Hoffman is a talented baroque pop veteran, who has not released nearly enough music. He played in The Mumps, where his writing contributed to that band's over-the-top sensibility (though the late Lance Loud had enough over-the-topness for four or five bands). He fronted The Swingin' Madisons, a band I'm still dying to hear. He has gone on to play with other folks, most recently collaborating with Goth chanteuse Abby Travis, and kicking out two solo albums in the ‘90s. Hoffman specializes in delicate (but deceptively strong) melodies with dense witty observational lyrics. Sometimes he sounds like he should be headlining the Holiday Inn lounge in Braniacville.

The title of this disc alludes to its nature. Hoffman duets with an array of talented folks who share his left-of-center take on music. Check these names out: Van Dyke Parks, Paul (Pee Wee Herman) Reubens, Stew of The Negro Problem, Rufus Wainwright, El Vez, Lydia Lunch, Maria McKee, Steve (Redd Kross) McDonald, Ann Magnuson, Michael (Three O'Clock, The Jupiter Affect) Quericio, Darian (Wondermints) Sahanaja, Abby Travis, Anna (that dog) Waronker, Paul (The Fast) Zone and Russell Mael of Sparks. Speaking of Sparks, which I do frequently, original Sparks guitarist Earle Mankey produces.

This disc is both a special event and an incredible career summation - while nothing rocks as much as Hoffman's Mumps days, he has tailored material that is splendidly suited for his guests. The stylistic diversity works so well because it is grounded in Hoffman's specific compositional and lyrical sensibilities. Hoffman is at peak power throughout, and his teammates are all up to the task.

The most striking track is "Scarecrow", a collaboration with Wainwright (who Hoffman toured behind). It isn't that far off from Wainwright's own material, but it cuts deeper - chords are sadder and the lyrics go a bit further. This song is a brilliant metaphorical take on the homophobic murder of Matthew Sheppard, filled with layers upon layers of meaning, as it grapples with the aspects of the crime at different levels, and the nature of man in general: "A rifle butt against the head/because we'd heard it said/that only God can make a man/it's true/but only man can make a scarecrow out of you/and only man can make a God that will approve." I can't convey how Hoffman and Wainwright make this verbose poetry fit the poignant music seamlessly, but they do. In fact, Hoffman is right up there with artists like Joe Strummer, Paul Weller and Ron Mael in his ability to make articulate but seemingly unwieldy lyrics work in a pop-rock structure.

Two other songs grab the heart. "Tender Even Then" is an acoustic track, with Maria McKee trying to salve Hoffman's wounding tongue - he can't help but destroy his romance, while assuring his lover that he can be tender. The melody has a slight Latin tint. Anna Waronker's sensuous vocal contrasts the quavering Hoffman on the psychorchestral "Get it Right This Time". She's the sunshine breaking through his mental clouds. Not everything is so heavy. The collaboration with Russell Mael, "Devil May Care", is a fine bouncy pop number; Hoffman's "Palace of Corn" has the right retro-pop feel for Wondermint Darian Sahanaja; and "Series of You's" (with Paul Zone) is kinda dancey. Fans of Hoffman's more baroque creations will have their due. Hoffman and Ann Magnuson team up on the neo-musical "Sex in Heaven", with an ultra memorable chorus for the best song ever about castrati. Abby Travis gets to show off a more playful side on "God, if any, Only Knows". And "Madison Avenue" is shaken-not-stirred spy lounge rock, with El Vez showing that his cool voice is no novelty.

This is merely a summation, as every track is worthy of deeper analysis. Over the past month, I have fallen in love with this record. This is timeless pop from an artist who manages to share the spotlight even when he most deserves to hog it by himself. A definite contender for album of the year.

-Michael Bennet, http://fufkin.com, June, 2002