Downtown NYC is not one of those legendary time capsules, like say, No, New York. documenting a certain niche, rather a mish mash of widely disparate genres, for the most part honing in on new and upcoming talent. The only real semblance of a unity here in fact is the opening cut, a euphoric, soulful spin on Petula Clark's "Downtown" by the impromptu Downtown Chorus featuring members from a handful of the other bands occupying this same 33 1/3, the Uptown Horns, Jerry Harrison, and I would imagine some session musicians to boot. The overall effect is that a of a lively Broadway cast recording. This leads into the album's finest moment, a just-under three-minute slice of guitar pop genius from Mark Johnson. "Breakin' Rocks" is a perfect-ten that sounds 100% inseparable from anything that might have jumped off the first two Marshall Crenshaw albums, and is quite literally worth every penny of this record's cut-out-bin admission. I'm flabbergasted and will be checking out the arears of this mans catalog soon. Surprisingly the only band featured here with any Wilfully Obscure overlap is Rude Buddha who's sassy "No More Gravy" is more nervy than anything on their 1985 Blister My Paint ep. As for Loup Garou, I was never a mark for zydeco, but damn, these gents are mightily adept at their craft.
Side two offers several pleasant surprises. Going into this, I wasn't at all familiar with the late Frank Maya, who was a comedian by trade, however more notably on "Polaroid Children" he's backed up on guitar by Naux, a one-time Voidoid and part of the creative heft behind China Shop, a rather arcane but rewarding artifact of New York's no-wave syndicate. Soma Holiday's syncopated synth-pop boasts more 1980s production indulgencies than one can shake a stick at, the absolutely frenetic and dissonant Ritual Tension are in prime under-your-skin form as usual, and Ok Savant whose discography consists of merely two compilation showings (this one included) involves the talents of Vernon Reid on "Rain."
