CRANK IT UP!!
By Mark S. Alper

I'll be blunt.  As a long-time devotee of music (and a frustrated amateur musician), I have for many years noted with dismay the general impoverishment of the music industry.  The evidence of this malaise is manifest: From the dominance of a few corporations that control distribution (Sony, BMG, EMI) and the demise of once thriving independent labels, to the fact that the "big news" of late is that the Rolling Stones' brilliant "Exile on Main Street," a disc recorded almost forty years ago, has been reissued.

When music is mass marketed and decisions are made on the basis of trends and focus groups, something is going to get lost in the mix.  Often, what gets lost is a musical heart and soul.  In today's market, the Beatles wouldn't stand a chance, and Hendrix would probably be relegated to a small blues label -- the one genre where independents still have a chance.

Fortunately, because creativity is one of those things that defies explanation, all hope is not lost.  And such is the case with an ironically-named, teenaged aggregation from Massachusetts that call themselves The Cranks. 

The Cranks are comprised of 15 year old twins Haley and Connor Gowland and their cohort, Greg Preston.  And lest the teenaged appellation conjure up images of New Kids On The Block, Menudo or (gasp!) the Osmonds, you can get those visions right out of your head.  The Cranks have won several band competitions, have a Facebook presence with close to 600 fans, and have released a self-produced album entitled “What?”

What, indeed.  Because this first release by The Cranks is a breath of fresh air in the increasingly stale and derivative music scene.  The songs are originals and lead singer Haley Gowland, whose vocal style reminds this listener of a cross between Joan Osborne and Gwen Stefani, is an original with some serious chops.

For instance, the song “Long Day” is a surefire hit worthy of the attention of the major labels if they can spare the time to listen. With a jangly guitar sound that evokes The Byrds at their best as well as the unjustly little known New Zealand band, The Bats (be honest, you’ve never heard of them, have you?)  Haley Gowland demands that you not get in her way as she goes out the door because, “This war is for me no more.”  But the song is not about angst.  It is about self-worth, pride, empowerment and independence.  Heady stuff when one considers the average 15 year old is more likely to be consumed by Mom or Dad taking away their iPhone and disconnecting the Wii.

This same spirit is also evidenced in the follow up song, “20 Years,” which expresses the desire of the singer to not look back in two decades on the things she did today because she “doesn’t want that burden to obey.”   Those of us who have reached a certain age know, of course, that she will at some point look back with regret as we all have.  But we both sympathize with and share her aspirations for herself despite its unrealizable idealism.

“My life surprises me more and more,” sings Haley in “Don’t Call It Blue.”  This is the only song on the record in which the songwriter’s youthful age is obvious.  There’s nothing more seductive than the joy of first discovery, and this message is supported by the understated riffs and straightforward chord progressions.  Ah, yes, how different life would be if we were somehow able to retain that excitement and surprise and avoid the cynicism that comes with maturity and world-weariness. 

The next song, “Tumble” is a perfect illustration of the old adage that first impressions can be profoundly deceiving.  The song has all the markings of an emerging power trio.  In contrast to its predecessors on the album, the lyrics take a back seat to the rhythm section of Connor Gowland and Greg Preston.  The well thought out, slightly percussive bass line and nuanced drums make it clear that all three members of The Cranks have some serious musical chops.

“Something From Nothing” also puts bass and drums to the forefront as the band “takes this rhythm for a ride,” and that ride is definitely a “muscle car.”  The song is infused by a sense of urgency and constant forward motion.  One wishes, however, that The Cranks might have been inspired to jam a bit on this number as befits the notion of being seized by something not entirely in one’s control.  While enjoyable, the song was just a touch too constrained and “safe” for this listener.

The final two songs on the record, “Almost Dark” and “Be Strong” are acoustic-tinged ballads delivered with consummate skill.  It is a credit to whomever was responsible for the sequencing of this album that these two songs close the record.  They are tasty morsels of both style and substance that are appropriate finishing touches to a solid debut effort. 

Bottom line: The Cranks are….well….not cranks.  Let’s hope we hear more from this talented and promising trio.

For more information about The Cranks, including songs from their album “What?” go to www.thecranks.com

Mark S. Alper has written about music for numerous newspapers and online journals, including the Cape Cod Times and Suncoast Blues News.  He lives in Florida.