| With all the praise accorded every other artist anointed
with the "new Dylan" tag, Elliott Murphy burst onto the scene
in 1973 wearing the mantle proudly. His debut, Aquashow, came on like the
son of Blonde on Blonde, but with the streetwise poetic bent of Lou Reed.
And, as is the case with most 24-year-olds armed with pen, paper, guitar,
and harmonica, he has plenty to say. There is the tendency to wield a heavy
hand when it comes to his takes on love, fame, growing up, and the underbelly
of middle-class life, but Murphy, whose insights cut deeper than the majority
of writers his age, is successful more often than not. If the irony of "How's
the Family" or the overstated "Marilyn Monroe died for our sins"
are a bit much, tracks such as "Hangin' Out," "Scrapbook
Graveyard," and "Last of the Rock Stars" more than make up
for it, painting a vivid picture of disenfranchised youth - searching yet
self-destructive. Still, as good as Murphy can be lyrically, it's the music
that first draws you in. From his own electric guitar, and a rhythm section
made up of brother Matthew Murphy and Byrd Gene Parsons, to Highway 61 Revisited
pianist Frank Owens' organ and piano, Murphy creates some of the most convincing
Dylan-esque folk-rock to come along since 1966. In and out of print over
the years, Aquashow, thanks to a keen eye, intelligence, and a sparse, straightforward
sound that stays clear of trends, remains a minor classic. - Brett Hartenbach
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Plattentipp 
