David Marx
Jesus Was A Socialist
Revolver
From the wildly experimental opening strains of “Revulsion,” David Marx makes it perfectly clear that you should leave your expectations at the door as you enter his debut solo soundscape. After this overture of mighty ambient dischord, “Revulsion” propels itself into a dynamite rock anthem, as catchy as anything currently rocketing over the airwaves. Marx then tears into the fury of “Fellatio N.R.A.” with a fervor suggested by the song’s incendiary title before settling neatly into “Ten Rembrandts,” one of the album’s best pop songs and should-be smash singles. With this intense one-two-three punch, Marx makes it clear that the gloves are off with this solo project and a startling new multi-talent stakes his claim.
The cleverly titled, “Jesus Was a Socialist,” is that neatest of albums – a dynamic smorgasbord of styles showcasing the musician-producer’s many skills, while still holding together as both a polemic and a work of art. Whether echoing “Sandinista”-era Clash on “Times Square,” giving the Pogues a run for their money with “Wedding in America” or proving he can breezily play the mainstream contemporary singer-songwriter game on the cryptic “According to Elvis,” Marx clearly is not easy to categorize. Much like his album’s titular character, Marx’s lyrics and melodies have that unique ability to touch audiences across the spectrum of generic boundaries.
But the album’s absolute heart – and highlight – is the hauntingly beautiful centerpiece, “Forever.” In less than three minutes, Marx begins with a Beatlesque power-pop hook, launches into an instantly-memorable chorus, soars through a Joe Jackson-esque C section and ends with an unforgettable trumpet solo. In short, this is not just the song of the year, but one of the most inventive pure pop sonic celebrations in years. Killer vocal performance, too! Try listening to it just once without wanting to instantly restart it! It’s one of those amazing rarities in pop music – a song that truly never wears out its welcome! It’s the type of song designed to accompany a tremendously moving experience – and should rightly become a dance floor staple at all the world’s coolest weddings.
The album’s closing number advocates that we should “Celebrate the cause… you’ve got nothing left to hide.” Considering the honest bravery David Marx has poured into his debut solo offering, I suspect the cause we’ll be celebrating is whatever he dares to show us with his many albums to come…
Tomas Mureika
GOOD MUSIC GUIDE (Los Angeles).
David Marx
Jesus Was A Socialist
Revolver
A somewhat schizophrenic record this, opening and closing with dirty, sleazy slabs of glam-tinged industrial rock, yet with a soft centre of pleasant, acoustic beat-pop in a Crowded House vein. Elsewhere we go from the Matt Johnson meets Tom Waits blurt of ‘Revulsion,’ to the fiddle-driven hoedown of ‘Wedding in America,’ and the experimental darkness of ‘Cherries;’ tales of love and rage, a kiss away from damnation or salvation both.
Fly Magazine
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What an arresting start to your CD. I have it on now; it's an incredibly professional, creative, stirring sound. Thanks so much for sending Jesus Was A Socialist to me.
As I'm listening, I'm realising that it's actually quite brilliant.
Jeremy Vine
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David Marx
Jesus Was A Socialist
Revolver
Coming to this album as I did at the same time as the brilliant My Crucial Execution, opens up many opportunities to compare an artist at different stages of his craft. The reason for this is that the later is made up largely of older songs, material that I had witnessed many times live probably fifteen or so years ago. The wonderfully titled Jesus Was A Socialist, however, is all new to me, and offers an insight into David Marx as the older and wiser songwriter.
The album opens to a chaotic cacophony of sounds: double basses strut their stuff, a fragile accordion flutters by, delicate piano keys and distant, distorted guitar noise fill the gaps - as a half whispered lyric is offered up. Soon, all this cements itself into a more tangible creation and 'Revulsion In The Name of Love' pours forth. It is a crowded song music wise, but this somehow reflects the bewilderment that the singer is screaming out to us. As soon as you have got the song pegged however, it winds back down into the meandering madness of disjointed sounds again. And then its gone. A strange and unpredictable way to open an album (as well as a million miles away from the folksy jaunt of 'Dublin' that opened the aforementioned My Crucial Execution). It is thus replaced by the driving, warped out garage guitar of 'Fellatio NRA,' and we are up and running in style. Against this more aggressive rock sound, Marx delivers a string of soundbites that seem to be centred around some sort of gun erotica, and as it builds, its harder hitting qualities are tempered by intermittent attacks of brass, whereby a more groove orientated level is attained.
