Joe Viglione

“Granny Takes a Trip” opens this extraordinary 52nd album from Elliott Murphy merging Roger Maris and Richard Harris in a quasi-rap-meets-folk, perhaps the psychedelia after effect of Woodstock concert goers now grandparents, it is fun and different. “Red Moon over Paris” has Beatles elements for its opening, and grows dark with the twilight ending and Murphy indulging John Cale meets Leonard Cohen. It’s a tremendous chorus over the poetry-meets-song verses.

The press release notes: INFINITY was recorded at Murmure studio in Paris with Elliott’s musical partner and virtuoso guitarist Olivier Durand as well as Australian Melissa Cox (violin) and Alan Fatras (cajon et percussion) with the addition of acclaimed double bassist Gerard McFadden (Opéra national de Paris) on Fetch Me Water. Keyboards, electric bass and drum programming were handled by Gaspard Murphy. The 3rd of nine songs, “Baby Boomers Lament” referencing David Bowie, 007, Lou Reed, the Rolling Stones over a rhythmic quiet stomp, is as easy to absorb as the other six musical essays. Smart guitar on Lament makes it a hidden gem here with Murphy’s vocals working to good effect over the entire journey.
When I asked Ian Hunter to go through each tune, having a series called “Going track by track,” Ian felt it was half the fun for the audience to figure it out, paraphrasing him here. Yet with “The Lion in Winter” it is compelling to try to figure the artist and his state of mind out. The pretty melodies would fit nicely in the 1968 film of the same name featuring Katherine Hepburn and Peter O’Toole, or perhaps even the 2003 film with Glenn Close.
“Fetch Me Water” is three minutes and thirty-three seconds of a song that would fit perfectly on a Doug Kershaw album while “Three Shadows,” at 3:21 has Murphy putting his array of thoughts into a pop structure. Another composition perfect for film, this is all Elliott Murphy with musical twists and turns over simple chord changes. It’s a stellar piece of work.
Suddenly the album rocks out with the two and a half minute “Makin’ It Real” with the singer’s opinion on things past and present. It’s softer rock and roll Jonathan Richman would appreciate, toned down yet still effective. “Night Surfing” at 2:33 is the perfect follow-up to the preceding tune, pretty melodies. Neo-Barouque with folksy elements. It’s beautiful and with the tracking like this it almost feels like a concert playing out over each selection. The little over two minute “Count My Blessings” is a good discipline and admonition to listeners to be thankful for things that they’ve got – like this disc.

Joe Viglione is also on Substack:
https://joeviglione.substack.com/