The Empty Hearts – The Empty Hearts (Album Review)

The Empty Hearts is a band with a lot of heart, actually – and even more experience, with each member having decades of success in mainstream Pop Rock of various forms over the years. The Romantics guitarist and vocalist Wally Palmar, The Cars guitarist Elliot Easton, and Blondie drummer Clem Burke joined The Chesterfield Kings bassist Andy Babiuk, who founded The Empty Hearts in 2013, to create a debut album of lively tunes that sample a gamut of influences, genres, and eras of Classic Rock, Garage Rock, and Power Pop that only a seasoned all-star lineup like this could pull off. Perfectly produced by The Ramones producer Ed Stasium, the band’s self-titled debut is even more impressive in that it was recorded in only five days at Babiuk’s Fab Gear Studios in Rochester, NY, with several songs in the can after only a single take. The album was released on Aug. 5, 2014 and included Small Faces and Faces pianist Ian McLagan on Hammond organ and Wurlitzer before his death in December of 2014. Palmar, a unique voice we have not heard much from since The Romantics’ ’80s hits like “Talking In Your Sleep” and “What I Like About You,” also gets to shine again on this project with his gritty-yet-warm vocal styling with spots of lush harmonies and well-placed harmonica solos throughout.

A driving up-tempo Blues-Roots rocker, “90 Miles An Hour Down A Dead End,” is a strong opener and serves as a great reintroduction to Palmar’s voice right off the bat, with thick harmonies on the chorus and pre-chorus set off nicely with a cappella-style verses. A song about chasing a girl and driving fast, this would be perfect for a Summer’s day cruising with the top down — in the spirit of “What I Like About You.”

“I Don’t Want Your Love (If You Don’t Want Me)” is up next and is probably the most memorable track on the album, with an anthem-style chorus yell-sung by all the band members ala Joan Jett’s “I Hate Myself for Lovin’ You” or Fleetwood Mac’s “Go Your Own Way.” It is definitely that type of break-up song, but executed in a spirited, slower-tempo that gets the head-bop and sing along going. Also, Elliot Easton on guitar takes a break from the technique-heavy soloing (remember how intricate that solo was on The Cars’ “Just What I Needed” in the ‘80s?) and relaxes into some very effective riffing on this one; fun stuff.

Keeping things moving is “(I See) No Way Out,” a well-crafted up-tempo Power Pop tune about the thrill of a new infatuation. Though almost every song on this album has a ‘60s Blues-Rock element to it, this one seems to feature everyone’s different style on each instrument. “Fill An Empty Heart” is a heartfelt and haunting acoustic ballad in the lonely, Country crooner style of Chris Isaak with a heavy ‘60s influence (The Zombies’ “Time of the Season” comes to mind immediately). The song opens with a vivid acoustic guitar jangle and continues with touches of surf guitar and a simple but effective guitar solo thrown in around Palmar’s rich voice.

“Soul Deep” is another Rock anthem structured around a simple guitar/bass unison riff and features Clem Burke’s superb drumming. Did you know that Mr. Burke received an honorary doctorate from the University of Gloucestershire in 2011 after submitting his project that analyzed the physical and psychological effects of drumming? He has done a lot with his career since Blondie and the late ‘70s — and it certainly shows throughout this album.

“Loud and Clear” has a Prog Rock vibe with a slower tempo and once again, Palmar’s harmonies really shine on the chorus here. “Perfect World” is another driving rocker and the only one with a bit of a political statement. The song features a crafty step-ladder style repeating chorus and an interestingly chaotic ‘80s shredder-style guitar solo from Easton in the middle. “I Found You Again,” a decidedly Country-twang ballad with a Pop twist about falling in love with someone again, is easily the second-most memorable song on the album. Palmar turns the gritty vocal to the warm, rich, and smooth on this heartfelt tune, especially on the beautiful harmony-laden chorus, “Sometimes you don’t realize what you’re looking for.”

Returning to an ‘80s Rock feel, “Just a Little Too Hard” is a song about frustrated love with a riff ala Bon Jovi’s “Bad Medicine” and a well-crafted ‘80s Cars-esque solo from Easton. “Drop Me Off At Home” is about a one-night stand gone wrong and appropriately features a simple AC/DC-style Rock riff and a driving Blues-Rock solo. Changing pace is “Jealousy,” a slow-burning, harmonica-laden rocker that really reflects the way jealously insidiously takes a hold of even the most reasonable of us. It also ends on a long fade-out, something not heard too often anymore on a modern Pop Rock track. “Meet Me ‘Round the Corner” picks up the pace again with a ‘60s Go-Go dancer beat and thick harmonies on the chorus. This song about the joys of being down-and-out is one of the more ‘60s era-sounding tracks with a flanger guitar effect throughout. Guitar and harmonica trade off a lively solo that effectively closes out the song and the album.

In summary, this debut effort from an all-star band of seasoned professionals is a straightforward listen and a refreshing change in this world of overproduction, mindless lyrics, and auto-tuning, with its engaging riffs and distinct vocal tracks. Fans of Classic Rock from the ‘60s through the ‘80s and Power Pop from the ‘80s and ‘90s will find something to enjoy in each of these twelve polished tunes by The Empty Hearts. CrypticRock gives this album 5 out of 5 stars.