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Monthly Archives: August 2019

Summer breeze: Fruit Bats, Eggstone, Dave Sheinin, and The Kickstand Band

27 Tuesday Aug 2019

Posted by Dennis Pilon in Poprock Themepark

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Dave Sheinin, Eggstone, Fruit Bats, The Kickstand Band

Screen Shot 2019-08-27 at 10.28.18 AMAh summer, you’re already starting to fade a bit on me. Nights getting a bit darker, a bit cooler. And the ‘back to school’ cacophony is reaching a fever pitch! So let’s honour the sun, sand and “move like a wayward summer breeze …” one more time!

I first heard Chicago’s Fruit Bats on their break out single “Rainbow Sign” from their 2003 album Mouthfuls and loved the mix of acoustic guitars, pianos and vocal harmonies. And the hooks! 2016’s comeback album (of sorts) Absolute Loser had so many highlights like “From a Soon-to-be Ghost Town” and the infectious banjo-driven “Humbug Mountain Song.” Now they’re back with Gold Past Life and get a load of the Cat Stevens-ish guitar picking on the beautiful single “Ocean.” It’s a song that builds slowly into a delightful, swirling summer set piece. Sweden’s Eggstone typically offer up a dreamy pop sound that leans heavily on summer themes over their three albums and five EPs from the 1990s. But my favourite tune from them has a bit tougher indie pop gloss on it, “Against the Sun” from their 1994 album Sommersault. The song has a great set of AM radio hooks circa the late 1970s poprock scene. https://poprockrecord.files.wordpress.com/2019/08/against-the-sun.mp3Eggstone “Against the Sun”

You’d think being an award winning sports writer would be enough? You’d be wrong. Washington Post sports writer Dave Sheinin is also an accolade-collecting poprock songwriter and performer. His 2018 release First Thing Tomorrow had me reaching for the thesaurus to find new ways to describe how fabulous it was. Now he’s back with a summer single that beautifully captures the wistful mixture of feelings that accompany the hot season. Warning: hit play on the “The Lies of Summer” and you may be subject to a case of earworm that is hard to cure. If there was a contest for unofficial indie band of the summer, The Kickstand Band would definitely be in the running. Over the course of their EPs and one full length album, I count no less than five songs with ‘summer’ in the title and host of others on related themes (e.g. ‘sun,’ ‘sunshine,’ ‘sunburn,’ etc.). I love their sound, which oscillates between dabs of Beach Boys, Everly Brothers and Simon and Garfunkel vocal harmony influences combined with just a undercurrent of jagged punkiness. Goosebump city indeed! But this time out I’m featuring their cover of Brian Hyland’s 1962 hit “Sealed with a Kiss.” Hard to improve on this classic but the Detroit duo do an impressive job: smooth, a bit eerie, with an innovative horn section instrumental interlude.

Summer, it seems like I hardly got to know you. Now you’re nearly gone. Well, I’ll still have the music to get me through the long cold Canadian months ahead. Honour the summer contributions from Fruit Bats, Eggstone, Dave Sheinin, and The Kickstand Band online by clicking the hyperlinks.

Pool photo courtesy Larry Gordon.

Cover Me! The La’s “There She Goes”

23 Friday Aug 2019

Posted by Dennis Pilon in Artist Spotlight

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Beat Crusaders, ortoPilot, Salim Nourallah, Sixpence None the Richer, The Boo Radleys, The Columbia Kingsmen, The La's, The Wombats, There She Goes

Screen Shot 2019-08-23 at 9.04.03 PMWas there ever a band with a more tragic story of fabulous talent meets destructive perfectionism and bad luck? If I were holding a contest, The La’s would certainly be in the running for the top prize. Main songwriter and singer Lee Mavers was apparently legendary in his inability to live with any of the recorded versions of his songs. He insisted on rerecording them with new producers again and again until his record company finally gave up and released his band’s self-titled debut album without his approval. Amongst  fans, The La’s is an album that proves the band was more than a one-hit wonder. But for everyone else, if they’ve ever heard the group, it’s probably via their most played hit, “There She Goes.”

