Lannie Flowers “Home”
Lannie Flowers is an amazing talent and despite not having a new LP since his Live In NYC album, he’s been very active. Worth the wait, Home boasts Lannie’s strongest songwriting to date. It starts quietly with the upbeat and catchy “Running.” The layered guitar hooks are familiar to Lannie fans, and the title track is a comforting mid-tempo rocker that encompasses the album’s main theme, which is that “home” is where the heart is, and wherever you are in life.
The album is very introspective, as Lannie lightly strums “My Street.” The observational lyrics are sweetly endearing, and the follow up “Anyway” is another brilliant bit of songwriting that recalls Paul Simon or Adam Schlesinger. The Texas-style comes through on “Free To Dream” and “I Got A Secret,” with its mellow verses and slow rhythms. Thankfully the rockers come back with the melodic bliss of “Just Go To Sleep,” the Lennonesque “Shine A Light,” and the wicked bass-driven melody for “It’s All Over.” And Lannie wears his heart on his sleeve with each of these songs of heartbreak and doubt, like on “Missing You Tonight” and “He’s Got Himself.” Every song here is fined tuned to resonate with emotion. Highly Recommended and earns a spot on my top ten list for 2019.
Empty City Squares “337”
New Jersey’s John “Yanni” Fotiadis is the main songwriter and multi-instrumentalist of Empty City Squares. This artist has been mostly under the radar, but now he should be getting a little more attention. Fotiadis has a gift for composition and production, his influences point directly to the mid 70’s peak of post-McCartney rock (Wings, Andy Pratt, Gilbert O’ Sullivan, David Essex).
The opener “Neighborhood Van Gogh” is a shimmering example of power pop, with handclaps, layered percussion, and a driving beat. The technique is very compelling, “A Big Sunset” and “Sometimes You Need To Look Back (When You Look Ahead)” reminded me of 70’s pop oddity Brian Protheroe, but with Abbey Road like ambitions. I found “Campaign Song” especially rang a lot of those melodic bells with terrific musicianship and dramatic lyrics. “Overly Sentimental” is another big highlight with a boogie-woogie guitar rhythm that’s simply infectious.
However some songs weave in more than one style during a chorus, and while interesting, it loses melodic hooks in the process. John packs many musical ideas into each song and often the songs run over 5 minutes. Another issue is that his vocals don’t always rise to the material written. For example, “Just Play” proves a great tune that simply falls short without an aggressive rock vocal. Despite these flaws, most of the songs are worthy of repeat listens. This is music that deserves to be heard, and I can’t wait to hear what John does next.
