Every decade is doing the nostalgia thing. Soft rock has joined disco as the go-to 1970s sound. Synth and trebly guitar bands define the retro-1980s movement now afoot. But they’ve got nothing on the 1960s, the decade that refuses to die. While the 1950s now sound increasingly dated (though I still love them!), the dynamic range and never ending freshness of the 1960s keeps coming back with revivals of the original artists, box sets and re-issues, and the decade’s continuing influence on new artists. These three recent acts live and breathe the 1960s, without sounding like some tribute band. They’ve got the guitar sounds, the groove, but – most importantly – some strong songwriting.
Here’s exhibit ‘A’: check out the guitar hook that jump starts The On and Ons’ “Whole World” from their 2017 release Welcome Aboard. It’s got a solid grounding in The Who’s early work, with perhaps a bit of The Action modding things up a bit more, and a nice quasi-sitar guitar bit at the end. Of course, the sound can also be characterized as new wave on this and tracks like “She’s Leaving” in a very Nerves/Plimsouls sort of way. I love the melody shift in “Can’t Avoid” which evokes a Zombies’ wistfulness. Also, don’t overlook the great tracks on their 2015 debut It’s the On and Ons Calling, particularly “Before Our Eyes” and “Not a Friend in Sight.” It’s no wonder that Paul Collins had this band back him up on a recent North American tour. They perform like veterans but deliver a fresh take on the 1960s sound.
Whole WorldCan’t AvoidBefore Our Eyes
Anyone who puts their band’s theme song as the first cut on their debut album is OK with me. I mean, it was good enough for The Monkees, right? The Squires of the Subterrain are the product of the seemingly mad poprock genius, Chris Earl. Earl loves the 1960s and simultaneously pays homage to while reinventing its signature sounds. Sometimes it’s Nuggets-style oh-so-garage rock like “Sweet” from 2003’s Strawberries on Sunday, or the brittle mid-1960s English poprock on “Intoxicating Violet” from 1998’s debut Pop in a CD. Whole albums are given over to exploring different styles, like the playful send up of early 1960s American radio vocal beat groups on 2009’s Adventures in …, or the spot off Beach Boys reinvention of 2012’s Sandbox. 2017’s Slightly Radio Active is a more straight up album of great songs, though delivered with Earl’s wry lyrical insights and slightly off-kilter performance. “Meltdown” has a lovely subtle hook on piano. Title track “Slightly Radio Active” is a great garage single, with super guitar hooks. Both “Letters from Heaven” and “Highly and Unqualified” showcase Earl’s inventiveness in song instrumentation, arrangement and sentiment. This guy pays repeated listens – there is simply so much to hear here!
Theme SongWhoa, Whoa, Yeah, YeahSlightly Radio Active
Last up on That 1960s Show is a band that sometimes sounds so late 1960s country rock a la the Byrds or International Submarine Band but then shifts to a more jangly poprock style on other tunes. Rifling through the band’s catalogue, The Carousels ace that languid country rock vibe on “Winds of Change” while “Call Along the Coast” almost seems to jump out at you with its peppy bass, trebly lead guitar, and killer harmonies. The band’s more recent 2017 album Sail Me Home, St. Clair combines these strengths on cuts like the country-styled “Josephine” and more jangly “Lord Speed My Hurricane” and many others.
Winds of ChangeCall Along the CoastLord Speed My Hurricane
Help The On and Ons, The Squires of the Subterrain, and The Carousels keep on keeping on with their 1960s-inspired new music by checking out their web presence, recordings, and live shows.
Names come and go. Some, like Gertrude, Hilda, and Agnes, are probably never coming back. But others carry on through generations, like Maryanne. It’s a name that conjures up the quintessential girl next door. She seemed to be at every dance in the 1950s, ended up shipwrecked with Gilligan in the 1960s, and was the focus of a host of singer-songwriter’s attentions in the 1970s. Leonard Cohen tried to say “So Long Marianne” but it didn’t work. More Mary Anne songs kept coming. Today’s post focuses on songs named for Maryanne, Mary Anne or Mary-Anne (though, curiously, not Marianne).
Time passes and it’s amazing the musical acts you realize you haven’t thought about in a long time. Could even be bands you once loved but now regularly pass over in the record collection. Then something brings them back to mind and you discover they have carried on, despite your indifference. Of course, sometimes such rediscoveries can be painful. But in the case of these three once mega-successful acts, the missing years have some seen them produce great stuff worthy of a bit of musical reconnaissance.
If ever there was a band that seemed likely to gain the ‘fad artist’ label, it was Duran Duran. Flashy outfits, winning hairstyles, and plenty of jump-cut videos were oh-so-early 1980s. When they abandoned their hook-driven material for more bass-heavy R&B on 1986’s Notorious the exit sign over their career seemed to be flashing brightly. But despite the odds they persevered, turning out ten more albums over the years, all with at least a few pretty solid, hook-driven tunes, songs like “I Don’t Want Your Love,” “Ordinary World,” and “Come Undone.” The new millennium has seen the release of strong albums like Astronaut (2004) and All You Need is Now (2010). But their most recent Paper Cuts (2015) is arguably their best since 1983’s Seven and the Ragged Tiger. Largely written and and produced by recent wunderkind Mr. Hudson, the record still has the remarkably familiar stamp of Duran Duran while breaking new ground musically. Standout tracks include title cut “Paper Cuts” and “Sunset Garage.” If you haven’t checked out the band in a while, it’s time to return to the fold.
