Does he need an introduction? The master of conceptual, orchestral, or straight and smartly written rock and roll? The producer, engineer, and musician who worked in the studio alongside music luminaries like Mick Ronson and Phil Spector? He doesn’t need it, but he always deserves it: Les Fradkin returns with “Come to Me,” a song from his days with baroque rock group California, and excerpted from the album, California Loves You.
Featuring contributions/performances from Ronson, Spector, and more (keep reading), and remixed/mastered for a proper rerelease, “Come to Me” is the kind of well-constructed pop music you remember and surely miss. Let’s talk about it.
Wait. Who does what?
Les Fradkin – Lead Vocal, Background Vocals, Fender Bass, Drum Programming
Loretta Pieper Fradkin – Background Vocals
Jerri Boccino – Background Vocals
John Hawken (whose credits include Strawbs and Renaissance) – Wurlitzer Electric Piano, Mellotron 400
Mick Ronson (whose credits include David Bowie, Ian Hunter, and Bob Dylan’s Rolling Thunder Review) – Acoustic Guitar
Phil Spector (yep, you read that right)- Wurlitzer Electric Piano, Background Vocal
Now, let’s listen…
“Come to Me” begins with bouncy Wurlitzer piano and a solid 4 x 4 beat. And with this brief, bopping intro, the first verse begins:
“Every night when you walk into the room
My body twitches with a strong sensation
My fever’s running wild when you get home
It makes me wanna smile when we’re alone
Every night when I hold you in my arms
My body twitches with a strange vibration.”
There are very brief moments, which I believe make up the pre-chorus, that perhaps tread in a little desperation – a little insecurity, or acknowledgement of adversity. But overall, “Come to Me” is the music of a happy stroll on a glowing but temperate summer day. Of confidence in one’s self, in another, and in their collective, promising future.
The electric piano is predominant throughout. It’s the mechanism that pushes this song through its breezy structure, granting a light-footedness to this happily trotting, celebratory affair.
The chorus, although maintaining the verse’s predominant chord structure, is uplifted and somehow made more positive with a dense layering of voices juxtaposed by a single vocal response.
And when the song nears its ending, the chorus repeats, the Wurlitzer piano score continues to bounce, and the music fades out peacefully while the refrain “come to me” lingers a little while longer.
But is it good?
“But is it good?” What a silly question. Of course it is! And I can attest to this, considering I’ve now listened to at least 67% of his available catalog. Look, if you like intelligently created rock/pop with gorgeous harmonies, adept playing, and classic, sorely missed instrumentation, you’re going love “Come to Me” (and, quite frankly, the rest of Les Fradkin’s recorded output). Recommended (DUH!).
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BELOW: Listen to California (Featuring Les Fradkin) and check them out on Soundcloud, ReverbNation, Facebook, Instagram, Amazon Music, and X (formerly and eventually Twitter). Please support California/Les Fradkin by visiting them online and playing, downloading, and/or purchasing their music. And, as always, thank you for supporting real music.
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