Colin Westerlund learned his songwriting art from influences as diverse as Jan and Dean, The Beach Boys, ELO, The Young Rascals, and The Beatles, among others. He likewise learned it through life experience that he brings to bear on the songs for his latest release entitled Beautiful World. I didn’t know anything about Westerlund going into review and felt astonished, as well as excited. This as audacious of a musical collection as I’ve heard from anyone, mainstream or indie, in many moons.
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Westerlund follows his Muse wherever it takes him, and in his case, it is back to the early 1960’s and the music of an era dominated by acts such as the aforementioned bands. Westerlund has written and recorded Beautiful World, however, as a precocious pastiche, however; a closer inspection of these songs reveals the collection is a very personal statement from a talented artist. The opener “Do You Like Rock and Roll?” asks an earnest question in the title listeners shouldn’t underestimate. It’s an introduction, a mission statement, and Westerlund couches in a song everyone, no matter the age, can relate with.
The title song rates as one of the album’s indisputable highlights. “Beautiful World” comes across to me as a real labor of love without any of the attendant self-indulgence someone might fear from such a song. The fact that he can present listeners with such exquisite melodies time and again, well-shaped vocal harmonies, and seldom repeat himself nearly beggars’ belief. The light psychedelia of songs such as “Early On” will return during the album and it never sounds forced. This is Westerlund’s true songwriting voice, and he embraces it as it were his breath.
Many listeners will enjoy his cover of The Young Rascals’ “Groovin’”, a seminal 60’s hit that Westerlund has considerable bravery covering. He rearranges the song to suit his vision without veering too far from the original. Westerlund’s changes are in the same vein yet bear his signature. “Love Song” is a departure in the fact that it is an instrumental track, but the musical themes fit the rest of the album and the artful use of effects in the song helps accentuate Westerlund’s guitar. It serves as an introduction of sorts for one of the strongest Beach Boys-influenced numbers on the album.
There’s a lot going on in “Here Comes the Rain”. The drumming, however, sets a tone for me that’s impossible to ignore and the sound he gets for the percussion is a defining element of the song. Vocal harmonies, of course, are crucial once again. It is obvious that he intends to be one of the album’s showcase songs and his confidence is justified. The closing song “I Wanna Know” develops the themes heard in the former song’s lyrics to their fullest extent while holding onto the same musical identity present throughout the album. Few song collections are as complete as this nowadays; it’s a dying breed in a world that no longer has faith in the album as a form.
Thank God Colin Westerlund didn’t get the memo.
Heather Savage