Album reviews: Paul Weller, Barry Manilow, Close Talker and more

ALBUM OF THE WEEK

PAUL WELLER A Kind Revolution ★★★★★ (Parlophone)

The Cranes Are Back, for instance, might have been the title of a Shipbuilding-style diatribe against the construction industry a few years ago, here it’s about cranes of the feathered variety bringing calm and serenity to the city hubbub.

Elsewhere, there’s Nova, a little slice of vintage space-rock that seems like an homage to early Bowie, and One Tear, a soaring duet with Boy George that’s one of the fi nest songs Weller has written.

The palette throughout is either soft and ethereal or brisk and breezy, layered with delicious brass. Magnificent.

BARRY MANILOW – This Is My Town: Songs Of New York ★★★★✩ (Decca)

His may not be the strongest voice but what Manilow lacks in power he makes up for in verve and showmanship as this collection of NY-inspired songs proves.

He brings his own engaging style to everything from Alicia Keys to Frank Sinatra standards, taking the superb backing band along with him every step of the way.

Curiously, though, he’s one of the few modern-day crooners who sounds less at home on cover versions than he does on his own compositions such as Coney Island, a warm and nostalgic memory of childhood.

CLOSE TALKER – Lens ★★★★✩ (Nevado)

The marriage of youthful voice and heavy rock guitar that U2 perfected has proved influential.

Close Talker, a trio from Saskatchewan, Canada, are no clones of Bono & co but their sound owes much to that deft combination: Will Quiring’s agile voice twisting and turning over dense, almost claustrophobic instrumentation.

All Of Us is a superbly structured gem, Afterthought reminiscent of cultish French pop stars Phoenix.

THE KORVIDS – The Korvids ★★★✩✩ (Nang)

As frontman for Glasgow’s Friends Again and then Love & Money, guitarist James Grant made some of the 1980s’ most beautiful pop.

Now he’s teamed up with producer Gordy Goudie for a dreamy mash-up of Balearic beats, trip-hop and funk.

The result is a mixed bag, some tunes simply too lightweight.

But Bad Faith, Grant with a Philly-style falsetto, and Slouch, built over a haunting two-note motif recalling the Allmans’ In Memory Of Elizabeth Reed, are outstanding.