Sealed, original copies of this 1981 LP. "Although he's from Albany, Randy Would sounds like he's spent at least 10 years hanging out in the wrong streets of Manhattan (pre-gentrification) and picked up old fragments of Lou Reed's and Bob Dylan's souls that were left in the gutter. Droney urban rock with piercing guitar leads, sounding not unlike George Brigman in parts, and thanks to Randy's artistic and sense of style, completely convincing. Cool record with wide appeal. " - Patrick Lundborg.
"Randy Would is a singer-songwriter with the feel of punk era street poets like Jim Carroll ad Richard Hell. He's not much of a singer but he uses a talky style and a soft, whispery style that both work well enough, and give his music a bit of a sleazy vibe. The music has a basement garage rock quality to it, and here and there is some quality fuzz guitar. This is pretty strong stuff. Song titles like "Nausea #2," "Screwed," "NY Survivor" and "Murder By Programming" should give you the idea. This is a refreshing album; Randy has that bohemian indifferent cool personality but he's not trying too hard to be trendy, as evidenced by nice pop song thrown in the mix. 'On The Lam' is recommended to those of you miss the days when singer-songwriters had no interest in romance or self-pity." - A. Milenski, Acid Archives.
Review from Discogs:
"This one's pretty obscure, but I suspect it's only a matter of time until someone discovers it's low-fi charms, word gets out, and it becomes a sought after and extremely pricey collectable.
Good luck finding something about Randy and the Goats on the web or any musical reference works. The only write up I could find was on the wonderful Acid Archives website, written by the ever insightful Aaron Milenski (if Mr. Milenski likes an album, consider buying a copy !). As a result what little I can tell you about the band comes from the liner notes accompanying the band's first and only album.
They were apparently from upstate New York and the line up showcased drummer Rob Cenci, guitarist/keyboard player Mark Chmielinski, bassist Doug Harris, and front man/singer/guitarist Randy Would. Released in 1981, most of their one and only LP was recorded in Rensselar, New York's Cathedral Studios with Chmielinski producing. Two tracks were done at Trod Nossel Studios in Wallingford, Connecticut.
Released on the small Broken Records label, "On the Lam" was one of those early-1980s releases that sported a distinctive mid-1970s sound. By the way, that was meant as a compliment ... That said, let me warn you that the set occasionally shows up on dealer lists slapped with a psych label. In the interests of accuracy I'll tell you that while there were minor psych touches, notably from Chmielinski occasional fuzz guitar and 'It was the End of the Movie Anyway' (which had kind of a cool Blue Oyster Cult 'Don't Fear the Reaper' vibe), the album was better classified as a slice of garage/grunge, or perhaps proto-punk. With Would responsible for writing all of the material (bassist Harris co-wrote two tracks), the album effortlessly bounced around between garage/grunge and haunted singer/songwriter with one pretty if atypical ballad thrown in - by the way the stark and stunning 'Broken' was one of the album highlights. As lead singer Would took a little effort to get acclimated to. His ragged and gruff voice and sometimes mubbling delivery wasn't the prettiest instrument you've stumbled across - imagine a younger Springsteen with a nastier street attitude, or perhaps a young Lou Reed who could actually hold a melody and you'd be in the right aural neighborhood. On the other hand, his voice and biting delivery were well suited to the band's raw sound and after a couple of songs Would actually sounded pretty good on tracks like the rockers 'The Day I Left Town', 'Media-ized', and 'Nausea # 2'. Come to think about it, showcasing Would's dark and depressing tales of urban angst ('Screwed' and 'Murder By Programming') the Lou Reed comparison wasn't that far off ... The album also benefited from The Goats. Cenci and Harris were a devastating rhythm section (Harris' bass way up front in the mix), kicking the crap out of these songs, while Chmielinski turned in some nice lead guitar throughout the set - check out his solo on 'Screwed')"