A finalist in CBC Radio Canada’s “Young Composer of the Year” in 1992, Charles Boyd showed major promise early on in his career. Due to a mental health condition, he’s shied away from the stage, and even interviews but has not allowed his health to put a halt on his music in the least. Not only a singer, he also tackles the guitar, bass, keyboards and drums on his albums. All of which are available for free at his web address. Crypt Kicker is his current album, so this review will focus on some tracks from it and what it’s mostly all about. This is an adult contemporary artist, with a comedic twist and the twist is very “adult” themed.
Sometimes we just don’t get it, and sometimes we do. Other times a writer can really be lost on an artist altogether and it usually comes out wrong, looking like they didn’t even listen. But it’s hard to know exactly from which place Charles Boyd is coming with his lyrics. It makes you wonder if it’s serious in any way, shape of form. But some artists never look back, they just do what they do and keep going, leaving it for us to sort out. “The Lustful Dead” will test your ability to take anything seriously, and that might be where an artist like Boyd wins at every effort to entertain with his music. It’s funny, but only if you see it that way, and you can’t tell if he does or not, so you can’t make the call unless you know him personally. That being-said, on with the show.“Friends In New York” along with “Farah Fawcett” and “Mausoleum” all contain his odd sense of humor that by now his fans are well used-to. The latter track follows the same vibe as the opening track, with a vampire accent(Bulgarian). It also ironically holds one of the better backing tracks, but I also won’t repeat any of the lyrics because they’re offensive, but of course that is obvious to him. It’s just to be labeled as “explicit” as it practically gets. Some of the song titles, for instance, will not even be listed here if that is any indication of how crude some of them are. But intentionally crude is one thing to remember, and if that floats your boat then it’s neither here nor there and you can get it along the same lines he does. Most of the titles deal with adult subject matter that isn’t talked about everyday by everyone, and maybe it helps him to get these issues out, or maybe it’s simply his sense of humor shining through and nothing else. Listen with a grain of salt and tough ears, because it’s not kid’s stuff he’s singing about. “British Columbia” is where you get the serious side of Charles Boyd even if it’s extremely light-hearted in the process. This is one track where you’ll find nothing harsh in the lyrics, but it tends to beg for technical improvements as well. If you like a 30s sounding piano he knows how to play it on “The Saloon” which is a one minute-tune I rather enjoyed. “Outrageous” is another spot of goodness without any incendiary lingo. “Graveyard Slut” closes the album and takes it back to the beginning of things, and tries your patience on for size again, but it’s all done in fun, as-long as you and Charles Boyd think so.