After listening to the above two songs, one of the parallels that I have been looking for becomes obvious. Earlier songs by this man seem to have a lighter, dare I say, poppier quality to them - often acoustic guitar driven songs with immediate accessibility. Here we see a darker hand at work, maybe more world weary and reflective, the music harder hitting and slightly more rock biased. 'Ten Rembrandts' for instance, takes some of the elements we have already encountered, adds a gypsy violin - courtesy of regular Marx collaborator, Kat Evans - and sends us off in a more Latino driven path. It is not until we get to 'White Trees,' that we encounter the pure open romanticism that underlies many of the songs from his earlier days. A story of unrequited love put to a shuffling acoustic rhythm (there is even room for a short trumpet solo), the song is understated, almost minimalistic, heartfelt and simply glorious.
The combination of the less is more approach and emotions being worn openly on the singers sleeve, continues with what in my opinion, is the most immediate and intimate song of the album, 'In My Time Of Dying.' Wonderfully honest, it reflects on that one person in your life who you know is always there for you. Set to a simple street corner busker guitar, try listening to this song just more than once and not singing along - I dare you!
Not only does Jesus Was A Socialist prove to be an album of light and shade - as the earlier, heavier, darker songs give way to lighter, more immediately accessible numbers - it is set full of honest reflections and everyday emotions that we can all relate to. The current music industry canon fodder darlings, may think they are relating to their public when they sing of their newly acquired, high-flying, life styles; but when David Marx sings: "Do you still love me/Like you did last Tuesday," there is kitchen sink drama and honesty underpinning the meaning behind it, which is to say everyday people, asking those often awkward, everyday questions.
Not being an album that settles into any particular style for too long, 'Wedding In America' turns a new corner by coming on like a mixture of The Pogues and a bluegrass party, the result of which delivers a short, snappy, sentimental song of devotion. 'Times Square' meanwhile, puts me in mind of one of those slower, early Bruce Springsteen numbers. If someone had told me that this was a track from The Wild, The Innocent and E Street Shuffle, I wouldn't have argued (and I'm sure David wouldn't have a problem with this comparison!). The song's gentle, piano/organ/underpinned strut, along with its "see you around" lyric and wistful harmonica, have all the hallmarks of Asbury Park's favourite son. And 'According To Elvis' continues along a similar parallel, opening as it does with that rising Hammond organ and piano-wash (so reminiscent of such early Springsteen classics as 'Backstreets'). But by the time it gets going, 'According To Elvis' has very much created its own identity: something altogether much more English by being more Newhaven than New Jersey - and for all the right reasons!
Jesus Was A Socialist bows out the same way it came in, with something fairly out of keeping with what a lot of what the album is about. 'Celebrate The Cause' is a spiky and slightly ranting diatribe; musically warped and lyrically accusatory which works as a nice end piece to a varied and slightly unpredictable album.
So what of the comparisons I was looking for between the earlier album of blasts from the past and this album of newer compositions? Well there is still a lot of the romantic of old left here, but there is also something of a more complex presence. The rules are brushed aside at times, and the boundaries are tested. The older artist seems to be able to look deeper into the ever present topics of love and loss, by exploring their reasoning and darker underbelly. And in so doing, Marx has come up with just as many great songs - although some will take a little longer to get into.
When you do though, you will find that a lot more depth prevails, which is why the main difference between the albums is a rather obvious one: Jesus Was A Socialist is very clearly the work of a man that has seen a lot of life, and is honest enough to fill his songs with the good as well as the bad, the highs as well as the lows, the light as well as the shade.
Dave Franklin.
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I'm particularly impressed with the opening sequencing of songs on Jesus Was a Socialist - it's a really great stylistic roller-coaster ride, show-casing the scope and diversity of your talents. Quite a range - and very captivating, even on cursory listen. I'm looking forward to the chance to REALLY delve into the discs…
"Last Tuesday" has a very anthemic (and this is meant in a very good way!) U2-esque feel to it, while the unexpected thrashing assault of "-------- NRA" perfectly suits the subject matter.
