Category: Album Preview

John Larson “Songs About Music”
As long time frontman for  The Marlowes, John Larson has plenty of stories about life as working musician. With the help of his bandmate Justin Capaldi and Mick Chorba (The Dispomaniacs), he puts these observations in his new solo LP. Larson opens with the hook filled “Girl in the Band,” about a hook up at a music convention. “They’re Not Writing Country (In This Country Anymore)” is a pretty accurate jab at the current commercial country rock scene.

John’s vocal is limited in range, but clear and best used on “Kiss and Yell” and “Billy and Wiggy” a description of meeting Billy Bragg’s brother. The harmonies and lead work to great effect on the melodic “She Just Wants To Talk” and the obsessive thoughts of a vinyl record collector “Track You Down” combines a vintage Zombies-styled organ melody with a sing-along chorus. “The Lifer” is a gorgeous autobiographical ballad that has echoes of Van Morrison and Lou Reed about how  “the critic’s darling” can’t afford to even get gas for the car. Many musicians hearing this album will nod in agreement – a strong effort by a veteran road warrior.

Doctor Ew “Gadzooks”
Don’t judge an album by its cover. Despite looking like a horror soundtrack or punk album, Doctor Ew is the solo debut from Toronto pop musician Drew Smith. Right from the get go on “The House Of Many Mansions,” you’ll hear those XTC and Rundgren influences in the beat and synth compositions. The happy hand clapping melody of “Dance All Over My Grave” is in direct contrast to the dark psychotherapy in the lyric. “Be A Dreamer” is another endearing melody that echoes Brian Wilson with its tinkling piano, and the follow up “To Be Your Man” is an equally wistful Beach Boys styled tune. Ew’s nasal tenor works well on these short lo-fi songs (most under 2 minutes) and the added horn flourishes, guitar rhythms and backing harmonies enhance each melody.

No filler here and every track is interesting, although Drew’s vocal on “Do As The Lord Tells Me,”  doesn’t quite fit. Also impressive is the beautiful and creepy “If You’re Happy” and the self depreciating “I’m Getting Fat” with the funny backing chorus of “Hey Chubba Bubba!” Overall, a delicate and fun diversion for those with a musical sweet tooth.

Hannah Cranna “A Real Nice Parade”
With some help from Badfinger alum Joey Molland, Hannah Cranna does a “re-boot” of its 1997 debut from defunct power pop label Big Deal Records. We get an impressive start with “Hello,” a catchy tune in the best Badfinger tradition. This take us to a rootsy “Are You Going Home, Polly?” and some nice harmonizing on “Paul McCartney and Wings,” although the band mentioned in the title has absolutely nothing to do with the song. After a solid first half,  the album relies on re-mastered or re-recoreded tracks from the debut, and while pleasant enough there is nothing here that really sticks, until we get the slow compelling jam “Heroine on Ohio” and this tempo leads nicely into a live cover of Badfinger’s “Money/Flying” with Joey leading the band. Hannah Cranna would do much better if they leaned less on him, and did more to distinguish their sound, but for Badfinger completists this will be essential.

Kensington “Borders”
I saw this on a “best-of” list and gave it a spin. This is a Dutch band with a melodic-rock meets new wave dance sound. “Let Go” opens up with fast dance beats and it’s chorus does grow on you after a few listens. There are plenty of angular riffs and handclaps in “Youth” that qualifies it as power pop (barely). They’ve shared the stage with bands like Razorlight, The Wombats and My Chemical Romance and the duel vocals of Caspar Starreveld and Eloi Youssef mesh quite nicely. “All That I Know” has some wonderful harmonies and then switches to a manic tempo with shotgun riffs. This falls squarely in the alternative pop category, with classical overtones in the songwriting so fans of Sparks and Roxy Music may like it too. Other tracks that impressed me are “Not As Bright” and “Friendly Fire.” Definitely worth exploring.