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Monthly Archives: January 2017

The world of Thomas D’Arcy

29 Sunday Jan 2017

Posted by Dennis Pilon in Artist Spotlight

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All Over Your Face, Amy, Fooled You Twice, Hawksley Workman, I Wake Up Everyday, Let Me Be Your Ferris Bueller, Small Sins, The Carnations, Thomas D'Arcy, Tommy Hawkins, What We Want, Why Don't You Believe Me?

darcyIn the 1960s the Canadian imprint of Decca, London Records, released a series of The World of … albums: The World of the Zombies, The World of the Rolling Stones, The World of Cat Stevens, etc.  Now Poprock Record would like to present The World of Thomas D’Arcy.  Why?  Because this guy is all over the musical map, in a very good way.  From his teenage punky poprock band, the Carnations, to a one album appearance with All Systems Go!, to his one-man, keyboard-based band Small Sins, to a slew a solo material and a recent collaboration with Hawksley Workman in their Tommy Hawkins project, D’Arcy is master of all he turns his talents to.  For a host of acts behind the scenes, his studio production credits alone should make him a star.  But constant throughout his varied career are the songs: quirky, catchy, usually with a subtle hook that sneaks up and refuses to release its hold.

carnationsI saw the Carnations live at the Horseshoe Tavern in Toronto in the late 1990s, opening for some band I don’t remember.  They were a blast of hooky teen exuberance.  I bought their debut CD, Superluminal, at the show, which was a good thing as none of their recordings appear to be available digitally.  The seven songs owe a debt to the alienated charm of bands like Weezer but the result is still pretty original, with “Bald Avenger” and “Let Me Be Your Ferris Bueller” as stand out tracks.  D’Arcy has posted three Carnations videos on his YouTube page which give you some sense of how the band developed over time, with songs like “Scream and Yell” and “I’ve Got Spies” showcasing a more muscular sound on later records. https://poprockrecord.files.wordpress.com/2017/01/02-let-me-be-your-ferris-bueller.m4aLet Me Be Your Ferris Bueller

Sometime after 2006 I saw D’Arcy’s new vehicle, Small Sins, play a show at a tiny club in Victoria, B.C. and didn’t even make the connection to his work with the Carnations, the sound was so different.  Guitars took a backseat to a distinctive synth/keyboard sound, contrasted with taut vocals, particularly on songs like “Why Don’t You Believe Me?”

By 2012 he was just releasing work under his own name, like his spot on supergroup re-recording of the Monks goofy new wave Bad Habits album.  Then 2013’s What We Want featured the great keyboard-heavy single, “I Wake Up Everyday” while 2015’s Fooled You Twice had a broader sound, with the single “All Over Your Face” vibing some serious ELO influence.

Then in 2016 he turned in another new direction, working with Hawksley Workman to produce a more earthy, rough-edged EP entitled Amy, credited to Tommy Hawkins.  Filed under “Tommy Hawkins” is also where you’ll find a host of rare Thomas D’Arcy material on Soundcloud.

You can be welcomed to The World of Thomas D’Arcy at his new website and Facebook page.

Should be a hit single: Blonde Summer “Slow Days Fast Company”

27 Friday Jan 2017

Posted by Dennis Pilon in Should be a Hit Single

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Blonde Summer, Slow Days Fast Company, Slow Daze

t63343669-i542671071_s400A bit of the beach is just what we need in January and LA’s Blonde Company have that magic, blissed out, buzzed on sound down pat.  “Slow Days Fast Company” from their 2012 EP Slow Daze kicks off with a trippy lead guitar line that lopes throughout the song, conjuring up great weather and top down cruising by the water.  The band have a series of EPs of great material, including tracks like “Silver Jesus,” “High Times,” “Blazed,” and their latest single, “Sha La La.”  But there is something about the feel of this single, with its hint of Sugar Ray’s confident tempo, that says this should have been a monster radio hit.  Keep up with Blonde Company’s latest grooves here.

