Album review: STEPHEN CRANE- Kicks

March 12th, 2021 by andynathan

AOR Heaven (Release Date 26.03.21)

The rock world is littered with hard luck stories of people failed by the record industry. One such is Stephen Crane. Already a seasoned figure on the Texas music scene, he was signed to MCA in 1984 and given access to the very best talent – Steve Lukather and Jai Winding produced the album, and sundry Toto members and backing vocalist Richard (Mr Mister) Page and Tom Kelly grace the credits.

However in keeping with the label’s nickname ‘Music Cemetery of America’ it was never properly promoted to the extent that it never even saw a CD release. So beloved has it become of collectors that this limited edition reissue is an occasion big enough to reel out the great Dave Reynolds to provide sleeve notes including an interview.

I was new to the album, which was far from the West Coast fest I imagined from the credits. Indeed Stephen’s gritty smoky drawl drew comparisons with fellow southerners Henry Paul or Gregg Allman or, from the AOR world, Fortune’s Larry Greene. His diction is not the clearest so his voice can be a bit of an acquired taste.

Opener ‘Headed for a Heartbreak’ has a staccato feel but breaks into a strong chorus, while ‘Joanne’ is even better, a real period piece of an eighties pop rocker that would have sat comfortably in the US charts alongside the likes of Eddie Money and Donnie Iris, complete with a good guitar solo and some busy drumming at the end.

Despite boasting some sax work and breathless Stan Bush-style vocals, the title track was not as strong a song, and as the album progresses, a recurring Achilles heel emerges. Time and again, whether on the ballad ‘All My Love’ or rockers ‘Victim of Love’ and ‘Back On My Feet’, the verses start in a rather slow and directionless fashion and the songs only come to life in their second half from the choruses onwards.

‘I Can’t Wait’ is another where he rocks out but in rather unmelodic fashion, though I’ll Take Care of You’ is another classic slice of early eighties American pop-rock with its ‘who-ohs’ underpinning the chorus, and the moody textures of album closer ‘Crying Don’t Look Good On You’ are a welcome change of pace, with those breathless vocals and a superb if short guitar solo.

For those who had the original, this will be a collector’s item to savour after waiting so long. For the rest of us there is still much to enjoy in unearthing a forgotten gem, even if it is less than essential. *** 1/2

Review by Andy Nathan

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