An artist that plays virtually every instrument on their record demonstrates more than just versatility and talent, but also an inexorable passion for crafting something perfect and singularly beautiful. Michael Lee’s Face Forward showcases the artist’s virtuosity, especially on piano and guitar. The artist’s smooth and heart aching vocals, are one part Richard Marx (sans the nasal whine), and one part George Michael (with the pout and crooning whisper). At times, Michael also channels 70s soft rock and 90s metal into his repertoire. Because of this convergence of influences, Michael’s songs span the genre spectrum. The pop balladry of album closer “That Day” which gives a nod to Kelly Clarkson’s hit song “Breakaway,” and the feel-good country harmonies of “Distant Future,” (the highlight of the album) are sure to be crowd pleasers.
But don’t type-caste Mr. Lee as a country pop balladeer. His arsenal of sound also includes shades of metal in those pop frames. While tracks like “In The Picture” conjures up the ‘Smooth Sounds of The 70s’ a la Seals and Crofts, Michael’s pent-up (and perhaps, self-indulgent) thirst for dual harmony and guitar-driven rock a-la-Alice In Chains rears its head on “Never Enough Time.” It starts off with a hypnotic Middle Eastern guitar riff, and eventually builds up into a cacophonous mash of guitar power chords, charming the snake out of its basket. This is a far cry from the country and pop quips prevalent throughout Face Forward. To some listeners, these diversions may push the boundaries (and blur the album’s focus) of Face Forward a little too far.
As strongly as the musicianship and melodies stand out, the lyrics don’t always fulfill the promise made by the latter. At times, they border on cliché. Songs like “That Day” hand out trite sayings like “All that is lost has become found. Don’t let it fade away.” In the bridge of “In The Picture,” the singer croons about losing his lover to another man: “I don’t want to lose. I don’t want to lose you.” Fortunately, the silky whisper of Michael’s voice, strikingly similar to George Michael’s, make the clichéd refrains forgivable.
Less memorable tracks on the album, like the hook-less “Despite,” the longest track on the album (clocking in at 6:23), has a mid-tempo drive and never quite takes off melodically. Even though it may not be radio ready, “Despite” does showcase Michael’s fortitude and willingness to take musical risks. It is filled with intricate guitar licks that draw musical lines on the same page as Rush’s Alex Lifeson. Michael, once again, demonstrates mastery of the axe.
At best, Face Forward is a showcase album, exploring Michael’s passion for writing guitar-driven jams and piano ballads. The many faces of Face Forward may confound more than they pleasantly surprise. Fans of 80’s heart throb Richard Marx, Shania Twain, and 70s AM soft rock will enjoy most of Face Forward’s slow-burners and sweet sounds.
Review by Michael Morgan
