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When it works, like on the rousing, sentimental opener "Walter Reed," "On Automatic" and "Mary Lynn," Penn knocks the ball into the bleachers, but there's an over-flow of mid-tempo pieces about halfway through that bring the record to a standstill.
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BlenderHappily, this structure is as mercifully loose as Penn's melodies are tight. [Aug 2005, p.113]
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Entertainment WeeklyMany of the record's vivid, detail-heavy vignettes come off like PBS docs: intriguing but a bit dull. [5 Aug 2005, p.67]
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MagnetPenn's precision in balancing melody, mood and texture throughout nicely counters the often-depressing subject matter. [#69, p.106]
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Paste MagazineHollywood's fractured tale is underwritten by melancholy music that splits the difference between Mann's Bachelor #2 and Penn's MP4. [Oct/Nov 2005, p.138]
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The best songs here suggest an alternate universe where Bob Dylan and George Harrison agreed to collaborate full-time.
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Penn’s most unified sounding record.
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There's nothing as immediately or enduringly memorable as "No Myth," but it's a solid piece of work throughout.
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Mr. Hollywood Jr., 1947 won't win any awards for innovation and probably won't yield any radio hits, but that's perfect. This album isn't about creating the perfect pop song, but about creating a story that bridges generations.
User score distribution:
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Positive: 16 out of 19
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Mixed: 1 out of 19
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Negative: 2 out of 19
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Nov 24, 2020Walter Reed alone would earn this album ten. The rest is almost as good, and up till now (2020) this is the best longplayer from Michael Penn.
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WXOct 28, 2005
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RandyCOct 3, 2005