The Roches (album)

Paul Simon had been so impressed by Maggie and Terre Roche that he invited them to sing harmony on the song "Was a Sunny Day" on his album There Goes Rhymin' Simon. He helped them get a publishing deal and a record contract, and even produced one song on the duo’s 1975 album Seductive Reasoning. The label advised the sisters to "wear hipper clothes." Terre Roche later said:

We were humiliated... We wanted to get out of the whole situation. We had a friend in Hammond, Louisiana, who was running a kung fu school. We gave up our apartment and told the record company, ‘We’re not going to promote the record anymore; we’re going away for a while.’ This was two weeks after the record came out. Maggie wrote the "Hammond Song" about the whole experience.[1]

Professional ratings

Review scores
Source	Rating
AllMusic	[2]
Rolling Stone	[3]
The Rolling Stone Album Guide	[4]
Spin Alternative Record Guide	10/10[5]
The Village Voice	A[6]

The album was well received. John Rockwell in The New York Times wrote that the album was "... the best pop record of 1979 thus far. In fact, it's so superior that it will be remarkable if another disk comes along to supplant it as best album of the year."[7] Rockwell subsequently picked it as the best album of that year, stating that it was "... also the scariest record, because the Roches probe emotions and even fears that most pop — most art, even — does not approach."[8] Jay Cocks in Time magazine wrote that the Roches music "is startling, lacerating and amusing".[9] The Village Voice critic Robert Christgau said "Robert Fripp's austere production of this witty, pretty music not only abjures alien instrumentation but also plays up the quirks of the Roches' less-than-commanding voices and acoustic guitars. Thus it underscores their vulnerability and occasional desperation and counteracts their flirtations with the coy and the fey. The result is not a perfect record, but rather one whose imperfections are lovingly mitigated."[6] It was voted #11 for the year in The Village Voice's Pazz & Jop Critics Poll.[10]

It has continued to be highly rated. AllMusic characterized it as a "mischievous and highly original folk blend".[2] Rating the album 10/10 in the Spin Alternative Record Guide, Ann Powers praised Fripp's guitar accompaniment and spare "audio vérité" production but noted his efforts "would be merely a gorgeous surface if not for the songs themselves. Suzzy and Terre each contribute winners, but it's Maggie whose genius dominates."[5] The Rolling Stone Album Guide gave it five stars and called it an "unprecedented thrill" that was "spare, loose, pointed" and equating it to the Greenwich Village version of the New York punk explosion.[4]

"The Married Men" was covered by Phoebe Snow on her 1979 album Against the Grain.[11]

"Hammond Song" was covered by The Colourfield on their 1985 eponymous debut album Virgins and Philistines and by Whitney on their 2020 album Candid.[12] It was also covered by Salyu x Salyu on the 2012 album, “s(o)un(d)beams+”

1. "We" (Suzzy Roche, Terre Roche, Margaret Roche) – 2:35
2. "Hammond Song" (Margaret Roche) – 5:46
3. "Mr. Sellack" (Terre Roche) – 4:03
4. "Damned Old Dog" (Margaret Roche) – 4:07
5. "The Troubles" (Suzzy Roche, Terre Roche, Margaret Roche) – 3:27
6. "The Train" (Suzzy Roche) – 3:30
7. "The Married Men" (Margaret Roche) – 4:32
8. "Runs in the Family" (Terre Roche) – 3:29
9. "Quitting Time" (Margaret Roche) – 4:19
10. "Pretty and High" (Margaret Roche) – 4:05

• Tamm, Eric (2003) [1990], "Chapter eight: Out of retirement—'The Drive to 1981': 'Linguotronics': Fripp as writer", Robert Fripp: From crimson king to crafty master (Progressive Ears ed.), Faber and Faber (1990), ISBN 0-571-16289-4, Zipped Microsoft Word Document, archived from the original on March 3, 2012, retrieved October 26, 2011