Jackson Browne once called Zevon "the first and foremost proponent of song noir," and I might as well lead off with that description since I can't think of one more simple and eloquent myself. From the late 60s to the present, WZ has developed an uncanny ability like no one else - the art of mixing oddball black humor with melodies so bright and spirited you catch yourself humming them for a week. The arguable peak of his 70s material is this album you're reading about now, Excitable Boy, and not just because everybody knows "Werewolves of London." Much of it is simple rock and roll, but to me there's always been a uniquely creative quality about everything here that keeps any of it from sounding stale or tired. Maybe it's partly because I have a thing for cool titles like "Lawyers, Guns and Money." Maybe I just can't help admiring someone who can rhyme 'word' with 'Johannesburg' and make it work. I can't explain it.. I just know that I still get a kick out of this stuff after years of listening, and Warren's recent diagnosis with terminal lung cancer has saddened me like no other bit of celebrity news in recent memory.

But anyway - back to the album. To be sure there are a couple more somber moments here: "Accidentally Like a Martyr" for example (Dylan, eat yer heart out), or the growing-up theme of "Tenderness on the Block".. and that's not even getting into the strange half-creepiness of "Roland the Headless Thompson Gunner" and the like. But even despite all those, it's a safe bet you've rarely heard such cynicism with such a sweet sugarcoating as you'll hear here. The title track is probably the best example; the words verge on downright disturbing, yet it's driven along with a joyfully sunny saxophone and a bright "oo-wah-oo" backup chorus. "Lawyers..." is Warren's finest example of the perfect straightforward three-chord rocker, while "Veracruz" establishes a foreign setting by mixing in some flute. I can even forgive the 70s disco-funk touch of "Nighttime in the Switching Yard" considering what brilliance it's surrounded by. The whole disc plays like a short-story anthology in musical form, peppered with characters that range from oddly lovable to frighteningly strange.. from Roland and his mercenary comrades, to the trouble-loving thug in a tight spot begging his father for help, to the album's namesake with his habit of murdering prom dates. It's a guilty treat for the cackling cynic in all of us; a way of unflinchingly looking at the dark side of humanity and realizing that, when you get right down to it, something about it all is wickedly funny for a reason we can't really explain.

Or maybe I'm reading way too much into it, and it's just nine plain songs to stick in your head and give you a good laugh. Of course there's nothing wrong with that either, and there are much worse ways of spending a few quick dollars than this. Enjoy and beware the werewolves.

I've always felt that some gifted musicians were never given the full exposure they needed to go to the next level. Although Warren Zevon has experienced a truly great career, I think he can take to heart that a lot of people really enjoy listening to his music. One of the best albums to be released in the 70's was Zevons "Ëxcitable Boy".
This was another record I heard on a local FM station who would have "Album Hour" every night. They would play new LP's by well known or obscure talents. When this album came on, I had no idea who the artist was nor had I heard anything similar. The vocals were gruff and somewhat reserved. The sound was deep rooted and together. From the opening tune "Johnny Strikes up the Band" I felt that this was worth hanging around for. Warren exposes himself as a decent song writer and pocess' somewhat of an imagination. Great arrangements on the songs gives substance to the lyrics. Excellent musicians fill out the rest. Great cuts to listen to over and over, "Lawyers, Guns and Money", Night Time in the Swiutching Yard", "Tenderness on the Block" and the stalwart "Werewolves of London".
All the songs here are very well done and Warren Zevon is without question on par with the best. This album I feel really was a true gem. If you like this, try "My Ride's Here". All in all "Good Music".

