Arthur Alexander “…Steppin’ Out!”
Arthur Alexander is back after last year’s successful Sorrows reboot “Love Too Late… the real album” and he’s just as immediate with the driving opener “Woman,” a frantic rocker that pulses with energy. The melodic “It’s Not Love Anymore” is essentially a top-notch ballad turned into a compelling rocker. “One Life (Is All You Got)” has a touch of The Who, with a blissful sitar break midway through. Music like “Ashes” and “Humming The Blues in Four” display Alexander’s talent for delivering emotionally charged performances, making it difficult to not feel a strong connection to the music. His vocals are given ample space to shine thanks to the simple yet powerful arrangements.
Arthur also takes on prog rock (“Why Can’t You Come”) and even electro-pop (“A Little Too Much”) with less success, as I think his vocals are better with fewer digital alterations. But “Oh Lulu, Won’t You Be My Girl” is a welcome shot of whimsy, in the form of an old-fashioned dance hall number. A sequel to the Beatles’ “Honey Pie,” anyone? Overall, more hits than misses. Highly Recommended.
Parallax Project “Autologous”
Michael Giblin (The Split Squad, Minus 5) is the main honcho behind The Parallax Project. The debut was a power pop classic, but after 2009’s I Hate Girls, the band disappeared. This time he’s enlisted Joe Adragna (Junior League/Minus 5) to come back with Autologous (a medical term for being derived from the same individual). Giblin has this biggest hook first with “Put It Out,” a mantra that will be hard to “put it out of your head.” Next, “I’ve Got To Change My Life” is like Ric Ocasek (The Cars), who describes his issues in verses, and the chorus brings it home. “Mary Houdini” is a rich single with classic harmonies and tambourines.
By the second half, the songs deal more with universal topics like heartbreak, disappointment, and becoming older. The guitar ballad “Anything Like Me” is very heartfelt, and the steel pedal tone of “You Were Never There” and “This Is So Easy” recalls Marshall Crenshaw. While not as catchy as the album’s first half, Giblin’s songwriting is better here. The end boasts a strong Who-like theme, “Nobody Cares,” and there are just enough gems here to make this Highly Recommended.