Escape Artist is veteran Garland Jeffries sounding very Elvis Costello, with clean Bob Clearmountain production and guest stars like David Johansen, Nona Hendryx, Lou Reed, Adrian Belew, Randy & Michael Brecker, and many others. It is a very satisfying pop disc. Jonathan Richman has his band Modern Lovers, Willie Alexander wrote a song with the same name, and David Bowie wrote "Modern Love"; Jeffries "Modern Lovers" has nothing to do with any of them except that he comes from the same underground scene as all of the above. A good idea is a good idea, and this is another good song with that title. "Christine" also works. It's a fun pop romp helping make this one of Jeffries' most cohesive discs. "Ghost of a Chance" is a clever tune about a relationship with no hope; there is a solid, harder version of Rudy Martinez' "96 Tears" with some very cool guitar making it the most radio-friendly track. Garland Jeffries vocals are in great shape, in control, and almost menacing. The back cover has him reading a New York Post with former president Jimmy Carter declaring an emergency, with very movie film like photos/poses by the artist. "Innocent" takes the album other places, going into a Romeo Void or Cars '80s place. It's very catchy, very new wave meets techno. "When it comes to sex/you're using your special effects/...we're gonna ruin all the records in the fingerprint file." Classic Garland Jeffries lyrics. "True Confessions" continues the techno groove -- "You keep rolling in my head/like a magnum that repeats." "R.O.C.K." shows John Cougar how it is really done, this Garland Jeffries original is authoritative. "Graveyard Rock" is reggae for the unlucky. "Mystery Kids" brings up memories of The New York Dolls with a great hook and a celebration of underground rock by someone who emerged from that environment -- it's inspiring. "Mystery Kids" is one of the best tracks on a very good record. Represented by Fred Heller who managed Mott the Hoople as well, Jeffries had a near-hit single on Atlantic called "Wild in the Streets." It became a concert anthem for the reconstituted Mott when they became the British Lions. This album has that same street-smart attitude as Jeffries' most celebrated song, and the musicianship is top notch, creating one of this artist's most important catalog pieces.