Around the dial: Kevin Devine, Brett Dennen, Brian Fallon, and Rich Ajlouny and the Tractor Beams

22 Sunday Jan 2017

Posted by Dennis Pilon in Around the Dial

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Brett Dennen, Brian Fallon, Instigator, Kevin Devine, Love is the Stronger Force, Painkillers, Rich Ajlouny and the Tractor Beams, Smoke and Mirrors

instigatorWe start big on this installment of Around the dial with Kevin Devine’s fantastic new album Instigator.  Devine has a lot of material under his belt – eight albums not including this one – but his latest is by far his strongest, most accomplished piece of work.  Others might be more partial to different periods in his career but for me it all comes together here: politics, unrelenting hooks, and more tender insights.  The cover alone, of some 10 year old’s Christmas party wrestling match, is a major highlight.  From the moment the chugging guitar opens up “No Why” the album never misses a beat.  “Magic Magnet” is power pop heaven.  “Daydrunk” is a sweet guitar drenched ode.  “No One Says You Have To” is a lovely acoustic ballad.  The title track “Instigator” says hit single to me, one part Fountains of Wayne, another part Weezer.  But I save the most love for the touching, introspective “I Was Alive Back Then.”  Imagine if Paul Simon sounded genuinely alienated and had gone through some serious angry periods – it might sound a bit like this.  An outstanding performance of a song that leaves the singer bare.

brett_dennen_coverThe hippie vibe lives on as a kind of lifestyle esthetic and Brett Dennen could be its poster child.  The influences here are all over the map: a bit of Van Morrison, just about any 1970s confessional singer songwriter, a dash of reggae at times.  However on his fifth album, 2013’s Smoke and Mirrors, Dennen upped the pop quotient with tracks like the catchy “Out of My Head” and infinitely pleasant “Sweet Persuasion.”  His most recent album Por Favor strips things back a bit without losing the hooky focus, particularly on tracks like “Bonfire.”https://poprockrecord.files.wordpress.com/2017/01/01-sweet-persuasion.m4aSweet Persuasionhttps://poprockrecord.files.wordpress.com/2017/01/04-bonfire.m4aBonfire

brian-fallon-painkillers-album-new-2016The Springsteen is definitely there in Brian Fallon’s solo album Painkillers but the influence is more atmospheric than direct.  I love the guitar sounds on this record.  The title track opens with a great rumbly electric that gives way to lush acoustic strumming while later “Among Other Foolish Things” features a distinctive opening guitar riff that repeats throughout the song.  “Nobody Wins” typifies the easygoing rock and roll sound of the album, laid back but with subtle hooks.  If this record is anything to go by, Fallon is really just getting started.https://poprockrecord.files.wordpress.com/2017/01/03-among-other-foolish-things.m4aAmong Other Foolish Thingshttps://poprockrecord.files.wordpress.com/2017/01/06-nobody-wins.m4aNobody Wins

richAnd now for something completely different.  Rich Ajlouny and the Tractor Beams are a bit off the beaten poprock path, but only just.  There is something definitely Beatlesque in Ajlouny’s slightly discordant vocals, reminiscent of “Nowhere Man.”  You can really hear it on “Around the Town” from Ajlouny’s 2013 solo release but it is there in spades on the more recent Love is the Stronger Force, particularly “Tough Guys Don’t Dance.”  There is also something very art rock about this band’s material and performance, as if some elements have been deliberately left out of focus.  Other highlights include “Give Her a Kiss” with its super harmonica break and “When Plans Go South.”  I also like the wonderfully quirky “Going Back to Work” with its stark admission that the protagonist is ‘going back to work after being such a jerk.’

Find out more about Kevin Devine, Brett Dennen, Brian Fallon, and Rich Ajlouny and the Tractor Beams at their respective internet locations.