Screen Shot 2019-08-23 at 9.14.33 PMAnd what a song it is! From the hooky guitar lead line that lures you in, to the rhythmic acoustic guitar that anchors the song, to the hair raising vocal harmonies, the song really is poprock perfection. Personally, I prefer the original 1988 release of the song, produced by Bob Andrews, a slightly less sibilant version than the one worked over by Steve Lillywhite for inclusion on the band’s debut album in 1990. But they’re both great. Here’s the original and a Lillywhite produced acoustic version.

https://poprockrecord.files.wordpress.com/2019/08/1-06-there-she-goes-original-single-version.m4aThe La’s – “There She Goes” (1988)https://poprockrecord.files.wordpress.com/2019/08/2-17-there-she-goes-acoustic-version-steve-lillywhite-produced.m4aThe La’s – “There She Goes” (Acoustic)

Screen Shot 2019-08-23 at 9.31.13 PMCommentators as disparate as New Music Express, Rolling Stone, Death Cab For Cutie’s Ben Gibbard and Oasis all think the song is pretty much perfect. So it’s not surprising it’s attracted some cover versions (though not as many as I would have expected). The earliest I can find is from The Boo Radleys, featured in the Mike Myers 1993 film, So I Married an Axe Murderer (the soundtrack strangely also featured the La’s original). Despite a rather bizarre orchestral take on the opening hook, the Boo’s deliver an great poprock version, with slightly more rocked up guitar lead lines and instrumental breaks. Columbia University’s acapella singing group The Kingsmen (definitely not the “Louie Louie” group) show you can’t keep a good song down, even when guitars seem pretty essential to the tune. Their version sans instruments from 1995 is strangely alluring. The last of the nineties versions is from Christian rock band, Sixpence None the Richer, who offer up a lush, aching take on the song that is still pretty close to the original.

https://poprockrecord.files.wordpress.com/2019/08/01-there-she-goes.m4aThe Boo Radleyshttps://poprockrecord.files.wordpress.com/2019/08/there-she-goes.mp3The Kingsmenhttps://poprockrecord.files.wordpress.com/2019/08/13-there-she-goes.m4aSixpence None the Richer

Screen Shot 2019-08-23 at 9.32.22 PMThings get more creative in the new millennium. First up, Japanese indie band Beat Crusaders offer up a brilliant techno remake that holds on to the essential elements while breaking the mould. Then The Wombats indie things up with their live-sounding version from 2009, adding some great banjo and vocal spontaneity. YouTube cover sensation ortoPilot gets around to covering the song on Volume 13 of his Covers Album series, sounding much like the original in an acoustically stripped down state. Last up, low key poprocker Salim Nourallah offers a softer introspective interpretation of song from his 2017 album of covers, A Break in the Battle, with help from Chris Holt and Paul Averitt.

https://poprockrecord.files.wordpress.com/2019/08/there-she-goes-1.mp3Beat Crusadershttps://poprockrecord.files.wordpress.com/2019/08/there-she-goes-2.mp3The Wombatshttps://poprockrecord.files.wordpress.com/2019/08/02-there-she-goes-acoustic-version.m4aortoPilothttps://poprockrecord.files.wordpress.com/2019/08/05-there-she-goes.m4aSalim Nourallah with Chris Holt and Paul Averitt

Screen Shot 2019-08-23 at 9.52.22 PMGreat treatments of the song here but my prediction? We have yet to see the real flood of covers coming for this tune. “There She Goes” is such a perfect distillation of the basic elements of poprock songcraft in its combination of lyrical, melodic and instrumental hooks that it will prove irresistible to future bands. In fact, I think we have yet to see the definitive treatment (other than the original, of course). For instance, I would love to see an adrenaline-fueled jangle treatment from the guys who put together That Thing You Do or Fountains of Wayne or Marshall Crenshaw, to name just a few. Final treat: watch this interview and performance (of “Timeless Melody”) with Mavers and John Powers on Canadian Much Music from 1991 – they really were a killer live act!