What would you the listener put on his tombstone.."Send Lawyers Guns and Money..Here Lies An American Original,An American Songwriter".It pained me to learn of the death of Warren Zevon last week,dead from inoperable lung cancer..but the legacy he left in his collection of songs,and in particular,in this collection,makes him one of the true mavericks,one of the most interesting of performers and writers of the late 20th century.
To celebrate Warren Zevon is to understand that he produced recordings with a bent, a unique perspective on life and in this album, love and death.
The previous album,"Warren Zevon" was consistently delivered with great songs,but it was with the release of "Excitable Boy" in 1978 that he launched his career into the mainstream and scored his most commerical success with the quirky and infectiously irresistable *Werewolves of London*
From the very first listening,and with a song book that showcased the weird,the macabre,the wasted ,the historical,the romantic,the dark and the witty,this had something for everyone.
There will probably never again be a songwriter who can flipantly recount the behaviour of a seriously deranged killer,and label it as if he was just"a very naughty boy" as in the title track,and then produce the perfectly crafted and achingly poignant *Accidently Like A Martyr*.This original card carrying West Coast rocker,the thinking man's Eagles with the dark sense of humour,delivered a memorable song canvas.*Roland The Headless Gunner*,took the epic story lyric into a new world,laced with topical commentary and wickedly clever insights,that you will certainly be seeing the *muzzle flash of Roland's Thompson Gun*
Like any great project,the personal involved ensured that this collection would stand the test of time.All involved were arguably at their creative peak,from the production of Jackson Browne and Waddy Wachtel,to the stella group of musicians through to the back up singers who featured,it still sounds great today.Linda Ronstadt,Jennifer Warnes,Karla Bonoff,Russell Kunkel,John McVie,Mick Fleetwood,Jeff Porcaro,Waddy Wachtel,Rick Marotta..it would be easler to name those in Los Angeles who arent on here.
Strong tracks like *Veracruz* *Johnny Strikes Up the Band*and the anthem like *Lawyers Guns and Money* all mix beautifully in the final product,and showcase the boundless potential talent of Warren Zevon,that he reproduced somewhat sporadically after this until his death,recently.
I would strongly recommend that this album form part of your CD collection and that you may wish to purchase the retrospective *Genius*.
There is no readily accessible prefabricated over produced commerical conformity to hang your hat on here,just original talented ideas packaged in a superb musical pie..an American Pie.I would give this 6 stars and along with *Running on Empty* by Jackson Browne,stands out as the best that the West Coast had to offer.Buy ,listen and enjoy...well he was just an excitable boy...RIP

I remember when this first came out, Rolling Stone called him "The New Contender". They put this album on par with the best of Bruce Springsteen, Neil Young, and Jackson Browne as far as songwriting ability goes. Well, this single album is as good as those, and career-wise, he's on par with at least Jackson Browne. But while he did come out with very good material both before and after this, he never cranked out enough great stuff afterwards to be considered the Best of the Best.

So revel in this one, as it's his masterpiece. With piano being his primary instrument, and penchant for songs not playing with a full deck, he is on par with Jerry Lee Lewis as far as rock and roll performing goes (I've seen them both live, and that part is true). The song "Excitable Boy" is a true gem to see if you can ever see him live. "Lawyers, Guns, and Money" does point out what "Excitable" behavior leads to. And of course the immortal "Werewolves of London" keeps one howling long after the song is done.

But like Lewis, he also does hearfelt ballads very well, and these outnumber the faster paced songs on the album 5-4. While "Roland the Headless Thomson Gunner" keeps him in the wacky category, "Accidently Like a Martyr" is a genuinely sad song about lost love. However, my favorite song of the entire album is "Tenderness on the Block". It deals with the issue that all parents eventually have to face, which is when to finally let your children find out about life. While I don't necessarily think it means letting them join a street gang, it does point out that kids have a mind of their own, and eventually they will have to learn how to use it. I thought so over twenty years ago, and now with kids of my own, I'm forcing myself to keep agreeing with it.

More than anyone else in the whole El Lay songwriter movement of the late seventies, Warren Zevon had absolutely no problem with getting a good laugh at the expense of the insularity of it all. And on his second proper album, he took the whole scene and turned it properly on its backside. "Excitable Boy" threw in a mix of werewolves, mercenaries, drug abusers and paranoid spoiled brats, yet while frequently offering exceptional tenderness and insight. It was easy to see why Jackson Browne was his mentor and Linda Ronstadt his patron angel.

A song as reckless as the album's title track could come from nothing less than genius. The chirpy sweet background vocals and sugary melody buoy the dark tale of a murderous high school student who kills on the night of his junior prom. "Hotel California" this most certainly wasn't. At the same time, "Accidentally Like a Martyr," with its stately piano line, encompasses the horror of a sunken love affair in barely three and a half minutes. These juxtapositions carry all the way through "Excitable Boy," with only one misstep in the CD's nine songs (the forced funk of "Nighttime In The Switching Yard").

Warren Zevon made several other great albums, but "Excitable Boy" was the moment that his youthful exuberance and a mind uncluttered by too many foreign substances produced a stunner. As a document of the California Sound that Elektra/Asylum records was known for in the seventies, this is indispensible.