Tooth and Nail Records 2002
Whether to the discerning critic, the curious beginner, or the long-time fan, The Art and Craft of Popular Music takes a retrospective look at Joy Electric's musical career. It takes more than a few grey cells to fathom what his ideology is based on, but it becomes more clear when playing this anthology of work. On the surface, Joy E. may appear to be little more than quirky keyboard pop, but burrowing deeper, analytically listening, osmotically absorbing the bliss and madness, one finds irony, sadness, joy and the juxtaposition of all these elements set against the backdrop of a master-musician, who has single-handedly and painstakingly synthesized each beep, note, squiggle, and filigree to his own perfect standards, coalescing it with his unique vocal quality.
Almost forming a brand new album, Disc One comprises left-over tracks from previous recordings, rarities from other compilations, and three remixes of "We Are Rock" by The Faint, Echoing Green, and Norway, of which Echoing Green wins, hands down. The album opens up with two cuts from the recent Starcadia EP: "The Matterhorn" and "Dance to Moroder." The pristine and achingly beautiful "Mistletoe and Molasses" is reminiscent of something from "Old Wives Tales" days, with holiday-themed fairy-tale lyrics. "Ringing Bells" with it's minor keyed Mozart-esque embellishments and "Such a Beautiful Thought" continue in the grand tradition of melancholy, and darkly tinged Joy E style. Fans of Ronnie's Rainbow Rider days may also take delight in the newly beefed up mix of "We'll Last So Long."
The second disc effectively chronicles Ronnie Martin's vision by lining up nineteen of his best songs from the last ten albums and EP's (save for the most recent release, Legacy Vol. 1: The White Songbook.) Evidential to his obsession with melody, the most prime cuts in Joy Electric history are served in their respective order which makes it easy for a trained ear, schooled musician or lover of synthpop to discern the phases of synthesis that Ronnie has imposed on himself in order to reach his current state of creativity. Each track approaches the minimalist standards better than the previous, never foregoing texture, or fullness, but rather paying greater attention to detail and melody. As the drum machines, sequencers, and computer loops disappeared, Ronnie's music began - and continues - to rely strictly on his own ability to generate rich and pure sound with the most basic of analog synthesizers. One wonders if anyone has ever fully explored the possibilities of what one man and one Moog can accomplish, as much as Ronnie Martin has?
L. Jeanette Strole