Marshall Crenshaw
Field Day 40th Anniversary Expanded Edition
(Yep Roc)
4 out of 5 stars
In 2022, Yep Roc started its Marshall Crenshaw reissue program by remastering and expanding his enduring 1982 debut. A year later, we move to his second album, Field Day (1983), again celebrating its 40th anniversary with enhanced audio, new liner notes, rare photos, and a clutch of bonus tracks.
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There was a noticeable sonic shift for these sessions though. Instead of the previous album’s crisp, punchy, live audio courtesy of producer Richard Gottehrer who captured Crenshaw’s joyous, somewhat retro pop approach, UK boards man Steve Lillywhite was hired. He played a significant role in crafting the attack of bands like U2 and Psychedelic Furs whose bigger, more resounding music benefitted from a heavier drum recording technique and a thicker, even darker sheen. On paper this seems to contradict everything that Crenshaw was about and, upon the album’s release, the production was criticized for squandering some of the allure of Marshall’s debut.
But Crenshaw dismisses that in an interview reprinted in the reissue’s booklet. He wanted Lillywhite, enjoyed working with him, loved the way it turned out, and thought the disparagement was “lame.” Forty years later, the audience can hear and assess this music with different ears.
One thing is certain; Crenshaw’s songs for Field Day were just as well written and performed with a similar vivaciousness as those on the debut. Titles like “Whenever You’re On My Mind,” “Monday Morning Rock,” “For Her Love” and “Our Town” captured the youthful, concise, pop charm he’s known for and Lillywhite’s touch provides a boomy Phil Spector-sized heft. Selections such as the widescreen ballad “All I Know Right Now” benefit from the enhanced reverb and “Hold It,” with its Byrds-ish strum along with somewhat odd tape-delay shenanigans feels more thunderous.
Greg Calbi, who provided the original mix, is back to handle the new one, closing the circle while bringing additional authenticity.
Six extras aren’t particularly interesting. Two “TV tracks” remove the lead vocals which might work well for karaoke but doesn’t provide much otherwise. This, however, is now the only version of Field Day available. Between the quality of the songwriting, the admirable remastering, and the passage of four decades from its initial appearance, the music, and even controversial production hold up remarkably well. The album may not be Crenshaw’s finest hour, yet it has become one of his most appreciated and “beloved” (his words) efforts.
Photo by Scott Dudelson/Getty Images