ALBUM REVIEW: Art Garfunkel - Breakaway

    Art Garfunkel is, if nothing, a contemporary and commercial artist. That isn't meant to be a dig at his music necessarily, because I don't necessarily think something being commercial makes it "bad" or "inauthentic." No, I just think that's the camp that Garfunkel ended up falling into. His first solo album Angel Clare was a fine, if unimportant, collection of baroque-sounding folk numbers, cleanly produced, wonderfully sung, and only a little empty at points from the lack of a certain 5'3" New Yorker to his left. Luckily, Breakaway not only has that New Yorker for one song, but it's also a much more realized and sturdy set of tunes. Soft rock is the name of the game here, and the result creates a more filled-out sound that, frankly, suits a solo Garfunkel far better than anything on Angel Clare. Add in still similarly lush production and Garfunkel's continuously great performances, and you have a pretty good album worthy of a purchase the next time you invariably see it at a flea market.

    Breakaway, contents-wise, is probably what you're expecting from an Art Garfunkel record if you've gone through the motions of Angel Clare. A collection of songs from varied artists ranging from Stevie Wonder to Antonio Carlos Jobim to Stephen Bishop to even a Beach Boys tune. These songs, I think far more than the material on Clare, suit Garfunkel's vocal stylings with his performances, and it helps that the musical approach feels more adapted to him. Breakaway sounds like a pretty contemporary soft-rock record, produced by the bright mind behind Ringo and Nilsson Schmilsson that is Richard Perry - now while that may sound like a dig at him, Perry knows his shit as apparent by his work on Nilsson Schmilsson. It indeed shows on this record, too - smooth, snappy, and filling throughout. It's to the point that Perry is effectively working overtime on some weaker moments like "Looking For the Right One," so give him some credit! Of course, this is all without mentioning Garfunkel's voice, which is as good as ever, and at this point you should have little doubt - title track "Break Away" is a pretty good approximation of the entire album's sound, with some exception.

    One of those exceptions is "My Little Town," which you may recall from my Still Crazy After All These Years review. Yep, it's here too, which may be disappointing for the budding Simon & Garfunkel fan in 1975 who bought both records to learn that both have the same song on it, but it IS worth mentioning that it's probably the best song on the album. I also love Garfunkel's cover of "Disney Girls," an already great nostalgic trip by Bruce Johnston on the Surf's Up album. The soft "Rag Doll" was one of two B-Side songs on "My Little Town," and it's a good taste of Breakaway's ideas - light and gentle with Garfunkel's breezy and lovely voice. The UK number one "I Only Have Eyes for You" has a low and muddy sound, partially due to the panning organ, but it also stands as the album's strongest number - building and climactic the further along is trudges. The album also chooses to end strong with the 1-2 combo of "99 Miles from L.A." and "The Same Old Tears on a New Background," both big and dramatic sounding; a fitting conclusion to the record.

     While I'm unsure of what lies ahead for Garfunkel's solo career, Breakaway shows far more promise than Angel Clare. While it may be overly radio-friendly for some's taste, a fair assessment to make, generally Breakaway showcases a tightened focus, atmosphere, and style that suits Garfunkel's solo style far more, and the accompanying chart success with some tunes shows it. Probably a far more ideal place to jump into Garfunkel's solo career than his debut, really.

RATING: ✯✯✯✯✯✯✯✯✯✯

Listen to Breakaway.