1973 studio album by Jimmy Buffett
A White Sport Coat and a Pink Crustacean is the third studio album by American singer-songwriter Jimmy Buffett. It was released on June 4, 1973, as his first album for Dunhill.
The title of the album is a play on the country song "A White Sport Coat and a Pink Carnation" by Marty Robbins, and it contains several of what later became Buffett's most popular songs. The album was recorded at outlaw country singer Tompall Glaser's studio in Nashville, Tennessee. It marks the first reference to Buffett's backup band as "The Coral Reefer Band" and is the first album on which long-time Reefers Michael Utley and Greg "Fingers" Taylor play.
Songs
All of the songs on A White Sport Coat and a Pink Crustacean were written or co-written by Buffett.
The most well-known song of the album, the novelty "Why Don't We Get Drunk (and Screw)", was originally released as a B-side, backing the single "The Great Filling Station Holdup", and inspired some controversy at the time due to its lyrics. Buffett wrote "Why Don't We Get Drunk" and is credited with doing so, and with playing maracas and beer cans on the album, under the pseudonym Marvin Gardens; derived from a property on the original Atlantic City version of the Monopoly game board.
"He Went to Paris" is a perennial fan-favorite ballad, appearing on most of Buffett's greatest-hits collections. It was remade by Waylon Jennings in 1980, Doug Supernaw in 1994, and by Buffett himself for his 2003 Meet Me in Margaritaville: The Ultimate Collection.
Both Buffett and Jerry Jeff Walker wrote "Railroad Lady". Walker recorded the song a year earlier than Buffett, and it was later further popularized by Lefty Frizzell, Merle Haggard, and Willie Nelson.
Critical reception
Although it was not successful commercially at the time of its release, A White Sport Coat and a Pink Crustacean is generally considered one of Buffett's better albums[citation needed] and the beginning of his success.[citation needed] Johnny Loftus of AllMusic argues, "while it still lies much closer to Nashville than Key West," the album "does begin to delineate the blowsy, good-timin' Key West persona that would lead him to summer tour stardom" and is "highly recommended for Buffett completists and those interested in his more introspective side."[1]
