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Monthly Archives: January 2018

Spotlight single: Francis Macdonald “Love is a Game Two Can Play”

31 Wednesday Jan 2018

Posted by Dennis Pilon in Spotlight Single

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Francis Macdonald, Love is a Game for Two to Play, Love is a Game Two Can Play, Teenage Fanclub, The Art of Hanging Out, Wedding Daze

WDWhat I love about this single is its simplicity. It starts with a classic rock and roll motif, heard a gazillion times, nicely light on delivery with what sounds like an acoustic guitar. But then it slowly builds out with a half dozen subtle embellishments here and there. Like the beachy background vocals or Chuck Berry lead line breakout at the 1:53 mark. The main vocal itself is nicely subdued, delivered like a secret shared in bed. The song was featured in the 2007 movie Wedding Daze and Macdonald’s 2011 release The Art of Hanging Out and represents a departure from this artist’s now main body of work. Macdonald is largely known as the sometime drummer for Teenage Fanclub but more recently has produced an impressive body of quasi-classical and instrumental work, some of it for soundtracks. Check out his beautiful 2015 release Music for String Quartet, Piano and Celeste, which reminds me a lot of some of the best Wyndham Hill releases many years back. But I do wish he would turn his formidable talents back to such simple poprock fare as this great tune.

Keep up with what Francis Macdonald is doing at his website or Facebook and download this great song from Bandcamp.

Jeremy Messersmith’s totally awesome future is now

23 Tuesday Jan 2018

Posted by Dennis Pilon in Artist Spotlight

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11 Obscenely Optimistic Songs for Ukulele, Everything is Magical, Jeremy Messersmith

JMWe need to start 2018 off on the right foot. Why not chase the blues away with ukulele-fueled songs of love, solidarity, and kittens? Yes, kittens. And snowflakes. And a bit of magic. It may look and sound like a hokey project at first glance but Jeremy Messersmith’s amazing 2017 release, 11 Obscenely Optimistic Songs for Ukulele: A Micro Folk Record for the Twenty First Century, delivers the goods. 10 songs performed in just under 16 minutes with an intense but laid back delivery that oozes authenticity. Some are sweetly charming (like “Everybody Gets a Kitten”) while others are just touchingly sweet (like “Everything is Magical” or “I’m a Snowflake Baby”). In anyone else’s hands these songs would quickly turn to mush but Messersmith manages to wring out every last drop of authentic feeling. It helps that the songwriting is so strong, careening from simple three chord wonders (“Everything is Magical”) to more saucy and complicated pre-WWII era jazz structures (“Love Sweet Love”). There isn’t a bum track on this all too brief album, which fittingly ends with the beautiful, delightful, and inspiring “We Can Make Our Dreams Come True.” Buy it. Play it. Again. I feel better already!

Jeremy Messersmith can be found at his website and Facebook. You can preview the whole album via a series of videos for each song, available at Jeremy’s YouTube page. Warning: repeated listenings to this record will make you want to play them yourself! Luckily, Jeremy offers a free songbook of the record so you can accompany yourself for the low, low price of just your email address.

Breaking news: Monomyth, The Foreign Films, The Red Button, and Pseudonym

17 Wednesday Jan 2018

Posted by Dennis Pilon in Breaking News

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Monomyth, Pseudonym, The Foreign Films, The Red Button

cassetteForgive your intrepid musical reporter if some of the headlines aren’t exactly ‘breaking’ time-wise. Our foreign bureau is understaffed. And we have to make our own coffee. But I’m pretty confident that some of these artists will be breaking news to someone …

HPFHalifax combo Monomyth sound like a nice 1960s beat group whose record has been messed with by some discordant indie interlopers. The effect is delightfully jarring, often surprising, and essentially disarming. Things start out sounding familiar but end up somewhere different. “Falling in Love” sounds like a hit single put into low gear, not quite taking off conventionally but really doing its own thing. Or “High on Sunshine” has a chorus worthy of all those great 1960s country-rock classics, set in a mess of fun melodic distractions. Some tracks are cast in more familiar registers, like the band’s eerie reincarnation of The Replacement’s on “Re: lease Life (Places to Go)” or the catchy, jangly “Drinking in Bed in E.” I love the vocal harmonies on “Cool Blue Hello” with its occasional conjuring of a Bernard Sumner/New Order vocal at times. Other tracks seem to contain a tension between straight up guitar pop and a discordant indie sound, particularly “Go Somewhere” and “Palpitations.” “New Year’s Review” has a great punked up 1970s pop feel. This is one of those fun, ‘out there’ records: hooks aplenty but not quite delivered how you might expect them.

