Alan Walker’s latest collection, a little too late, is a testament to finely crafted and expertly executed pop music. For enthusiasts of polished, concise compositions reminiscent of Paul McCartney’s Wings era or the sophisticated simplicity of Andrew Gold (“Lonely Boy”), this album delivers a satisfying experience. Walker showcases a knack for creating slick, accessible tracks that prioritize melody and arrangement.
Alan Walker performing on stage at a concert
While Alan Walker’s style operates within certain boundaries, his overall performance is undeniably pleasing and decorative. His vocal tone carries a thoughtful quality, flowing seamlessly within a well-defined pop framework – think Eric Carmen rather than the introspective Nick Drake, leaning more towards Billy Joel than the theatrical Elton John. While some might detect a subtle Jackson Browne influence, a little too late (released June 28th under Aunt Mimi’s Records, clocking in at 33:19) distinguishes itself with nine songs that favor melodic directness over lyrical density or intricate narratives often associated with Browne.
The album steers clear of Bruce Hornsby’s rustic piano vigor, yet Walker’s piano-driven songs exhibit a distinct creative spark. His music defies easy categorization, transcending country, blues, show tunes, or conventional rock. Its melodic charm is undeniably singer-songwriter territory, evoking Carole King but perhaps not the complexity of Laura Nyro, or the pop sensibility of Ellie Greenwich without the dramatic flair of Diane Warren. Walker’s assured musicianship is evident throughout, though the music rarely ventures into aggressive or edgy territories. This restraint, however, is not a drawback; it simply defines his artistic approach.
The songs on a little too late are meticulously arranged and thoughtfully structured, reflecting a clear ambition. While the album might not neatly fit into the adult contemporary category, it certainly surpasses the label of easy listening or middle-of-the-road (MOR) music. Alan Walker’s strength lies in his unwavering melodic gift. The transitions and musical architecture are seamless and polished. Tracks like “Town Called Misery,” with their Beatles-esque, populist appeal, are imbued with spirit and inventiveness, guaranteeing an immediate connection with the listener. These are Alan Walker Songs that resonate on first listen and grow with repeated plays.
Drawing more from McCartney than many contemporary piano-playing artists, “Only Son” stands out as a highlight among Alan Walker songs. While comparisons to Joe Jackson might come to mind, Walker’s music lacks Jackson’s new wave energy, later jazz explorations, or distinctive vocal style. Instead, Walker presents a generous and versatile talent, exploring diverse themes within his melodic framework. Though his songs may lack overt grit or drama, soulful nuances emerge in tracks like “Wait,” showcasing his emotional range.
“A Little Too Late,” the title track, is a standout piece. It echoes Beatlesque sensibilities, perhaps tinged with the late Emit Rhodes’ style, particularly reminiscent of “With My Face On the Floor.” “Somewhere Down the Line” subtly nods to George Harrison’s “Piggies” in its melodic contour, a testament to Walker’s broad musical palette. Ultimately, Alan Walker is clearly at home in his musical domain, crafting Alan Walker songs that are uniquely his own.
While a little too late might not revolutionize popular music, these Alan Walker songs possess a remarkable ability to lift spirits, proving more effective than any remedy for the blues. This collection is a strong entry in the discography of Alan Walker songs.
Highlights: “Mama Kat,” “Town Called Misery,” “Only Son,” “Wait,” “A Little Too Late,” and “Better Man” (featuring notable saxophone work).
Musicians: Alan Walker (vocal/bgv/piano/Wurlitzer electric piano), John Morgan Kimock (drums), Jon Herington (guitar), Lincoln Schleifer (bass/percussion/acoustic guitar/bgv/horn & string arrangements), Rob Schwimmer (Hammond B3/synths/claviola/Taisho harp/Wurlitzer electric piano/kitchen sink), Larry Campbell (acoustic & pedal steel guitar), Andy Burton (Fender Rhodes), Gary Sieger (guitar), Teresa Williams & Lucy Kaplansky (bgv), Bill Holloman (tenor sax/flugelhorn), Larry Etkin (trumpet/flugelhorn), Myron Lutzke & Jake Charkey (cellos).
Color image courtesy of Phil Nelson. Produced by Lincoln Schleifer. CD available at Amazon and https://alanwalkermusic.net/home
