ENJOY EVERY SANDWICH ADAM SANDLER CRACK

Jordan, ZevonвЂ™s son, performs the previously unreleased вЂњStudebaker,вЂќ and Adam Sandler-yes, that Adam Sandler-turns in a surprisingly muscular performance (and keeps the mugging to a minimum) on вЂњWerewolves of London. Bruce Springsteen and Bob Dylan are both represented by live renditions of Zevon rarities Jackson Browne doubles (or erases) the irony of вЂњPoor Poor Pitiful Me,вЂќ which may well be a lampoon of the sensitive-California-singer-songwriter movement that Browne epitomized and the Pixies take a sledgehammer, noisily, to вЂњAinвЂ™t That Pretty at All.вЂќ The two highlights come from opposite extremes. A dozen-odd friends and colleagues of ZevonвЂ™s, from Don Henley to Billy Bob Thornton to the Wallflowers, have contributed versions of his songs. The album features many of ZevonвЂ™s best-known songs performed by a stunning array of artists including Bruce Springsteen, Bob Dylan, Jackson Browne, Adam Sandler, Don Henley, The Pixies.

ENJOY EVERY SANDWICH ADAM SANDLER CRACK

вЂњEnjoy Every SandwichвЂќ (Artemis), whose title is based on a crack about the preciousness of life that Zevon made to David Letterman, is a better memento of his spiky, cynical, and sometimes tender songwriting. In December of 2004 Artemis Records released a very special tribute album to the late Warren Zevon entitled ENJOY EVERY SANDWICH: THE SONGS OF WARREN ZEVON. Warren ZevonвЂ™s death from inoperable lung cancer last year was a well-documented tragedy, and though his final album, вЂњThe Wind,вЂќ was not his best work it got more than the benefit of the doubt.

Death has that effect: it both fixes things in place and exposes the futility of fixing them. In the end, itвЂ™s hard to pass any final judgment on the album, or on Smith.

Somewhere between the acoustic balladry of вЂњEither/OrвЂќ and the baroque pop of вЂњFigure 8,вЂќ he began to sound like George Harrison, and he still does in other places, he sounds like Alex Chilton, if Chilton had never disbanded Big Star and continued to turn out beautifully hopeless pop in the downbeat vein of вЂњSister Lovers.вЂќ Some songs here are perfect, while others meander. So does the second song, and the third, and the fourth-in вЂњKingвЂ™s Crossing,вЂќ the brawniest, brashest point on the album, he admits, вЂњI canвЂ™t prepare for death more than I already have.вЂќ This would be an academic exercise were it not for the fact that the record serves as a fitting memorial for SmithвЂ™s career.

Like any pre-suicide note, the album will be subjected to intense scrutiny look no further than the first song, which imagines relieving pain with some instrument of oblivion, whether sleep or drugs or death. The Elliott Smith album вЂњFrom a Basement on the HillвЂќ (Anti-) wasnвЂ™t quite finished when Smith was found dead, late last year, of two stab wounds to the chest, evidently self-inflicted.

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