’accompagnement orchestral et le chant m’ont rebuté dès le début. Pas désagréable mais sans intérêt pour moi. =>2/5

2.5

Not sure what's Randy's biggest strength: his songwriting or that voice? They come together pretty well on this album. 4/5

Talk about branding…this guy has a style. It is impossible to listen to this album without feeling like you’re watching Toy Story. Which perhaps is a shame. Shallow or not - I would no sooner put this one than the soundtrack for that movie. 2/5

joa

Cromulent

This sure is a Randy Newman record

#497/1001. I didn't know I was aware of Randy Newman before. But I could come back to this, there is a soft spot I have for (older) american singer songwriters whenever they don't sing country. Do I remember any songs now after listening to this a few days ago? Not really, but let's not let that ruin the illusion.

Randy Newman as biting as ever. A funny and surprising album.

Randy- voice of an angel, but the the lyrics here.. woof.

Lovely style and vocals

Sometime it seems like Randy Newman wrote half the songs of the 1970s. He's got a good collection of good songs here, although I admit I prefer Tom Jones' version of You Can Leave Your Hat On.

Love Randy Newman

Maso

This entire album grated on my nerves and was tedious to listen to.

One Randy album was enough, its not offensive, its just not for me.

Actually pretty good. I'll say 2.5, round up.

Yeah he’s got some heart!

Randy Newman is always a decent listen.

Something bothered me about the American focus on the songs. Obviously wasn't focusing on the lyrics properly to hear what it was all about, but it stood out. Average at best.

I can't help but compare this to Bob Dylan, and I'm kind of frustrated that this list has got me to a point where Bob Dylan is so ingrained in my psyche that he becomes my de facto comparison point for all other music. ✅ Bad vocals ✅ Political/satirical lyrics ✅ Simple backing ✅ Right era It's Bob Dylan! Except people are complaining about the bad vocals. Why do people not like this and yet rave about Bob Dylan? What am I missing? Maybe it's because Randy isn't blasting awful harmonica? I'm actually being a bit unfair to Randy here - his music is actually better than Dylan's on all of the points above. The lyrics are mostly pretty apt where they're trying to be. The vocals aren't the best but they're tuneful. The backing is mostly piano which I love, it's just not the most interesting. Feel like this could be a 3 on the songwriting, but the vocals knock it down to a 2 for me. Not something I'd really want to listen to again.

All of these songs sound like pixar songs, I used to love pixar. As I grew up I started to prefer the stylised animation that is more prevalent in anime and 2d animation in general. So now I try to avoid Pixar. All of this is to say that this brings me back to my childhood. 3

Ok maar even; dit klinkt wel een klein beetje als Tom Waits toch? Newman heeft een betere, vooral minder dronken stem hoor. Begrijp me niet verkeerd, maar het doet me gewoon heel erg denken aan Tom Waits. Daarmee bedoel ik dus ook dat ik weer ontzettend in twijfel raak; is de zang goed of juist niet? Na 4(!!!) Tom Waits albums heb ik voor het antwoord nog niet, en eerlijk gezegd ben ik er bij Newman ook nog niet helemaal uit. Leave your head on is zo'n nummer dat je al ontzettend vaak gehoord hebt, maar eigenlijk altijd beter uitgevoerd dan deze versie. Blijkbaar is wel alles door Randy zelf geschreven, klinkt alsof hij last heeft van het Bob Dylan syndroom; fantastische schrijver, ondermaatse zanger... FAVO: Last night I had a dream

What the fuck?

More like Randy Pooman 😒

Family Guy ruined Randy Newman for me.

p255. 1972. 4.5 stars. One of the great American songwriters on top form. Bitter, cynical and melancholy, with a sense of humour - what's not to like? Half a point deducted for occasional filler, but on the whole this is fine.

Randy Newman’s stuff is pretty fun if you can get on his level of humor. It’s a shame that he’s most famous now for his movie scores when his older stuff is so much better. Also this album apparently helped Brian Wilson get through depression so it’s worth a whole hell of a lot based on that alone

10/03 Good album. I really like it

Gentle agreeable music, but nothing more.

