Andy Prieboy


Sins Of Our Father

Andy Prieboy - Sins Of Our Father ©1994 Doctor Dream
1. Sins Of My Fathers
2. How Would I Know Love Now
3. Wine Red And TV Blue
4. All For Your Love Again
5. Psycho Ex
6. Cannot Not
7. When The Heart Awakes
8. Robbing Her Own Room
9. When This Dream Is Over
10. Who Do You Think We're Coming For
11. You Don't Owe Me Anything
12. Build A Better Garden
13. Daddy Buy Baby A Boobjob

I can't say enough nice things about Andy Prieboy's brilliant Sins Of Our Fathers.

"Who?" you ask. You mean you've never heard of Andy Prieboy? No? That figures…

Some of you out there, particularly the ones who've ever purchased a compilation of '80s rock, may have heard of the band Wall of Voodoo. Yeah, those guys who did "Mexican Radio". And almost everyone who listened to alternative rock radio in the mid-'80s to early '90s knows of Concrete Blonde, the band that had a hit with "Tomorrow Wendy", right? Well, I've got some news for you. Andy Prieboy was the lead singer for Wall of Voodoo—but the original frontman, Stan Ridgway, did the vocals on that track. And Concrete Blonde didn't write their breakout hit—Andy wrote it and even sang backup on Concrete Blonde's remake, but his original version is almost unknown.

Enough with the background information that you should already know. Point is, Sins Of Our Fathers is a great album, stronger and more consistent that his hit-and-miss first solo effort, …Upon My Wicked Son. This time around, Andy plays piano, which is unusual instrumentation for a rock record not done by the Ben Folds Five or Tori Amos. The whole album is similarly adventurous, packed with rock-meets-Broadway songwriting, rapier-sharp lyrics, and a healthy dose of Americana. I challenge you: what could be more American than Kojak reruns at 2 AM, homemade records of a family's Christmas from 1952 found in a second-hand store, 12-step programs, boobjobs, and Vac-U-Jacs? (If you're puzzled by the last one, just use your dirty little mind and cogitate for a bit.)

Although not entirely autobiographical, most of Andy's songs are drawn from personal experiences and he is prone to go off on a monologue in concert to explain what a song is about. For example, the first track explores the anxiety Andy imagined that "a white, successful, Eurocentric male" (read: Yuppie scum) must have felt at seeing significant chunks of Los Angeles go up in flames after the cops who beat Rodney King went free. "Goddamn, my white world is tumbling down," indeed. Disgust with profit-minded record label executives fuels "Who Do You Think We're Coming For." In this song, Andy equates the bean counters who dropped him from a major label's roster and confiscated an almost-completed album to French nobility circa the French Revolution…and we all know what happened to those fat cats when the starving commoners decided not to make do with eating cake. (Historical note: "cake" referred to crusty junk clinging to the sides of bread pans, not the birthday cake like your mother made when you were in elementary school.) A relationship with a junkie ex-girlfriend is fodder for "All For Your Love Again" and "Robbing Her Own Room." I'd repeat the stories about those songs, but they aren't mine to tell…just know that "(S)tole one shotgun; put the motha to my head; blow me to kingdom come" refers to a deceased next door neighbor, a junkie pal of the aforementioned ex.

The only questionable inclusion in an otherwise flawless set of pop-rock gems is the last track, "Daddy Buy Baby A Boobjob," taken from the musical Banana Pants, which is more than kinda silly…but it works, God only knows why.

If you ever run across a copy of Sins Of Our Fathers, do yourself a big favor and pick it up.

Note for the future: Andy has a musical called "White Trash Wins Lotto" in the works. If the title wasn't enough to tip you off, it's about a character "similar to" Axl Rose, diminutive front man for the (thankfully) defunct Gutless Posers, er…Guns 'N Roses [well, there will be techno GnR soon - Ed.]. According to rumor, major studios are interested in a film version…

Review by Jonathan Arnett

Review date: 07/1999

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