Tags
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
What 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.
We 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!
Forgive 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 …
Halifax 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.
Hamilton’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.
Technically 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.”
Now It’s All ThisHopes Up
San 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.
I 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.
What 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.
Daisy 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.
I 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!
I am going to sneak in an honourable mention for what I consider the compilation of year: 
Canadian 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.
Nerveless 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.
By 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.
The 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 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.
A 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.”