Second time around: Jim Adkins, Donny Brown and The Both

15 Sunday Jan 2017

Posted by Dennis Pilon in Poprock Themepark

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Aimee Mann, Donny Brown, Girls Just Want to Have Fun, Give Me a Sweetheart, Hess Street, Hummingbird, I Will Go, Jim Adkins, Jimmy Eats World, Milwaukee, Now You Can Break My Heart, Ted Leo, The Both, The Verve Pipe, Volunteers of America

trafficWhen artists go solo or come around sporting a new band the results can split three ways.  They might come back sounding pretty much like they did when they left, which sometimes turns out well (I guess she really was the band …) or leads to disaster (hm, he really should have stuck it out with the other guys …).  But sometimes they return with a markedly different sound, a result that some find disappointing but I often find refreshing and exciting.  This post features three different artists defying expectations on their second time around.

adkinsJim Adkins is the lead singer for Jimmy Eat World and you couldn’t get a more different take on him that this solo EP.  The title track, “I Will Go,” kicks things off with sprightly clean acoustic guitar rhythm and a lovely swinging melody, later adding horns and electric guitar to what is a solid single.  He applies a similar fresh treatment to Beck’s “Don’t Act Like Your Heart Isn’t Hard.” Things get a bit edgier with his interesting take on an Everly Brothers’ b-side, “Give Me a Sweetheart,” featuring a double tracked harmony vocal and a guitar with an ominous rumble.  But the EP’s highlight has to be his bleached-out, on-tender-hooks version of “Girls Just Want to Have Fun.”  Adkins deliberately avoids hitting all the familiar notes of Lauper’s mega-hit arrangement, revealing a remarkably flexible tune underneath all Cyndi’s fun flash.  I Will Go is a winner: every track on this six song release is value for money.https://poprockrecord.files.wordpress.com/2017/01/01-i-will-go.m4aI Will Gohttps://poprockrecord.files.wordpress.com/2017/01/02-give-me-a-sweetheart.m4aGive Me a Sweethearthttps://poprockrecord.files.wordpress.com/2017/01/06-girls-just-want-to-have-fun.m4aGirls Just Want to Have Fun

hess-stDrummers get a bad rap.  Other than keeping time, expectations of what they will contribute are often low.  They are seldom the singer or songwriter for their respective group.  But here Donny Brown defies expectations.  As drummer for the grungy nineties Verve Pipe, Brown gradually expanded his influence on the band from just playing his instrument early on to contributing nearly half the songs to their 2001 album Underneath.  But nothing could prepare us for Brown’s solo outings where he writes, sings, plays guitar and drums, and goes in a completely different direction than his other gig.  brownBrown has a great soft rock vocal style and the tunes on his first EP, Hess Street, run the gamut from lush spot-on 1970s pop (“Bitter Rival”) to amazing tin pan alley recreations (“Call Me”).  A real stand out is the opening track, the McCartney-esque “Lucky Number” with its intriguing melodic twists and Band on the Run lead guitar.  His follow up EP, the self-titled Donny Brown, continues in the 1970s vein with tracks like “Life of a Stranger” and “Reach Out” but increases the hook factor on other contributions, echoing just a bit of ELO at times.  The marvelous “Now You Can Break My Heart” is a poprock masterpiece that will get in your head and stay there.

the_both_album_front_coverIs this the second or third time around for Aimee Mann?  Ok, we’re bending the rules here to include The Both, her collaboration with Ted Leo.  I can’t help but think that this record sounds like the one she could have recorded with hubby Michael Penn before he banished himself to scoring movies, if their few collaborative singles are anything to go by.  But, no matter, this debut is a killer.  Of our trio of offerings, it also represents the least departure from the artists’ original formula.  Overall, it may sound a bit tougher than Mann’s solo material at times, but the songs are indelibly Mann-esque, with all her clever turns of phrase both lyrically and musically.  While there are no weak tracks here I certainly hit replay on “Milwaukee,” “Volunteers of America,” and “Hummingbird.”  If you’re a Mann fan, this is a must have.  It will also have you checking out Leo’s back catalogue with Ted Leo and the Pharmacists (hint: start with “Bottled in Cork”).https://poprockrecord.files.wordpress.com/2017/01/02-milwaukee.m4aMilwaukeehttps://poprockrecord.files.wordpress.com/2017/01/04-volunteers-of-america.m4aVolunteers of Americahttps://poprockrecord.files.wordpress.com/2017/01/08-hummingbird.m4aHummingbird

Talk about missed opportunities – I managed to miss most of these acts when they blew through town.  If only I’d paid more attention to the Jim Adkins, Donny Brown and The Both websites.  Don’t let that happen to you.

