In The Zone - Mick Medew and Ursula (I-94 Bar Records)
It’s been a couple of years since Mick Medew and Ursula released their COVID album, “Love Is Calling”, a collection of unique songs where the sounds of ‘80s pop synth, played on a keyboard that sounded like it was retrieved from a council clean-up, were crossed with clever guitar lines.
It was an album full of pop melodies and cool indie rock cred. The vocal pairing of MickMedew and life and musical partner Ursula had natural warmth. The songs were infectious and were broadcast on various online shows and Brisbane radio 4ZZZ to build Mick and Ursula a loyal following.
“In The Zone” is their new album and is a slicker affair with stronger production, supported by a tight rhythm section and fabulous backing vocals and harmonies.
Opening track “Surfing On The Waves” explodes with a Ramones influence. It’s melodic pop- punk with classic harmonies and sounds like it should be a standard in the live set. It has tight and snappy drumming by Stuart Mclaughlin but what struck me most was that Mick’s vocals have never sounded better
“Punk Grandma”, featuring Ursula on lead vocal, has already become a cult classic after its video attracted thousands of views in a few days. It’s like Lena Lovich was re-discovered in an Ipswich nursing home and placed on a drip of ecstasy and went garage punk. It’s aided by some tight and brilliant guitar from Mick and a solid hook. It’s infectious and stays with you for days.
“In The Zone” and “Man In The Moon” are album highlights and examples of wonderful song-writing, with Mick’s trademark melodic rock touches fuelled by a classic Les Paul sound. Mick has the ability to punctuate his sold rhythm playing with sharp hooks. These songs are a nod to the classic rock pop of The Kinks, Bolan and The Only Ones.
With additional musicians Lois Andrews (on bass and fantastic backing vocals), drummer Mclaughlin and producer/guitarist/backing vocalist Brian Mann adding their own touches, it’s clear that The Mick Medew and Ursula 4 will make an awesome live band.
The album takes a sideways twist into early ‘80s post-punk pop with songs such as “God Bless Yoko Ono” (an ode and a fan letter) and “Invisible Woman”. These tracks are edgy and change the flow of the album, yet but Ursula’s vocals are convincing and sharp.
“She’s Only Happy When She’s Drinking” could be the best Aussie drinking song since Mental as Anything’s “The Nips Are Getting Bigger” and has been on repeat on my CD player, It’s a classic urban county singalong that would be a fitting theme song after 10 shots and at 2am in a West End bar. Mick channels Hank Williams after a staple diet of Charles Bukowski in a fine arrangement, and the production oozes perfection.
This album shines with Mick Medew’s stunning song-writing. Mick has been some responsible for some classic underground songs, like “Igloo” (a Ron Peno co-write) and “Date with A Vampyre”, and has consistently made strong records for 40 years. Teaming with Ursula has brought out a quirky pop edge where the soundtrack of Molly’s “Countdown” is woven with a touch of post-punk new wave. A gem. 
1/2
