Kinky Friedman
Album: The Loneliest Man I Ever Met
Label: Avenue A
Tracks: 12
Website: http://www.kinkyfriedman.com

The last time Friedman released a new studio record Lotus 1.2.3. had just been launched for IMB computers, Ronald Reagan was in the White House, the Challenger Space Shuttle had its maiden flight and Kiss made their first public appearance without make-up. Now, 32 years later, he's released another. There's been a few changes in the world since then, but Friedman remains a reassuring constant.

Since the majority of today's Americana audience weren't even born when Lasso From El Paso came out, perhaps a quick resume is in order. Born Richard Samet Friedman in Texas in 1944 and nicknamed Kinky at university on account of his hair, after serving in the Peace Corps, he formed his first serious band, Kinky Friedman and the Texas Jewboys, in 1971, releasing his Sold American debut in 1973, the satirically pointed title track a thematic precursor to Born in The USA. Indeed, much of his material mixed satire and social commentary, as with songs like We Reserve The Right To Refuse Service To You, Ride 'Em Jewboy (a tribute to the Holocaust survivors) and the anti-racism They Ain't Makin' Jews Like Jesus Anymore, although things like How Can I Tell You I Love You (When You're Sitting On My Face), feminist lampoon Get Your Biscuits in the Oven and Your Buns in the Bed and a cover of Merle Haggard parody Asshole from El Paso underlined his equally playful side.

However, after following up with an eponymous second album in 1974 and Lasso in 1976, there was a seven year gap before Under The Double Ego came and went without trace and, although he did continue to tour and release live albums, it was to be his last studio output, changing career direction to become a writer, publishing a series of successful detective novels featuring a fictionalised version of himself, as well as getting involved in politics, even running for the Governorship of Texas in 2006 (he came fourth out of sixth).

For whatever reason, now 70, he's decided to give the music biz another go on an album that mixes together new material alongside covers of songs by the likes of Cash and Dylan. As such, he's roped in old mate Willie Nelson who both produced and duets and plays Spanish guitar (including a tricky solo) on a simple acoustic cover of his own Bloody Mary Morning (which also features Willie's sister Bobbie on piano) That opens the album and is followed with another cover, a harmonica-tinted, piano-backed, husky Chandleresque spoken and more romanticised version of Tom Waits' A Christmas Card From A Hooker in Minneapolis, personalising it rather than the Charlie of the original to an extent that, given his colourful life, you could actually believe it was autobiographical.

Elsewhere, he shows country roots with two back-to-back cuts, a sparse and wearied cover of Merle Haggard's Mama's Hungry Eyes and, similarly spare, Johnny Cash's Pickin' Time, while there's a nod to another old friend, Dylan (Friedman played in the 1976 Rolling Thunder tour) with Girl From The North Country. His paradoxical, some might say ornery, nature is well represented by the fact that, one the one hand, he includes a bluesy acoustic version of Warren Zevon's self-commentary My Shit's Fucked Up (cast here as an allegory of the world today) but then ends the album with not only a nicotine-throated cover of Lee Marvin's Paint Your Wagon hit Wand'rin Star, but, featuring grand piano, also evergreen standard A Nightingale Sang In Berkeley Square. Rather less known, Will Hoover takes the writing credit for Freedom To Stay, a country waltzer love song previously covered by Waylon Jennings.

Reflecting the melancholic, reflective mood of the album, the remaining three numbers are all Friedman originals, albeit not exactly new material. Revisiting the back catalogue, gaining extra poignancy from the now well-seasoned voice the Kristoffersonesque love song Lady Yesterday (a line changed to reference Willie Nelson) originally appeared on the Lasso album, the sharp social commentary Wild Man From Borneo was featured on the live/compilation collection Old Testaments & New Revelations, there with full band and here with just acoustic guitar. Dedicated to Tompall Glaser, the last of the three and one of the album's highlights, the strummed sadness-soaked storysong I'm The Loneliest Man I Ever Met was actually written (with Hoover) twenty years ago, but never officially recorded until now and more than justifies Friedman's decision to go back into the studio and complete unfinished business. Maybe, if he's got the taste again, an album of new songs and observations, might not be too much to hope for.

Mike Davies