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Monthly Archives: October 2016

Endlessly Dan Rico

29 Saturday Oct 2016

Posted by Dennis Pilon in Artist Spotlight, Uncategorized

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Dan Rico, Endless Love

a3877869068_10Imagine the Tardis landed and dumped out this guy direct from 1976.  It would not be a stretch for a Dr. Who plotline or from what appears on Dan Rico’s debut solo album Endless Love.  The record channels an early DIY punk esthetic through that 1970s mash-up of 1950s nostalgia, breathy emotive R&B male vocals (that Prince would use to great effect in the 1980s), and crunchy rock and roll guitars.  Having said that, what marks the record is the coherency of its sound, even as it showcases multiple styles in songwriting and production.  That’s saying something as Rico has produced a lot of recorded material with other bands that is great fun but lacks this album’s poise and restraint, qualities that allow the strength of his material and performance to really come to the fore.

“Soft Feeling” kicks things off with a lead line that reminded me of the languid confidence of Chris Staples’ recent work.  The song has a rollicking carnivalesque sound I associate with early 1960s poprock: a bit fuzzed out, like you’re hearing it over a midway sound system on a hot summer night, but hooky and with enough swing to get inside your head.  Title track “Endless Love” has almost punky rhythm guitars that sound like they are being held back by the Nick Gilder-like vocals. “Kinda Wanna” and “Wasted Youth” have that straight up late 1970s rock and roll sound that was influenced by punk to strip away all unnecessary pretense.  “Cold Cold Heart” swings back to the early seventies and vocal style reminiscent of John Oates’ best work.

14524427_1294273780606626_2253073596482555373_o-310x310Here we can see the creative tension at work on the record, as the material straddles the shift in 1970s sounds from 1950s revival influences apparent in “On a Tear” (the song structure is so 1950s, with great trebly guitar) to the emerging new wave sound of the late 1970s on tracks like “Casual Feeling.” But far and away my favourite track (other than the delightful “Soft Feeling”) is “Dangerous.” From the wonderful organ opener with its perfectly arranged juxtaposition of sounds, the rest of the song is an R&B-ish rock and roll grind at its best.  One could easily hear the Rolling Stones doing this one.

Rico’s Endless Love is an old fashioned album, you put it on and get busy doing whatever while the songs grow on you.  And there’s more where this came from, with numerous demo and alternative versions featured on Rico’s Soundcloud page.  Check out the album on Bandcamp and Rico’s Facebook for career updates.  I’m excited to see where he goes with future recordings.

Around the dial: Whale House, Pink Beam, Tommy and the Rockets, and the Kickstand Band

22 Saturday Oct 2016

Posted by Dennis Pilon in Uncategorized

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Kickstand Band, Pink Beam, Whale House

Today’s turn around the dial is all about contrasts, music that combines discordant elements but in way that resolves the tension via a great hook.  Whether channeling experimental rock or 1950s song structure or a revived beach fun ethos or dreamy vocal harmonies, its all about melody.

a2912673195_10Let’s begin in Eau Claire, Wisconsin where Whale House are a band of many colours: proudly experimental on a number of tracks, languidly acoustic-strummy on others, and straight out rockers when the amp gets knocked up to eleven.  It’s all there in their latest trio of songs, with “Red Sun” and “Think of Me” covering the experimental rock and “Freeway” focusing on melody.  I love the cover shot for the latest single with its space cruiser speeding into some crossword time-space anomaly!  Songwise, the obvious single to me is “Freeway.” The song kicks off with a super nice trippy guitar line that threads it way through the song, brought into contrast by a chorus that brings on a stronger attack from both guitars and piano, and vocals that have a nice, ever-so-slightly punky quality, hinting at alienation yet curiously endearing at the same time.  Warning: repeated listening will imprint the guitar line on your brain like the Apple home screen on your TV (in this case, not a bad thing).  Previous releases from Whale House are also worth exploring. Check out their 2013 single “Stand Out” or “Smoke Signals” and “Dark Rituals” from their 2014 EP The Negative Space (the latter track sounds like a spot on 1980s FM radio staple).

a2456399115_10Rockford, Illinois is the home base of Pink Beam, a band whose new album, Big Vacation, is a strong debut that fires all over the poprock map.  “Sleep When You Are Dead” evokes the Beatles’ Abbey Road, particularly “Because,” but that’s just a teaser as the song develops its own unique direction.  “Floozy” is a great rollicking rock and roll romp while “Michael” has a 1970s soft rock vibe reminiscent of some early Chicago (not the ballads and minus the horns).  But the tour de force is the wonderfully weird “Jamie,” a story song about regret, though perhaps never told quite this way before.  Its distinctive sound – think early 1960s tragedy ballad run through the 1970s fifties revival – effortlessly shifts between a sweet poprock melody and a great discordant vocal counterpoint.  Pink Beam are onto something original here.