the-foreign-films-e1515176018440Hamilton’s The Foreign Films have a major triple album project – The Record Collector –  they have been getting out over the course of a number of years. The records appear under a number of names, in a manner that is bit confusing. No matter. The material is fantastic. Check out the crisp pop rock elegance of “Broken Dreamers” or the swinging hookiness of “Land of the 1000 Goodbyes.” Reaching back in their catalogue I love the Bowie-esque “Lucky Streak” with its killer lead line or chugging rhythm guitar-centric “Yesterday’s Girl,” both from 2011’s Fire from Spark. Or note the snaky lead guitar hook that stiches together the melodic “Another World Behind the Sun” from 2007, chock full of Magical Mystery Tour motifs.

the-red-button-now-its-all-this-cover-minTechnically The Red Button’s recent Now It’s All This is a compilation/re-release, combining the duo’s two previous albums but adding an EP’s worth of new material. These guys have their Beatles’ chops down but they’re also talented and original songwriters, so the obvious John/Paul influences are worked up into exciting new material. If you missed the original releases, this is a fantastic collection. If you’ve got them already, there’s still some great new tunes here, like the collection’s title track “Now It’s All This.” Personally, from the whole collection I love the Costello-ish “Hopes Up,” “I Could Get Used to You,” and the wonderful “She About to Cross My Mind Again.” https://poprockrecord.files.wordpress.com/2018/01/now-its-all-this.m4aNow It’s All Thishttps://poprockrecord.files.wordpress.com/2018/01/hopes-up.m4aHopes Up

PseudonymSan Francisco’s Pseudonym have a dreamy pop sound, a pleasant melodic drone that seeps into your brain with indelible effect. They remind me a bit of a more lofi version of The Mighty Lemon Drops, accent on a more acoustic vibe. Exhibit A: album opener “I’m Fine,” a slow burn, ear worm song if ever there was one. Things pick up tempo-wise with a more insistent, surging feel to the hooky “All the Little Things.” Other highlights include the very catchy “Victimless Crime” and the more spare, acoustic numbers like “Don’t Leave Me This Way” and “We Had a Deal.” Altogether Pack of Lies is a solid collection.

Money has not gone out of style in 2018. Monomyth, The Foreign Films, The Red Button and Pseudonym would all love take your denominated paper featuring politicians or royalty. Though I’m sure they’d settle for e-dollars too.

Should be a hit single: Sitcom Neighbor “Tourist Attraction”

14 Sunday Jan 2018

Posted by Dennis Pilon in Should be a Hit Single

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Shag, Sitcom Neighbor, Tourist Attraction

sitcomneighbor3I don’t think I’ve been this excited about a band since I overheard The Shins in some small town bookstore in 2005. This specific song is so hooky perfect it hurts. From the elegant arrangement of the instrumentation to the low key sweetness of the vocals, everything just comes together to create a hook that won’t quit. Just try to hit pause after hearing the line “I don’t know how local you are …” The magnetic pull of this tune is subtle but strong. It was pretty much hit play, hit repeat for me for a couple of days.

“Tourist Attraction” is the opening track on the band’s 2017 release, Shag, a record that made a whole lot of year end ‘best of’ lists on the power pop blogosphere, usually near the top. Descriptors like ‘Beatlesque’ were fairly common. Somehow I missed its June release, as well as a pretty stellar 2012 album (Charm) and nice 2007 self-titled debut. My bad. Yet despite all the accolades accompanying these three long players the band’s impact on the internet seems pretty slight, with precious little coverage or, frankly, that much band presence. So this is me, shouting from the rooftops, “Sitcom Neighbor’s “Tourist Attraction” is solid gold ear candy!” And you can take that to the bank. Get it. Now.

https://poprockrecord.files.wordpress.com/2018/01/01-tourist-attraction.m4aTourist Attraction

Sitcom Neighbor do have one piece of internet real estate. Hit like on their Facebook page here. And purchase Shag wherever quality recordings are sold.

