Australia has given the music world AC/DC, Icehouse, Men At Work, Midnight Oil, Crowded House, and INXS amongst others. If there is any justice in the world, Victor Stranges will be amongst those great names in terms of recognition and accomplishment. Stranges’s 2009 album Hello Me To You is a piece of Pop/Rock near-perfection. There’s very little here that Stranges doesn’t do well; a striking accomplishment considering that the album is almost entirely written, produced, and performed by himself. The result of his efforts is a terrific musical showcase that maintains its consistency while never sounding dull or as if the songs are blending into one.

The first thing the average music listener will notice is that Stranges sounds very much like Elvis Costello; the vocal similarity is uncanny in particular. To say the music and lyrics is Costello-like is also warranted, but instead of being a sound-alike, Stranges is to Costello as Bob Seger is to Bruce Springsteen; there are similarities, but there are differences enough to where Stranges can settle into his own identity. Still, Costello is a good baseline for determining how much you’d enjoy Stranges’s music since he doesn’t reinvent Pop/Rock music in anyway here; he just takes his own music and plays the hell out of it.

The opening track, “Morning Star” really sets the mood with is organ-esque keyboards, doo-doo chorus, hand clapping and tight guitar solo. The lyrics are a cut above the average fare as well, “So let’s reverse this reckoning/’cause eternity is beckoning.” The slightly quirky title track is the best indicator of Stranges’s potential and ability as a musician. This song is firing on all cylinders; the crisp, rattling drums, the peppy pacing, and the infectious chorus that borders on non-sensical while being a witty comment on meeting someone who really overwhelms you. The song also throws in one of the best lines to be put down on record, “I thought you liked The Replacements/But Bon Jovi was what you meant…”

Stranges’s songs either tend to revolve around the guitar, or the piano. While the guitar tracks tend to be the more driving songs, the piano ones can be bouncy like, “When The Morning Comes”, or ballads like “Nineteen Years Ago.” The latter of these is the most emotional song of the 11 tracks here. The subject matter of loss, grief, and remembrance is highlighted by the use of mostly piano and voice with some bass and a few keyboard effects building up at the end. The imagery contained in lines like, “Sitting in the car with the radio/Crying to an AM Station/That song was my salvation…” is magnified exponentially by Stranges’s voice. Emotionally, the song hits with the weight of something like James Taylor’s “Fire And Rain”; the pain comes through so clearly as the song reminds us all that the weight of such losses…and the memories of what made someone so special, can remain through the years.

The one fault that befalls some of the songs is that they run for a bit longer than they should. “Not That Bad At All” and “You Can’t Buy Happiness” are good songs that make their point, but then continue to make it when it’s no longer really necessary. All things considered though, this is but a mild quibble amongst a multitude of strengths that the album as a whole exhibits. To the positive, little things like the upbeat “Tonight” that comes joyfully near the closing, and the great little guitar solo on “Restoration Blues” are like buried gems that when unearthed, make the album such a joy to listen to.

Hello Me To You is a fantastic outing in Pop/Rock that leaves little left to be desired once the final song comes to a close. Victor Stranges reveals himself to be quite multi-talented as well with his performance on all the instruments being solid too great. Though Stranges did receive some help from Matt Swanton, by and large, this is Stranges’s effort, and it’s a labor of love that radiates character and talent. Elvis Costello comparisons will still be inevitable, but there’s no doubt that Hello Me To You is one of the best examples of how enjoyable and well done Pop/Rock can be.

Reviewed By Heath Andrews

CD Review Writers, Heath Andrews Hello Me To You, Victor Stranges

Deep in 70’s classic rock territory is where Mr. Stranges hangs his musical hat—not a bad thing at all, IMHO, as oh-so very, very much great and influential music was put forth at that special time in our sonic pop-rock history. The richly creative tradition well deserves to continue inspiring all contemporary artists so inclined.