a3130381154_10Then there is something so 1978 about “Silly Teenage Love” from Tommy and the Rockets, a one-off musical project comprised of Danish poprock songwriter Thomas Stubgaard and three members of the New Trocaderos.  The song kicks off with the tight guitar and compressed vocal sound so perfected by Nick Lowe and Dave Edmunds in their legendary Rockpile band.  Sure the record exudes that beachy 1960s sound too but it’s the distinctive 1970s poprock drive that gives it the oomph.  “Silly Teenage Love” is included on the album Beer and Fun and Rock and Roll, which pretty much sums the whole point of the exercise: a celebration of sunny summer beaches and the libations that make them rock.

a0807090862_10A wonderful blend of vocals marks The Kickstand Band’s new EP, Summer Dream.  Comparisons to indie darlings Jake and Eliza immediately come to mind.  As with them, this duo’s musical debts are a curious mixture of past and present: early sixties Brill Building pop, 1950s vocal harmony, late 1970s and early 1980s poprock a la Dwight Twilley or Marshall Crenshaw.  “Stay Inside” charges out of the gate and shifts deftly between three different interesting and distinctive vocal motifs, including close harmonies and swooping background oohs and aahs with a catchy set of hooks.  “Fall Back” sounds like those early 1960s sincere girl ballads but switches it up into the chorus to a late 1960s California pop harmony sound.  Title track “Summer Dream” kicks off with a whole load of reverb-drenched vintage guitar before dropping out for a eerily quiet verse that gives way to a blast of hooky chorus.  EP number three is the charm for this duo.  Previous releases certainly have highlights but Summer Dream is where the songs and their sound really comes together.

Try out these recordings from Whale House, Pink Beam, Tommy and the Rockets, and The Kickstand Band for free.  You can listen to their whole albums on Bandcamp before deciding that you really can’t live without them.

Blasts not from my past: Shack, Cast and The La’s

16 Sunday Oct 2016

Posted by Dennis Pilon in Poprock Themepark

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All Change, Britpop, Cast, Comedy, Fine Time, Shack, The La's, There She Goes

How did I manage to miss Shack and Cast in the 1990s?  I did hear The La’s at the time but really only the single “There She Goes.”  These bands exude all the essential rudiments of great poprock: sparkly guitar lead lines, great vocal arrangements, with a healthy dose of swing.  They have songs that can be carried off on just an acoustic guitar. Though the members of these bands were contemporaries, the bands themselves broke at different times, which was good because there was considerable overlap in the membership of these three groups.

the-lasReally, The La’s come first in 1990 with their sole proper album, the self-titled The La’s.  As countless re-releases since then demonstrate, the album was actually recorded a number of times through the late 1980s with different producers: John Porter (the Smiths), John Leckie (XTC), Mike Hedges (the Cure), but finally with Steve Lillywhite (Big Country, U2) who upon comparative listens of the different versions really did nail the proper mix.  The band’s creative force, Lee Mavens, was like a mad scientist never happy with his formula.  He argued that the band’s sound was looser than the smooth sound Lillywhite produced, something perhaps better captured on the amazing BBC sessions recorded mostly in the late 1980s and released in 2006.  The La’s is undoubtedly a masterpiece.  Leaving aside the monster single, “There She Goes Again,” picking out the best tunes from this record is kind of like picking out the best Beatles’ song from Revolver or Rubber Soul.  No one is going to agree.  But my own personal faves include the rollicking “Son of Gun,” the sweet downward drift of “Timeless Melody,” the freewheeling acoustic blues of “Doledrum” (particularly the sprightly BBC version), the great guitar hooks of “Way Out,” and the early Beatles sound of “I.O.U.” https://poprockrecord.files.wordpress.com/2016/10/01-son-of-a-gun.m4aSon of a Gunhttps://poprockrecord.files.wordpress.com/2016/10/09-i-o-u.m4aI.O.U.https://poprockrecord.files.wordpress.com/2016/10/01-doledrum-janice-long-02_09_87.m4aDoledrum (BBC 1987)

But of course if Lee Mavens had only ever written and recorded “There She Goes” he would still be ripe for a lot of poprock glory.  The song is practically a ‘how to’ of poprock single writing.  The two versions featured here are striking for their differences from the album version.  The first is the original 1988 single where the guitars are a bit more upfront.  The second is an acoustic version recorded by Steve Lillywhite that really captures the range of Maven’s vocals.  Oh what this band might have been if they just had more than one record in them.https://poprockrecord.files.wordpress.com/2016/10/1-06-there-she-goes-original-single-version.m4aThere She Goes (original 1988 single)https://poprockrecord.files.wordpress.com/2016/10/2-17-there-she-goes-acoustic-version-steve-lillywhite-produced.m4aThere She Goes (Steve Lillywhite acoustic version)

cast_-_band_membersCast features La’s cast off, John Powers, who stuck through the long multiple sessions for the La’s debut, only to leave shortly after to escape Maven’s dysfunctional approach to recording and focus on his own songwriting.  Cast’s 1995 debut, All Change, has some of the La’s acoustic trappings but cast in a broader rock vein – less skiffle, more Who.  The whole record is strong but “Sandstorm” and “Fine Time” stand out.  And unlike The La’s, the record was a hit, producing four top 20 singles in the UK.  Two years later Mother Nature Calls had a great acoustic number in “Live the Dream” as well a strong B-side with “Dancing on the Flames.”  Two more albums followed but by 2001 the band was ready to split.  But their 2012 comeback album, Troubled Times, suggested no diminution in the winning formula, with the swinging acoustic “Bad Waters” a definite highlight.  A new record is set to be released this fall.https://poprockrecord.files.wordpress.com/2016/10/1-07-fine-time.m4aFine Timehttps://poprockrecord.files.wordpress.com/2016/10/03-live-the-dream.m4aLive the Dreamhttps://poprockrecord.files.wordpress.com/2016/10/07-bad-waters.m4aBad Waters