Poprock Record’s should-be hit singles of 2017

10 Wednesday Jan 2018

Posted by Dennis Pilon in Poprock Themepark

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Aimee Mann, Chris Lund, Daisy House, Daniel Romano, David Myles, Fastball, Freedom Fry, Greg Kihn Band, Los Straightjackets, Max Bouratoglou, Propeller, Richard Turgeon, Robyn Gibson, Soccer Mommy, Terry Malts, The Front Bottoms, The Molochs, The Mylars, The Primitives, The Rallies, The Strypes, Together Pangea, Tommy and the Rockets, Wiretree

recordWhat were the biggest hits that weren’t in 2017? Who were the biggest should-be stars? In our alternate universe here at Poprock Record, these guys were all over the charts, the chat shows, the scandal sheets, as well as memed all over Facebook, Snapchatted by the kids, and Instragrammed into oblivion. Jesus, they were so popular you are well and truly sick of them by now. But sadly for our poprock heroes, the universe is not just ours to define. In the world beyond our little blog, they could all use another plug.

First, a few ground rules. The choices are drawn from the pool of songs I featured or found in 2017 and were released in that year. This is not a ‘best of’ list. This blog does not have the kind of coverage that would allow for such ‘omniscient view’ judgments. I cover things as they crawl past my attention, which means as often as not I’m featuring tunes I missed from 1994 as terribly exciting and ‘new’ to me. Nor is inclusion here a knock on the acts I’ve covered but not included. If I put them up on the site, I like’em. But there is something about this collection of tunes that lingers, sticks in my mind, and has the staying power I associate with classic 1970s AM radio hit singles. And we’re offering a ‘two-four’ of hits because, well, we are Canadian. The hyperlinks on the artist name take you to the original post and the featured songs.

So here we go – our annual list of Poprock Record’s Should-Be Hit Singles of 2017:

  1. Daisy House “Languages” / “Leaving the Star Girl”
  2. The Rallies “Don’t Give Up”
  3. Aimee Mann “Patient Zero”
  4. Fastball “Just Another Dream”
  5. Los Straightjackets “Rollers Show”
  6. Terry Malts “It’s Not Me”
  7. Wiretree “J.F. Sebastian”
  8. The Front Bottoms “Peace Sign”
  9. The Molochs “No More Cryin’”
  10. The Primitives “I’ll Trust the Wind”
  11. Tommy and the Rockets “Hey Daisy”
  12. Soccer Mommy “Out Worn”
  13. Robyn Gibson “He Doesn’t Love You Like I Do”
  14. Greg Kihn Band “The Life I Got”
  15. Max Bouratoglou “Drum”
  16. Richard Turgeon “Bad Seed”
  17. Freedom Fry “Strange Attraction”
  18. Daniel Romano “When I Learned Your Name”
  19. David Myles “I Wouldn’t Dance”
  20. Chris Lund “Tell Me”
  21. The Strypes “Grin and Bear It”
  22. Together Pangea “Money On It” / “Better Find Out”
  23. Propeller “Summer Arrives”
  24. The Mylars “Forever Done”

DH CRDaisy House dominated my playlist this year, both their current record and their back catalogue. They channel the 1960s but never let it wholly define them. They have two amazing singers and one fabulously talented songwriter. They deserve all the accolades the internet can hand out. If this were 1970 they’d probably be headlining The Flip Wilson Show tonight. The Rallies were an accidental discovery that turned into an obsession. Their whole album is great but “Don’t Give Up” makes my heart twinge every time. Aimee Mann and Fastball ably demonstrated this year that veterans can still turn out fantastic, career-defining albums. And I got to see both of them live! Los Straightjackets did Nick Lowe proud, producing a phenomenal tribute to his body of work. “Rollers Show” was my go-to summertime happy tune.