What I am about to say is bad criticism. It is lazy; it lacks any explanation beyond immediate opinion; it places those who do not agree in a out group where the presumption immediately is that if you are in that out group, you are of a lower intelligence. And while this may all be true, that this is spurred on by my own idiocy, due to a lack of intellectual verve, this is the only way I know to truly give my opinion on this album. You either get Randy Newman or you don't. There is nothing more to say about a man who is hated for his music's sound so much that his lyrics, sarcasm filled and biting, and pushed off to the side. After all, what can you say to someone who says that the Tom Jones version of You Can Leave Your Hat On is better, other than "have you listened to the song?" Seriously, the song is about a man asking a woman he just picked up to keep her hat on during sex, and then starts spouting conspiracy theories about how only he knows what love truly means. Thinking that is a serious song is like thinking Hallelujah is about God; you're woefully missing the point. So, what am I to say to people who don't get the biting sarcasm at play? What do I say to the people who don't see how the classic Americana instrumentation is there to be in direct opposition to the point of the songs, and that the languid sounds are needed to get his point across? Never mind that Newman is a brilliant piano player and that beside his lyrics the songs sound straight out of the Great American Songbook. What do you say to someone who, seeing the sarcasm of the lyrics mixed with the smooth Southern chops of an ace producer, does not understand what is happening and calls him boring? No amount of convincing I could try would get people to appreciate Newman's genius if they firmly do not or cannot get it. Sail Away is of its time in terms of it's social commentary, existing in a medium whose materials success is based on emotional connection far more than intellectual connection. As a result, no one I have ever talked to about Newman has understood why I like him so much, even after I show them his most overtly winking song Political Science (a song that only gets better with age). Hence my previous statement; you either get Randy Newman or you don't. For me, it makes complete sense, and Sail Away is maybe the best example of Newman's specific voice. If you get it, welcome aboard, I'm happy to have you on board. And if you don't? Well, I guess I'll jusy Sail Away then.

achei bem legal algumas músicas, mas eu sempre dava um risinho quando eu lembrava que era o cara do toy story, me perdoem.

2.7/5

Quite enjoyable.

🎩⛵️⚓️☀️🙏🏻

Smart songs, quirky delivery—that’s always a combination that works for me.

Awesome. Love Randy Newman. Song writing genius.

First listen

Hat gestern irgendwie garnicht gepasst , aber eigentlich ist gut

mooi album met goeie teksten...

America in 60s is pretty cool

With any album by Randy Newman, you have sit down and listen to catch the meaning behind the songs. Behind the arrangements is some bitter truth and snarky humor. It may take a few listens to pick up on everything that he’s trying to convey to the audience.

Randy Newman is good, until you ask him what he thinks of the vertically-challenged. There's an unmistakable feeling that the whole thing feels like a Disney soundtrack due to the man's association with the movies and company in general, so it loses a few points because of that. "Political Science" is a great song though

Newman has a strange voice. It's either really good for a bad singer or maybe really bad for a good singer. Regardless I like listening to him and his voice gives the album a milquetoast personality that somehow resonates with this dead heart. The songs themselves are pretty consistently good without ever blowing me away. It's basically an album full of 3-star songs maybe one 4 and one 2, but almost everything else lands right there. Nothing groundbreaking but an enjoyable listen throughout.

Есть несколько интересных песен, но по большой части исполнение кажется очень незамысловатым. Оно не плохое, но довольно ординарное

I went into this album knowing Randy Newman’s voice, but not recognizing anything from the track listing. By the end, I was surprised by just how much variety he packed into such a short album. Newman has one of the most distinctive voices in music, but this album proves that having a distinctive voice doesn’t mean every song has to sound the same. There’s vaudeville, blues, rock, beautiful piano ballads, humor, sadness, and some biting satire. The title track immediately grabbed me. “Sail Away” sounds beautiful until you realize the narrator is selling Africans on how wonderful America will be while we know the horrific reality awaiting them. “Political Science” uses the same kind of cheerful sarcasm while talking about dropping the big one on the rest of the world. On the other end of the emotional spectrum, “Old Man” is genuinely sad, while “He Gives Us All His Love” has a bittersweet spiritual quality. I also loved hearing Newman rock a little on “Last Night I Had a Dream,” and “You Can Leave Your Hat On” brings in a great bluesy sound. “Lonely at the Top” and “Simon Smith and the Amazing Dancing Bear” have a fun vaudeville feel that fits his voice perfectly. “Burn On” was probably the only song that didn't do much for me, but there really wasn’t anything here I disliked. A great discovery. Randy Newman manages to sound unmistakably like Randy Newman throughout while making almost every song feel different. Vinyl Verdict: BUY

I just can’t get into Randy Newman as much as this list tries.

