Hey Now, Morris Fader have outdone themselves with their latest release, Good Times Ne’er Forgot. Back to the original three piece format of organ-bass-drums, the trio have amazing guest guitarists fleshing out their sound. Yet, it’s the three piece format that contributes to the ultra catchiness of their new material. There is a tightness, freshness, newness that comes from constructing songs in an economical format. There is no overestimating the accessibility and commercial potential of these well-crafted, highly infectious, pop ditties.
“The Blues And Alcohol” opens the disc with a sprawling breeziness and ever rising guitar phrase. The song cruises forward vocally while the players unreel a feel good vibe.
“Smart Girls Are Smart” finds the band in a highly energetic mood. The spirited song plays like an eruption of music. Large organ chords. Speedy drumming, Looming bass runs. Rugged bass gurgles give this one a motion picture feeling of momentum. Everything playing over the low end, shimmering organ, laser precise guitar phrase, and the drummer-singer Alex Sacco’s rich timbre make this one another winner.
“Suits” projects a dynamic buoyancy from a durable organ. There is an appealing Beatlesque flavor in the vocal harmonies and in the song’s general floatiness. That layer of coolness coats this grooving, mid-tempo rocker with an irresistible frothiness. Snappy drumming, knobby bass playing, and assertive guitar riffs give it all three-dimensional life. Bassist Justin Day keeps things humming along here and elsewhere with his extended smooth runs of low end fiber
“Gone For Good” finds lead singer Brooke Milgate using his brief, sweet vocal sustains as mini-stairways that build the song into an anthem for leaving. The song is infectious in its easeful, flowing momentum. Enthusiastic piano creates a feeling of largeness that envelops the listener. Guest Ian Kennedy‘s violin provides another layer of sustained grace.
“Cop Show” slightly hint of danger in its gritty, edgy guitar and in Milgate’s lilting, sandpaper delivery. This one could go on a movie soundtrack because it conjures a feeling and an image of a character being in a dangerous, precarious predicament in which things could easily go in a wrong direction. The Fader boys carry this one with a moody heft in the low end notes, suggesting drama in a Steely Dan flavor. Milgate is pure hipness in his dire predictions. Guest guitarist Troy Gonyea(yes, THAT Troy Gonyea) presses out a phrase so full of suggestive depth it isn’t funny. His melodic drippings and broad strokes are good to the last drop.
“Asleep At The Wheel” bops slowly with considerate piano chords and organs and drumming finesse. Milgate takes his time expressing his world weary, soul draining experiences. He croons moodily in his mini-arc sustains and each one takes this song into a pleasing ballad mode.
‘Not For You Anymore” is a swinging horn number with the boys working wonders from the eye of the storm. This one has a sprightly upward climb that pulls the listener along in its high-spiritedness. Milgate croons the wide, embraceable chorus with true warmth and energy. You won’t be able to pull yourself away from this one. It’s a true pop pleasure.
“Well Deserved” finds Milgate in full on pop-rock power mode. He begins with a pleasant, mid-tempo smoothness before launching his voice into a sweet stratosphere. He puts his words forward with a steady fullness that grabs the ear and doesn’t let go. Lush accordion swirls coat this in fetching infectious pop deliciousness.
“Tough Sell” gets a boost from a thumping piano chord. The drumming is adept, and Milgate carries his words with embraceable wide sustains. There is just something immensely likable about his accessible vocals.
“Silent Wayne” cruises right in with lush harmonies, driving energy, and its tales of unfulfilled lives comes off nice and creepy. The Fader boys put a touch of menace in this one. The piano unsettles moodily, a bit like Blue Oyster Cult’s “Joan Crawford.” The trio make you feel the emptiness of the unfulfilled, and it’s empathy is another reason to like this song.
Delicious piano tones and organ swirls dominate “Sounds The Same.” It’s uncanny how well these guys can build a smooth road for themselves with loosey goosey, wide open flows of energy and sound.
“Two Weeks Notice” skates in with an understated but very expressive forceful guitar phrase that reminds of a blaring horn instrument. Then, like a black and white movie scene turning into color, a horn section injects mounds and dollops of pleasant, ebullient melodies. Milgate’s voice projects a spirited swagger and the guitar parts by guest musician Troy Gonyea give off a shredding, nervous sense of panic. Gonyea just rips forward on lead guitar and it’s art.
Hey Now, Morris Fader should be doing well after they promote and tour the hell out of this highly appealing, melodic pop-rock album. Also appearing on Good Times Ne’er Forgot are Pete Zeigler, Dana Colley, Brian Kearsley, Heather Day, Chris Barrett, and Ross Hill. Any fan of pop-rock should pick up a copy right away.