Masterfully accomplished rock/pop vocals are the focus here, set in and set off by a most solid rhythm section, replete with delightfully toned crunchy classic rock guitars. Beds and touches of organ, a sprinkling of bells, some lush orchestra, and other complementary additions are then placed in most all the appropriate places. Enviable engineering and insightful production skills are evident everywhere.

A guess will now be hazarded: Victor, do you sometimes tire of what I’m thinking is an all too frequent comparison to, yes… Elvis Costello? For, based on this record, this appears to be your inevitable destiny. As fantastic as much of your basic material, honed talent, and performance execution unarguably is, this single aspect might be considered the most unfortunate. Why? Because we already have Elvis Costello. We now want to musically know who YOU are. My recommendation is that you do everything in your power to not sound like the aforementioned, and strive to find your own unique expression, more unlike any other. Enough said on that, with all following making no further comment of the similarity.

Let’s take a brief word ride through each track:

1. Songs with adventurous pop chord progressions like “Morning Star” always catch my ear. Gentle surprises and flowing key changes set in an easy bop-along soft rock beat propel us forward beautifully. When these elements are expertly combined with catchy melodies and instrumentation captured in well-executed production, you can’t ask for much more. This song qualifies on all counts—well done!

1. As the title track, “Hello You To Me,” is another winner. With less techno-synth focus, we groove along the lines of Gary Numan’s “Cars.” Stellar classic rock vocal harmonies soar up the chorus, providing the high resolve payoff with which most great songs reward listeners come chorus time. Again, it’s a hit!

1. It would be nice to start our days in the happy feeling spirit evoked by “When the Morning Comes.” The instrumental guitar hook/chorus simply shines with light-n-bouncy joy, dancing to greet the new day. After a bit of more questionable flit in a doubting darkness, positive lyrics of welcome encouragement and commitment flood in like the sun.

1. As befits the title, “Memories” hearkens us back into a slow love song stylized upon the 50’s torch songs. But in fine Stranges’ style, a few choice subtle, quirky and creative twists are added at strategic spots to maintain interest.

1. Now the tempo slows down yet further. “Not That Bad at All” continues to demonstrate general songwriting savvy, lead vocal valor, and production prowess. While not a showcase standout, at 6+ minutes, its gentle empathy suits the record’s midpoint.

1. “Restoration Blues” takes a helpful stroll down a little more odd of a road. Ripe with biblical references, if the playing and praying is speaking for the correct “One True God,” the introspective wisdom is welcome, and reflects a near universal internal dialog found within each soul of humanity..

1. Continuing in overt religious vein, “Is There Someone to Thank for All of This?” makes direct reference to Luke 16:19-31, wherein a rich man’s afterlife is suffering in hell, while Lazarus, who suffered on earth, now enjoys comfort. In answer to the song’s question, the rich man need only thank himself. Interesting choice of a song theme. The fear-based warning of irredeemable judgment here is scary “as hell.” Set in a lilty rhythmic pop frame, once again, the songwriting, performance and production make it work.

1. It is not the opening chord to Imagine. Rather, “Nineteen Years Ago” is basically a piano/vocal pop ballad, flowing, poignant and personal. The superb vocal performance, set in a deft and graceful piano accompaniment, peaks nicely in a string-laden crescendo finale.

1. For all its exuberant and energetic (Elvis-like—oops rocking out, “Tonight” somehow falls a bit short on the amount of emotional engagement to which I believe it aspires. Nevertheless, particularly in a live setting, it will likely get everyone up dancing.

1. “The Colour of Your Street is Gold” feels sort of like a circus gospel waltz, with bits of secret agent and mystery. As with every other tune on this record, its overall musical competence is assured, though the total presentation is likely just over the top too quirky for most mainstreamers.

1. An unusual choice to finish out this collection, “You Can’t Buy Happiness” takes us down into the slow lane again, this time often with a distinctly bluesy vibe, then soft and soothing praise chorus, and finally plenty of relatively unusual effects-laden parts, approaching weird. As in life, one often doesn’t know where one may go… 

Reviewed By Mike Ososki

Mike Ososki, Reviews Hello Me To You, Victor Stranges