Greg_Kihn_Rekihndled_coverI won’t review every selection from the two-four, but I will say that I think the mix of poprock I feature on the blog is evident here. There’s fast and slow, country and rock, guitars and keyboards, etc. And then there’s always the hooks. Case in point: check out the 42 second mark on Greg Kihn’s “The Life I Got.” If you don’t feel the excitement he creates with some classic poprock guitar arpeggiation and the subtle vocal hook you’re kinda missing what we’re doing here. Here’s hoping 2018 is as hit single worthy as this past year has been!

songs_bond_songsI am going to sneak in an honourable mention for what I consider the compilation of year: Songs. Bond Songs: The Music of 007. This Curry Cuts collection has so many gems, working with material that is frankly hard to redefine. Standout tracks for me include Lannie Flower’s amazing reworking of “The James Bond Theme,” Freedy Johnston’s beautifully spare rendition of “For Your Eyes Only,” Jay Gonzalez’s nicely understated take on “A View to Kill,” and Big Box Store’s wonderfully retooled version of “Die Another Day.”

As always, let me make a plea to support the artists so we can continue to enjoy all this great music. In a way, we are living through a melodic guitar-based music renaissance, in part due to the breakdown of the old commercial music industrial complex. But what is replacing that old system is not clear, particularly the ‘making a living from music’ side of things. Visit the artist sites, go to the shows, buy the records – and repeat.

A pair of aces from Daniel Romano

06 Saturday Jan 2018

Posted by Dennis Pilon in Artist Spotlight

≈ 2 Comments

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Daniel Romano, Human Touch, Nerveless

RomanoCanadian Daniel Romano serves up a winning musical hand with the surprising release of not one but two new albums to kick off this new year. The records showcase two strong sides of his eclectic songwriting personality: country-folk and poprock.

NervelssNerveless starts out strong with it’s title track, the spare and roomy arrangement recalling a classic 1970s sound. From there it’s pretty hard to choose highlights – there are just so many great songs here! “Anyone’s Arms” hits all the poprock marks with its great pumping piano and hooky acoustic guitar – very 1970s power pop. “Good Will” and the “Devil’s Handshake” exhibit Romano’s great talent to embed no end of catchy elements to sweeten the basic song hooks. “I’ve Never Tried to Understand” has a lovely grand and sweeping pop song structure. “Bored Enough to Love” starts out like it’s almost going to launch into “I Got You Babe” before turning into a creative pastiche of different styles.

https://poprockrecord.files.wordpress.com/2018/01/02-anyones-arms.mp3Anyone’s Arms

HTBy contrast, Human Touch is a more muted folk and country effort, the title perhaps a nod to some other guy’s paired album release from the early 1990s. The album kicks off with the very subtle built up on “Bring Me to the War.” “An Earthly Stretch of Colour” is a nice folky number with strong acoustic lead lines and slow burning hooks. “Don’t Fool Me” has that aching country ballad sound. But my favourite track is undoubtedly the understated title track, which sounds to me like a great lost 1970s country rock classic.

https://poprockrecord.files.wordpress.com/2018/01/07-human-touch.mp3Human Touch

You might just be asking, what’s in the water up there in Canada? Supremely talented poprock songwriters/performers seem to be in abundance – guys who really know how to deploy a hook like Gregory Pepper, Jeremy Fisher and Daniel Romano –  they represent some of the very best the country has to offer. Get over to bandcamp or Romano’s website to check out these new releases in full.

Welcome back to the 1980s: Bleachers, Dreamcar, Paramore and The Strypes

02 Tuesday Jan 2018

Posted by Dennis Pilon in Poprock Themepark

≈ 4 Comments

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1980s, Bleachers, Dreamcar, Paramore, The Strypes

stranger-things-80s-moviesThe wild popularity of the Netflix series Stranger Things told me something was up. This wasn’t some cleaned up riff on the 1980s like That Seventies Show was for the previous decade, but all the ugliness of the period in living colour. Big hair, badly fitting clothes, and that legacy of 1970s botched renos cast against a backdrop of deeply sonorous yet strangely ominous keyboards. Imagine Krafwerk playing in the  background of Three’s Company. Then when Walk The Moon’s spot on reproduction of a 1980s pop dance single “Shut Up and Dance With Me” hit the top of the charts I knew it was ‘welcome back 1980s, all is forgiven …’