510c2n1jz4lShack preceded Cast in forming but followed them in gaining commercial success, with the early version the band including Peter Wilkinson, who would leave to join Cast.  After struggling to get three records out between 1988 and 1991 that went largely unnoticed, Shack resurfaced in 1999 with their big breakthrough record, HMS Fable, a seeming distillation of all the acoustic and poprock sounds of the previous decade.  “Comedy” would prove to be the band’s biggest hit but “I Want You” should have been released as single with its swirling vocal arrangements and great hooks.  Discovering Cast and Shack after all these years is kind of like finding another book by your favourite author who is now deceased – you didn’t expect to get it so you enjoy it all the more.https://poprockrecord.files.wordpress.com/2016/10/02-comedy.m4aComedyhttps://poprockrecord.files.wordpress.com/2016/10/09-i-want-you.m4aI Want You

I have to include this clip of The La’s appearing as a duo (Lee Mavens and John Powers) on Canadian Much Music television where the clueless Erica Em tries to interview them and in classic understated Liverpool style they dodge her questions but pull off a pretty amazing vocal and acoustic strumming performance.

Today old bands never die, they just live on forever with Facebook and webpages.  Check out these for The La’s, Cast, and Shack.

Re-inventing sixties retro: The High Learys, The Young Sinclairs and Whalers

10 Monday Oct 2016

Posted by Dennis Pilon in Poprock Themepark

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The High Learys, The Young Sinclairs, Whalers

music-studio-194058_1920The 1960s were such an explosively original decade in music that countless bands just keep riffing off its influences.  Hey, that’s OK if you want to be a bar band cover outfit, but with bands pushing original music it can sound more than a little derivative.  The trick is to take your cherished influences and meld them into something new.  Today’s bands all manage to signal where their debts lie while cashing out with something more original than just homage.  Perth, Australia’s The High Learys walk the finest line on their earlier material with the catchy “Clear My Mind” mining organ riffs that sound like they were lifted directly from records by the Zombies or the Animals.  But just one year later the band has transformed those influences into a more original, sixties-influenced indie sound on “Cabinet,” with its fabulous fuzzed out guitars and swirling organ.  Roanoke, Virginia’s The Young Sinclairs acknowledge their love of sixties poprock but refuse to live in the past, as is apparent on the single “Girl, I’m for Real,” which effortlessly blends Bryds and REM influences into a new mix.  Austin, Texas’ Whalers roll out a killer sixties guitar lick on “Cheat on Each Other” that has the hook and timbre of the original era but the vocals are pure 1990s.

Thanks to Powerpopulist for today’s suggestions.  Bands love fan mail so send yours to The High Learys, The Young Sinclairs and Whalers via the web.

Bosco Rogers get Post Exotic

03 Monday Oct 2016

Posted by Dennis Pilon in Artist Spotlight

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Anvers, Beach! Beach! Beach!, Bosco Rogers, Post Exotic, The MIddle

boscorogers-googooAll popular music is synthesis, really. Everyone is influenced and the best somehow take their influences and combust them into something that sounds very different from where they started – so different that people mistake it for something totally new.  Bosco Rogers is that perfect distillation of influences that breaks out into a new sound.  It would be easy to pick out the various familiar musical motifs from the 1950s through to the 1980s on their debut album Post Exotic – the fifties Chuck Berry swinging guitar lines, the psychedelic meets glam meets garage rhythm section, the great textured vocal effects – but that wouldn’t do it justice.  These guys are masters of the produced sound: each element of any song is placed into the mix ‘just so’ for maximum impact and effect. Is it surprising that the band’s two members run their own separate recording studios in the south of England and France?  Not really.

xqfwfjpjYet this would be of fleeting effect if the material itself was not strong.  And it is.  It is hard to pick out just a few highlights from this album as each song contains its own special bit of ear candy, some great original sound, a distinctive instrumental choice, a hook that won’t let go.  If pressed, I’d have to steer listeners to the super folk blues sound of “Anvers” with its catchy psych pop middle section, or the hypnotic whistle motif of “The Middle.” Then again title track “Post Exotic” has a seductive guitar swing, “Beach! Beach! Beach!” is an alternative universe beach party staple, “Drinking for Two” recreates the sunshine pop sound using classic 1960s vocal arrangements, “Roses” oozes 1980s synth pop, and so on.  In a world of individual song downloads, Post Exotic rewards the listener with the complete album experience: all player, no filler.

One can only hope that Bosco Rogers will be touring in support of this amazing first album soon.  Keep up with their tour and music news on the their Facebook page.

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