Tom Mureika
Los Angeles
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Impassioned vocals and frequently inspired musicianship drive David Marx’s pop vision, which successfully mixes innocence (the sugary ‘Last Tuesday’) with savage wordplay (‘’Got a stress fest commie test/Pussy truffle blowtorch,’’ on ‘Ten Rembrandts) and catchy melodies.
‘Revulsion’ is Jesus Was A Socialist’s best track, and probably its most adventurous. Against lines like: ‘’I feel like a lion/In a parade/Trying to break loose/From this masquerade’’ (backed by double-tracked cellos), the song groans and shudders before exploding into a primal shriek.
Compulsive listening.
The Atlanticville (New Jersey, USA).
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Jesus Was A Socialist - Probably most comfortable in the alternative pop bin, there are also touches of Celtic, folk and something darker – reminiscent of Robyn Hitchcock or Richard Thompson at times. Very clever lyrics. Great production. Highly recommended. Fourteen songs.
Musicians Exchange (Chicago, USA).
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David Marx
Jesus Was A Socialist
Revolver
First impressions count, and for that reason, I would not have started with ‘Revulsion (In The Name Of Love)’ – musically, it is interesting, but it just doesn't catch the attention for me (or if it does, then it's a 'wot da furk is going on here?' context); not screaming at the casual listener to move to .... ‘Fellatio NRA,’ I have to say on first listen, didn’t not grab me either, but it's kind of grown on me; classic Marx.
And then we move into ‘Ten Rembrandts’ - here I move into my musical comfort zone, seriously classic Marx... and not just the music; whilst I understood what you were singing about in ‘Fellatio NRA,’ ‘Ten Rembrandts’ has me feeling poetically challenged, but not giving a monkeys cos it's great. When I first heard ‘White Trees,’ I thought 'not as good as the Green Indians version', but that's not my opinion now; the trumpet just makes it - and a general comment - your vocals are very good on this album, far better produced than LoveJunk in this respect I think.
‘In My Time Of Dying’ is simply superb. There is a retro feel entering the album at this point, which you maintain with great effect into ‘Last Tuesday’ (however, the fade between these two tracks has a production glitch, listen carefully, not quite right is it!). Every time I hear ‘Last Tuesday’ I just smile, it just has that effect on me. ‘Forever’ builds on the classic well crafted rock and roll SONG theme... but how many rock and rollers have managed to build in the wonderful horn section quite as well as you've done? It just takes the song away.
By the time ‘Wedding In America’ leaps in and grabs my feet to the dance-floor (sometimes reduced to the accelerator pedal, caution advised here), Fran is in raptures and using superlatives usually reserved for ... oh shit I gotta be honest here, Shania Twain albums... but you know Fran! Seriously, you are by this stage showing versatility and excellence, and then with ‘Cherries’ you get ... errr... truly versatile... Fucking hell man, have you ever played ‘Cherries’ intro full blast in a moving vehicle; it's like living in a deep marine whale park with the low frequency sonar snaking through the panels and roasting your mind! ‘Cherries’ actually grabs me (more for the production than the music I fear) and turns Fran cold.
Then after the 6.47 in the sonic wilderness, you hit back into real music with ‘Times Square,’ and Fran is up bopping (this is in the apartment not the Toyota) and using words like 'excellent' in superabundance. ‘Boy Around The Corner’ starts like you want to prove you could make a great Elvis impersonator, but then the lyrics gives it away; beautifully original [and you ain't got either the gut or the dress sense anyway]. And talking of the King... ‘According To Elvis…’ great song; it strikes me that there is a certain introspective autobiographical note in the succession of tracks we've just enjoyed - or am I reading too much into it?
‘Love Without Tears’ is another song that marks a peak in Fran's appreciation, although for me, it is a little too repetitive for much of the song, but oddly, even this works; in that it builds an appreciation for the final minute when Kev just starts to run loud and free, while your vocals follow (and the fade out/in is a neat trick that works); a theme you continue beautifully together in ‘Celebrate The Cause,’ a track I absolutely love, though it smacks a little of Crown, don't you think? Still for an ageing rocker like me, its a real pleasure to end on a high note of stereoenhancedsound.
In summary, a great demonstration of your versatility in style and lyrics, most of which is an absolute pleasure to enjoy. If my only criticism is that maybe there is a bit too much versatility on display, then I think you'll
appreciate that I vote Jesus Was A Socialist a big HIT in my collection.
Phil MacLaurin