bleachers-strange-desireBleachers really nailed the 1980s sound on their 2014 debut, Strange Desire. It was like Jack Antonoff went through all the great records from that decade and isolated the keyboard and drum sounds from various hits to act as the palate for his own songs. I couldn’t stop listening to “Rollercoaster” with its Springsteen-esque wistful opening that gives way to an insurgent and relentless poprock mini-masterpiece. I could just laud the whole album – it’s that good – but check out the John Waite “Missing You” meets Hall and Oates loping rhythm of “Wake Me” or the frosty ‘I’m so cool being this indifferent’ English vibe of “Like a River Runs.” 2017’s Gone Now complicates things with a host of guest producers but the 1980s resonance is still there, particularly when he’s channeling Prince on songs like “Hate That You Know Me” and “Let’s Get Married.” Personally, I really like the pastiche quirkiness of “I’m Ready to Move On/Mickey Mantle Reprise,” which sounds like a Fun b-side.

https://poprockrecord.files.wordpress.com/2018/01/05-wake-me.m4aWake Mehttps://poprockrecord.files.wordpress.com/2018/01/11-im-ready-to-move-on_mickey-mantle-reprise.m4aI’m Ready to Move On/Mickey Mantle Reprise

For others the 1980s influence is more muted, sometimes temporary (maybe just one song), or operates at the level of gut feeling. Dreamcar have been dubbed a new wave supergroup, which is not something anyone would have predicted from former members of No Doubt and AFI. “Born to Lie” has all the right 1980s bombast, with stentorian hooks hit home via a tapestry of overlapping vocal parts. Imagine some of the new romantic bands mingled with Asia, from their first album.  Paramore’s excursion into the 1980s is more one off and atmospheric. It’s there in the keyboards, it’s there in the vocals, but really “Grudges” fits the label in the prelude to the chorus and chorus.

https://poprockrecord.files.wordpress.com/2018/01/03-born-to-lie.m4aBorn To Liehttps://poprockrecord.files.wordpress.com/2018/01/08-grudges.m4aGrudges

StrypesA more serious engagement with the 1980s comes from Ireland’s The Strypes. The buzz around this group’s early material had Roger Daltrey, Paul Weller, and Jeff Beck lining up as fans. And why wouldn’t they? The band was doing British blues like the pros, but with an inspired spring in their step. Hey, that’s fine for people who like that sort of thing. But I love the Who, the Rolling Stones and the Jam when they leave the blues behind and develop their own distinctive, more melodic songwriting styles. So I was thrilled with the transformation of the band on their most recent release, 2017’s Spitting Image. Now the blues sinks into the background in favour of more 1980s poprock stylings of Rockpile and the Jam. Things rocket out of the gate with “Behind Closed Doors” and never look back. Just check out the masterful poppy roll out of “Grin and Bear It” or Jam-like intensity of “A Different Kind of Tension.” And then “Black Shades over Red Eyes” has the easy swing of Elvis Costello’s first album, with a bit of Springsteen thrown in. The album still shows its blues roots here and there, with a particularly bluesy sense of melody on “Oh Cruel World.” An acoustic EP of the record is also great, particularly the stripped down version of “Grin and Bear It.”

https://poprockrecord.files.wordpress.com/2018/01/08-a-different-kind-of-tension.m4aA Different Kind of Tensionhttps://poprockrecord.files.wordpress.com/2018/01/13-oh-cruel-world.m4aOh Cruel Worldhttps://poprockrecord.files.wordpress.com/2018/01/04-grin-and-bear-it-acoustic.m4aGrin and Bear It (acoustic)

Like decades before it, the 1980s will be broadly mimicked for a while but that will tire. It’s long-lasting contributions will show up more subtlely. Let’s give Bleachers, Dreamcar, Paramore and The Strypes a hand (and some cash) for getting it all started with such talent.

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