Alan Walker

A Little Too Late

Aunt Mimi’s

Singer/songwriter/keyboardist Alan Walker, formerly frontman for NYC’s The Brilliant Mistakes issues his second solo album, A Little Too Late. His hook infested, pop driven sound owes to Joe Jackson, and even earlier sounds from the 70s such as early Jackson Browne and pop-oriented English bands such as Squeeze on this sonically rich effort. It’s as if we are transported back to the more innocent eras of growing up with FM radio. Walker wrote and sang all nine songs while playing piano and Wurlitzer backed by a core band that included John Morgan Kimock (drums), Jon Herington (Steely Dan) (electric guitars), Rob Schwimmer (B3, synths, keys), and producer Lincoln Schleifer (bass, percussion, and horn and strings arrangements).  Notable guests include Larry Campbell, Teresa Williams, Lucy Kaplansky, and more.

The harmonious, Beatles-esque opener, “The Morning After” has Walker layering his own background vocals with his lead while Herington takes a brisk guitar solo. The acoustic ballad “Mama Kat” features Larry Campbell’s acoustic guitar and pedal steel while Walker delivers one of his best lead vocals over relatively simple, steady chords. The rhythmically infectious “Twist of Fate” revels in dark comedy as Walker again creates layered vocals surrounding Schwimmer’s teeming B3 solo. Schwimmer literally takes to the kitchen sink along with claviola, and taisho harp on “Town Called Misery” in the most Joe Jackson influenced tune, that has not one downcast vocal or instrumental note, belying the title. Even the chorus “Misery, misery, ohh” sounds tongue-in-cheek.

Walker delivers a piano-driven ballad with “Only Son” buffeted by the two cellists, Myron Lutze and Jake Charkey while shifting to Wurlitzer on the upbeat stomper “Wait,” which, like the former and the R&B infused title track features Williams and Kaplansky on backgrounds along with a tasty guitar break from Herington.  “Wait” also benefits from Bill Holloman’s tenor sax and Larry Etkin’s trumpet. Andy Burton’s Rhodes leads into the lilting “Somewhere Down the Line,” colored as it evolves by the twin flugelhorns of Holloman and Etkin as Waker returns to layered vocals which he carries through the closing, peppy “Better Man,” the most horn slathered tune on the album.

Though the promotional copy points to a variety of moods, both light and dark, the overall takeaway is uplifting due to the rich harmonies and varied instrumentation. Well-crafted and conceived, hooks abound, and you’ll be returning to this one often for a mood lift as these melodies will linger for days on end.

• Jim Hynes

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