I still remember finding my first used copy of New Order’s “Blue Monday.” I wasn’t really into techno or dance but there was just something so cool about the hypnotic driving bass and keyboard riffs. I dutifully purchased Low Life and Brotherhood when they came out. But I do remember being a bit disappointed with Technique, which seemed a bit too aptly named for comfort. New Musical Express complained that the band should just break up rather than repeat themselves (but then MNE was pretty infamous for hating bands as soon as more than a handful of people started liking them). So, in the nineties me and New Order drifted apart. Imagine my pleasant surprise to catch up on their post-Technique catalogue only to discover some of their best recordings! 1993’s Republic was OK, but 2001’s Get Ready is amazing, upping the traditional indie rock sound without losing the club vibe. And the songs are pretty strong: “Crystal,” “60 Miles an Hour,” and “Run Wild.” Four years later the band did it again with the stellar Waiting for the Siren’s Call, featuring killer tracks like “Krafty” and “Turn.” Songs left off the latter album were released as Lost Sirens in 2013 and they weren’t just leftovers: check out strong tracks like “I’ll Stay with You” and “I’ve Got a Feeling.” 2015’s Music Complete (minus longtime bass player Peter Hook) couldn’t help but disappoint by comparison, though “Superheated” is pretty cool.
The first record I ever bought was Billy Joel’s 52nd Street. It was 1978 and one of the only non-country albums stocked in the dry goods store in Cassiar, the asbestos mining town in northern BC where we lived briefly when I was 13. On reflection, I don’t like it nearly as much as The Stranger (with its drop dead hit single, “Only the Good Die Young”), or Glass Houses, which really was Joel’s songwriting peak (from a poprock perspective). Sometimes you have to make do. But after The Nylon Curtain and An Innocent Man I kinda lost interest in what Joel was doing. I mean, I really couldn’t figure out how the dirge-like “We Didn’t Start the Fire” could make it from the out-take pile let alone top the charts. Different strokes. And then Joel just stopped making albums altogether after 1993, surely a bizarre development in our music-as-commodity world. I would have said ‘who cares’ until I ran across two beautiful late Joel songs recently, one each from his last two albums. “And So It Goes” from 1989’s Storm Front has a slightly Randy Newman-esque feel to the arrangement, when it’s not just exquisite Joel balladry. But minus the flash – this performance is remarkably restrained and vulnerable. “Lullabye (Goodnight, My Angel)” is the best thing on 1993’s River of Dreams, a beautiful love song for his daughter.
I get by with a little help from my friends. Because I can’t possibly keep up with all the great new music coming out every day, other blogs are a reliable source of new material. And I’m proud to say that I think my blogroll is a finely curated list of sites that really deliver on content. In fact, they’re so good I can’t visit them too much or I’ll just want to write about all the things they’ve already posted! But sometimes cruising through the blogs reminds me of hitting the record shops when I was younger. Vancouver in the early 1980s had a plethora of new and used record stores: Kelly’s, A&A Records, Track Records, Neptune Records, and, of course, the main new records shop, A&B Sound. A&B focused mostly on selling stereo components (I bought my first tape deck there on layaway!) but used albums as a loss leader to get people into the store. Their signature ‘featured bargain’ bins (where they stacked records flat on top of each other) crowded the front of the store and usually sold for $4:99 when the going price for an album was typically anywhere from $6:99 to $10:99. I would buy records I had no clue about, just because they looked cool and were cheap. Such bargains included New Order’s Power Corruption and Lies, Men at Work’s Business as Usual, and OMD’s Dazzle Ships. Well, the record stores, like the book stores of my youth, are largely gone. But the excitement of finding new music lingers on, now re-platformed to the blogosphere!
Absolute Powerpop may not generate the volume of blog posts he once did, but that doesn’t mean he isn’t paying attention. His best of lists for 2017 were colossal: a top 100 singles, top 20 EPs, top 10 Americana and top 100 albums list. I snagged eight new artists that really caught my ear. But I want to draw your attention to 
Powerpopaholic is the godfather of power pop blogs. Given the range and depth of his coverage and sheer volume of posts, if a band or song is somewhere on the power pop spectrum it will eventually appear here. I snagged five new bands from his Top 30 list this year but have chosen to showcase 
I only picked one new artist from I Don’t Hear a Single’s many ‘best of’ lists but that’s because I’ve been nicking great stuff from him all year! Berwanger, Mothboxer, Daisy House and many, many more. IDHAS is an early finder – bands show up here that inevitably show up everywhere else, but a few months later. And he has a particularly good handle on the British and European scene. Having said that, my find from IDHAS is 
Powerpopulist seems like a machine that scours the internet for freely offered up tunes from great indie bands you’ve yet to hear of. I am constantly blown away by his industry – so many bands! So many tunes! His tastes typically run a bit harder than mine but he does love his jangle. His ‘best of’ list ran to 109 songs, from which I scored five acts that are real keepers. 
Poprock Record 