California™ feat. Les Fradkin – Postcard From London
Les Fradkin is no stranger to the music world. As a former George Harrison in the Broadway hit Beatlemania and producer for the legendary Laurie Records label, the New York musician has built an impressive track record. Together with his wife and musical partner Loretta Pieper Fradkin, he now presents the expansive “Postcard From London” under the name California, an album that functions as both musical testament and declaration of love to pop music from the past fifty years. The title is telling. The album cover, photographed at Abbey Road Studios in London, references Fradkin’s own history in those studios, where he worked in the early seventies when The Beatles shot their iconic crossing photo. The album contains no fewer than 22 songs, of which thirteen are original compositions and nine covers, managing to bridge past, present and future.
Musically, “Postcard From London” is a clear tribute to the British Invasion and the Californian pop scene from the sixties. Fradkin’s 12-string guitar work and the mellotron sounds immediately evoke associations with The Byrds and The Left Banke. The latter connection is no coincidence: the album contains contributions from all Left Banke members, including two new compositions by the late Michael Brown, the last he ever wrote. These songs thereby acquire a special, almost wistful weight. The production is rich and layered, but never excessive. Fradkin plays the lion’s share of the instruments himself, from 12-string bass to electric bouzouki and theremin. The vocal harmonies, often in collaboration with Loretta, breathe the spirit of Brill Building pop and psychedelia. Songs like “Jangleholic” and “Under The Covers” demonstrate how well Fradkin masters that sixties aesthetic, complete with those characteristic jangle pop guitars.
Between the original tracks, the album presents a selection of covers ranging from classic to surprising. “Good Vibrations” by The Beach Boys receives a respectful but personal treatment, whilst “Brown Eyed Girl” by Van Morrison and “The Mighty Quinn” by Bob Dylan demonstrate that Fradkin doesn’t simply imitate these songs but makes them his own. Also special is the presence of a historic recording: “All You Need Is Love”, in which Fradkin collaborated for the first time in 1976 with his later Beatlemania colleagues Joe Pecorino, Mitch Weissman and Justin McNeill.
Several tracks stand out. “Come Fly To Fall In Love” combines romance with aeroplane metaphors whilst managing to remain light-footed. “I Could Make It Last Forever”, originally an unreleased Left Banke recording from the seventies, finally receives the attention it deserves here. The song demonstrates Fradkin’s gift for timeless melodies. The two Christmas songs, “Christmas Vacation” and “A Christmas Gone Too Soon”, add a sentimental dimension that suits the nostalgic character of the album. Yet “Postcard From London” also has its limitations. With 22 tracks, the album is perhaps too extensive. Some songs, whilst skilfully executed, add little to the whole and could have been cut for a stronger focus. The mix of originals and covers sometimes feels arbitrary, as if the album is more a collection than a coherent statement. The production, too, whilst warm and authentic, sounds dated here and there, which for some listeners provides charm but may put others off.
The presence of guest artists such as Mick Ronson and Phil Spector on historic recordings gives the album extra weight, but also raises questions about cohesion. Is this a new album or an archive box in disguise? That ambiguity can be both a strength and a weakness, depending on what the listener seeks. Where “Postcard From London” ultimately succeeds is in creating a sense of continuity. This is music made by someone who has studied and practised the finer points of pop music for decades. Fradkin and his wife clearly have love for their craft, and you hear that in every note. The album functions as a musical postcard from a time when craftsmanship and melody were central, but also manages to connect with the present through the way it tells stories about friendship, nostalgia and passing on musical heritage.
For fans of classic pop, jangle rock and baroque arrangements, this album offers a rich listening experience. It does require patience and the willingness to surrender to an extensive musical narrative. Those who dare are rewarded with an album that combines warmth, craftsmanship and a genuine passion for pop music. “Postcard From London” is not a revolutionary record, but it doesn’t pretend to be either. It is a love letter to a golden era, written by someone who was part of it himself. And sometimes that is precisely what is needed in a time when music increasingly looks to the future: a reminder of where it all began. (7/10) (RRO Entertainment)
