The Birthday Girl

Usually when musicians name their band after a song, said number is the best they've got at the time, or damned close: "Black Sabbath," co-written by Ozzy Osbourne, is a good example. Singer-songwriter John Nichols must feel likewise about "You Are the Birthday Girl," since he made it the title...

By Michael Roberts

July 1, 2004

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Usually when musicians name their band after a song, said number is the best they've got at the time, or damned close: "Black Sabbath," co-written by Ozzy Osbourne, is a good example. Singer-songwriter John Nichols must feel likewise about "You Are the Birthday Girl," since he made it the title cut of his CD and employed virtually the same moniker as a nom de plume. But while the track in question is perfectly pleasant, it's less memorable than several of his other ditties.

Nichols is a devoted Anglophile whose work filters American influences through a British lens. Although "Charmaday," with lyrics by Charlie Hoge, features a Phil Spector beat, Nichols's ringing guitar tones and soaring vocal harmonies nod to drama, Manchester style. Elsewhere, "Tidal Wave of Shame" tunefully wallows in a sore subject -- and if "Rock You Into Submission" doesn't quite accomplish its stated purpose, the droning melody achieves a similar effect.

Overall, Birthday Girl and the Birthday Girl are better than "Birthday Girl." Try getting your head around that, Ozzy.

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Michael Roberts began his career with Westword in 1990 as music editor. In 1999, he took on a new role, full-time media reporter, as author of a column called The Message. In 2008, he became the lead writer for Westword's news blog, The Latest Word, a position he held until January 2023. Michael continues to freelance for Westword, covering everything from business to sports and the media; he also contributes to Jazziz, a national music magazine. He holds a bachelor's degree from what is now Colorado Mesa University and master's degrees from the University of California, Los Angeles, and Northwestern University.

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