Randy Newman songs sound like Randy Newman songs. The musical variety is almost nonexistent so it’s all about the lyrics. This album has some interesting things to offer in that respect. You need to pay attention to get the value of this one.

Newman's distinctive voice makes most of the songs sound like I Love LA/You've Got a Friend in Me but a) those are good songs and b) God's Song stands out as beautifully melancholy.

Realistically this might be a 3, but it's just not quite for me and I'm trying to be more critical. There are some good songs on here for sure, and I won't deny that he can write a tune. But there are some stinkers, and this just isn't an album I'm going to want to return to often, if ever. Fave tracks: - Lonely at the Top - Last Night I Had A Dream - Old Man - Political Science - Memo to My Son - You Can Leave Your Hat On

Just a perfect collection of songs. Can always put this on. It was nice to have another excuse.

I just love the way Randy writes here. One of the best and most underappreciated American lyricists. Quintessentially American, too. It's dark, but always a bit tongue in cheek. Sour topics cut with a classic sound. It's more of a whiskey album than anything that isn't Tom Waits.

Think he’s a good composer and writer, saw some real value in the album, but it’s much too America and god focused for my liking - and romanticising 1903 Ohio (“when folks were nice to you”). I love how his voice reminds me of toy story

One needs to pay attention to the lyrics. Sail Away is good and even better if you know what it is about (but that makes it sad). Political Science is hilarious and even more appropriate in the current political climate (2026) with the US being a big bully. Not really something I would listen to on my own but definitely there is something to be appreciated here.

Never heard him before. Weirdly feels like a singing cat in a Disney movie??? Feels very old fashioned for 1972. Lonely at the top was intended for Sinatra and sounds like it. I like other things in this genre but somehow not a fan of this, bit dull and hokey.

This was decent. His voice was cool.

I didn't realize that the song had changed until I was already halfway through the album. Everything he plays sounds exactly the same.

Some of these songs sound one step away from a Fiona Apple or Amy Mann song….that step being a giant leap that is Newman’s voice. Pretty fairly annoying stuff though mostly. I don’t need the dancing bear song or saying “the good times don’t last”, lackluster gospel & god takedown tracks…but Randy being randy? I’ll take that. Telling an old man everybody dies, that’s good.

The list creator is a coward, Randy Newman’s best and most prolific work has always been his movie soundtracks. The only Sail Away I’ll care about it Enya

Randy Newman is great at writing soundtrack music. His non-soundtrack work. . . I don't get its appeal. So much orchestration. So many attempts at quirky humor? And then there's "Political Science". I remember hearing this one years ago and being mildly amused, as a child, by it. Hearing it today, it's just fucking scary.

The gospel of Randy Newman ... not buying it.

Good album. Easy listening.

It's a lot better than his other album on here. Dancing Bear is always a crowd pleaser. I think Old Man was really brutal. Lots to like.

Closer to a four than a two. Comforting voice that I was happy to hear in a new context. Could probably do to listen closer to the lyrics on a second listen.

This album feels very much of its era. I can't help but hear how Randy Newman is something of a progenitor for someone like Tom Waits. But instead of circus music it's kind of more of a smoky piano bar. Strange amount of God and Jesus on this album... not really into that. The songs have legs and there's a ton of talent oozing out of them, but I don't find the music very compelling.

Once again, I like the social commentary and satire, but I hate Randy's vocals. Favorite track: Political Science

This was so hard for me to get through Playlist add: “Sail Away”

Pretty much a whole album that sounds like " You Got A Friend In Me." Very ragtime and harks back to an old fashioned style of music, but not my cup of tea.