Legends of poprock: Elvis Costello – the early years

12 Thursday Jan 2017

Posted by Dennis Pilon in Artist Spotlight

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Accidents Will Happen, Armed Forces, Blame it on Cain, Elvis Costello, Get Happy!!, My Aim is True, New Amsterdam, Taking Liberties, This Year's Model, You Belong to Me

dyk39fzjckdlk1epaakpA lot of words have been written about Elvis Costello (the artist himself added a few hundred thousand in his recent autobiography Unfaithful Music) but little has been said about just how melodic his music can be.  His early years, roughly the period from his 1977 debut My Aim is True to 1980’s Taking Liberties, are crammed with hooky numbers.  “Blame it on Cain” is my favourite from the debut, with its leisurely swing and Steely Dan guitar lines, but frankly it’s a pretty close contest with just about every other track from the album.  My Aim is True is a miracle of synthesis, taking inspiration from an impossible range of sources: Van Morrison, Bruce Springsteen, mainstream seventies rock, the emerging punk scene, and arguably Costello’s father, Ross MacManus, a well known singer in the UK.  The record also represents an interesting artistic negotiation between Costello as an emerging singer/songwriter and his amazing pick up band, the American pub rock group Clover.https://poprockrecord.files.wordpress.com/2017/01/blaim-it-on-cain.mp3Blame it on Cain

this-years-modelsThings changed dramatically with album number two, now backed by Costello’s defiant new band, the Attractions.  This Year’s Model charges out of the gate, its stripped-down, in your face rock and roll delivered with a crisp ferocity unmatched by any of Costello’s other recordings.  This is the critics’ favourite album for a reason.  I like it less than the debut but still love it, particularly the catchy lead guitar line on “You Belong to Me.”  Elvis dials back some of the attack on his third album, Armed Forces, letting the listener in on some impressive aural landscapes that illustrate his talent for arranging his music.  This is captured nicely on the single, “Accidents Will Happen.”https://poprockrecord.files.wordpress.com/2017/01/06-you-belong-to-me.m4aYou Belong to Me

r-1579497-1288764112Get Happy!! and Taking Liberties were both released in 1980, the latter a compilation of B-sides (released as Ten Bloody Marys & Ten How’s Your Fathers in the UK).  With each record topping out at 20 songs, together they represented a cornucopia of poprock.  What is striking here is the restraint, the subtle hooks of “B Movie,” “New Amsterdam” and “Secondary Modern” on Get Happy!! or “Radio Sweetheart” and “Hoover Factory” on Taking Liberties. One almost gets a sense that the songs were chiseled into shape, worked over until every detail reflected the light just so.  Of course, there were also more raucous examples like “Possession” or “Crawling to the U.S.A.”

While critics often highlight the venom and sneer of Elvis’ early recordings, these songs demonstrate his capacity for sweetness, melody, and hooks.  His penchant for poprock shifts considerably in his middle and later periods, but more on that to come.  And he had a sense of humour.  Check out this hilarious send up of K-tel commercials from the 1970s to pitch Get Happy!!

Looking for Elvis?  Forget that supermarket in West Vancouver, you can find him here.

Spotlight single: Timmy Sean “Western Rodeo”

05 Thursday Jan 2017

Posted by Dennis Pilon in Spotlight Single

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Timmy Sean, Western Rodeo

timmy-sean-song-of-the-weekIt seemed like an interesting gimmick – 52 songs over 52 weeks.  That was Timmy Sean’s promise for 2015.  For just $20 (US), he would produce a song a week for a whole year.  I signed up on the strength of this song alone.  Sean is musically multi-dexterous, with material that pays homage to a broad array of poprockers ranging from Fountains of Wayne to Hall and Oates.  But “Western Rodeo” is a departure in more ways than one.  First, it’s country!  None of the other 51 tracks really go there.  Second, the song’s arrangement and performance are flawless.  I like a lot of the 52 songs Sean served up but for me this single is a cut above.  It has a lovely melancholy acoustic guitar foundation that builds slowly and solidly, adding pedal steel, lead guitar, and great backing vocals, delivering a sonic impact I usually associate with early Eagles or late Byrds material.  Sean is a major talent just waiting to break.

Keep up with Timmy Sean’s latest musical antics by checking his Facebook and website.

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