It is difficult to pigeonhole New Haven’s Michael Cleary’s new album Last Man Standing. Stripped of his Michael Cleary Band, Cleary shoots for a singer-songwriter approach with some rock and roll edge. Yet, that attempt at definition falls short. His appeal might also cross over into adult contemporary listening.
Backed by a danceable beat, opening cut “Would Ya” makes one toe tap while following Cleary’s mellow rasp through his dreamy landscape of gentle vocals, weepy lead guitar phrasing, and a lilting melody from a second guitar. A mellow mood song, this opener sets the pace for the rest of this album, a careful blend of easeful glide and some perky rocked up touches.
“Lovin’ U Just Might” glides in on a dreamy lead guitar magic carpet ride. Cleary soon takes control with his mellow cruise voice as the centerpiece. He makes the song feel as upbeat as his lyrics about a love that is just right. A rhythmic underpinning beneath his voice ties this altogether marvelously, a stepping groove that carries the beauty atop just right, including a dreamscape Beatlesque support vocal that cushions this song just right, especially as it moves like a cloud over a bright, pretty lead guitar phrase.
A crisp lead guitar atop an organ swirl opens “Wheel In Motion.” Cleary is mellow beauty here, milking his shiny timbre and his sweet lyrics for all they’re worth. It’s just a simple formula, putting a smooth, sweet voice over that cushion of organ that makes this sound as comfortable as sitting on one’s couch covered with a quilt while sipping hot chocolate. A percussion break eventually pushes that organ to reach a higher, sharper point.
Beatlesque as it floats in on a cloud of keyboards, “Truest Love” finds Clearly singing his album’s best lilting vocal melody line. He finds just the right places in the pretty keyboard line to finesse his lyrical joy ride. A pattern of polite drumming, enough to just nudge the song forward, holds up the song like tent poles, creating a comfortable space around each instrument and the vocal line, a testament to Cleary’s songcraft, making sweet confections out of sound.
“Just A Wave” is a happy go lucky pop-rock song. Cleary finesses his fun lyrics with a smooth touch, an unobtrusive presence over a peppy groove, a puff of keys, and a slinking guitar line. Cleary’s vocal line rises up in slow, measured moments, something that travels with a sense of adventure as it is punctuated with sudden shifts in instrumentation, dynamics, and tempo.
“World On Fire” exists in a universe of sweet guitar lines, a tender acoustic and a moody electric. Cleary spreads his voice over his sparse accompaniment, a mellow approach to dire lyrical development. This tune plays out like a combo of down tempo rock and singer-songwriter finesse. Its dual nature makes it doubly likeable, a gentle push from a serious voice.
“Turn To Love” highlights more of Cleary’s rock influences. His smooth vocal floats over a sweep of emotive keys, slappy electric guitar chords, and a snappy rhythmic twist. There is also a cool synth moving around in the backdrop that keeps this all intriguing. Catchy and fun, this piece is underpinned by something special, a unique sound all its own that creates a good home for that special Cleary vocal timbre.
Cleary eases into “Road You’re On Now,” a breezy, mid-tempo rocker that rolls on like a fun bus ride through hill country. This one has numerous peaks and valleys for Cleary to apply his golden mellow voice to. A tuft of gentle organ and acoustic guitar give plenty of space to emote over, Cleary’s philosophy of life shines brightly here as we find his vocal in good company among warm instrumentation from his support players.
“I Don’t Mind Dying” lumbers in like a mighty dinosaur on the strength of a strong, unwieldy electric guitar grind. Soon after, Cleary chimes in with a mellow vocal, considerately pacing his line of lyrics, sounding world weary, philosophical as a rangy electric guitar fills in the backdrop with deliciously good tones and rangy, moody vibes. Cleary’s greatest strength might be how he composes soundscapes that contrast his vocal style with magnificent beauty, highlighting the strength of each.
“The Burden” shows more of Clary’s rock and roll side. Its opening has a rattle and hum in its shaky guitar vibe. Cleary’s vocal shuffles in over the ringing tones of that guitar. His vocal approach reminds of the music scene cool dude who stops beside you in a music venue to whisper the latest news on something hot into your confidential ear. The song erupts with a sparkling lead guitar break then the magic all makes sense as the listener becomes aware of the rhythms section, backing vocalist, and everything else that makes this piece so perfect.
Closing out his disc with title track “Last Man Standing,” Cleary regains a mellow rock approach. His tender acoustic guitar melody reaches the listener on a personal level, as does his sensitive lyrical revelation. Percolating up from beneath his voice are nuggets of electric guitar notes that fill up the space beautifully.
Cleary has ascended to a higher, more lofty level of accomplishment with this solo singer-songwriter album. Last Man Standing showcases what Cleary can do with his sound when he pares it down to fewer instruments that hum with artistry and emotional sensitivity. Helping Cleary flesh out his vision are songwriter Brian MacDonald, drummer Rob Griffith, bassist Jeff Belcher, keyboardist and arranger Scott Wattel, vocalist Lee Sylvestre, violinist Bobby Pickett, organist Glen Nelson with disc mastering by Dana White at Specialized Mastering.com.
http://www.michaelclearyband.com/