Lee Mavers’ retirement plan is pretty much riding on this song so don’t be skint. Check out the various La’s releases and click on the artist names above to explore their broader music catalogues.

Power poprock: Deadbeat Beat, Lolas, Big Nothing, and Perspective, A Lovely Hand to Hold

21 Wednesday Aug 2019

Posted by Dennis Pilon in Poprock Themepark

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A Dozen or Seven Tapestries, Big Nothing, Chris, Deadbeat Beat, Far Away, Lolas, Lousy, Perspective A Lovely Hand to Hold

Screen Shot 2019-08-21 at 9.28.38 AMHere’s a whack of artists that power up their poprock in creative and original ways. The melody meter is registering hooks that are off the charts!

Screen Shot 2019-08-21 at 9.31.09 AMDetroit’s Deadbeat Beat are hard to pin down. At times they sound like a punky Shins or maybe the Velvet Underground covering the Beach Boys. Detroit Metro Times writer Jeff Milo boils down the Deadbeat Beat sound as “catchy as hell, with melodies like kites caught in a summer breeze …” Their new album is Far Away and is it their most polished and melodic release to date. Opening track “Baphomet” showcases many of the band’s essential elements: a jangle acoustic base, a slightly discordant yet poppy vocal, and a host of unpredictable but delightful hooks. “You Take Me Up” sounds a bit rougher by comparison but when the singer hits the line about ‘the county line’ I hear James Mercer doing a poprock cabaret punk. And the guitar work here is exquisite! Reverby and surf-like, and yet not. “From What I Can Tell” vibes a bit of the Beach Boys, the Ramones, and yet the influences add up to something new and original. Another strong track that screams radio-friendly is “Fair” with its hooky lead line and smooth vocals. Really, the strength of the album is in the songwriting. I love the band’s sound but most of the songs here could also survive pretty well just on acoustic guitar. Case in point: the jaunty “I’ll Wait” or swinging cool of “The Return.” As an album, Far Away is a great listen, again and again.

Screen Shot 2019-08-21 at 9.32.06 AMIt is so great to have Birmingham, Alabama’s Lolas back with a new record, A Dozen or Seven Tapestries, and it’s another winner. Bandleader and songwriter Tim Boykin has consistently delivered the goods when it comes to hook-laden songs dosed with chimey guitar and reverbed-up vocals and they are here in abundance. The record’s opening cut and title track “A Dozen or Seven Tapestries” gives it all away: hooky guitar lines and shimmering vocal harmonies everywhere. Boykin does change things up in terms of song styles, channeling mid 1960s American poprock on “Dj Girl” or an updated Merseybeat vibe on “Lightning Mountain (NSFW)” or even a Steve Miller Band sound on “Assailant.” You can dip in anywhere on this record and find a melodic treat. Personally, I’m loving the low key jangly “Wish You Were Loud Enough” and the more straight-up barrel-ahead poprock blast of “You’d Go Without Nothing.”

Screen Shot 2019-08-21 at 9.33.04 AMPhiladephia PA’s Big Nothing has been described as a ‘90’s influenced indie supergroup’ (Rolling Stone) but all I hear are great songs and a muscular, crunchy poprock sound. Their debut album is Chris and it’s 32 minutes of sonically pleasing songcraft. Sometimes a bit heavy (“Always Prepared”), sometimes sparkling with an easygoing jangle (“Carried Away”), the record typically delivers a taut yet melodically-rich sound, apparent on tracks like “Waste My Time” and “Real Name.” But one of my faves is “Untitled” with its almost country rock and live-to-tape feel. “Honey” is another standout track, changing things up stylistically and tempo-wise. Overall, Chris delivers a great batch of songs that amount to an impressive debut.

Screen Shot 2019-08-21 at 9.30.07 AMNashua, New Hampshire, population 86,000, is responsible for our next band, Perspective, A Lovely Hand to Hold. There must be something in the water in Nashua because this band is wonderfully weird, both strikingly original songwriters and performers. The band describe themselves on their Facebook page as an ‘indie/emo/math rock/whatever your mom calls it band.’ So, no help there. Here’s what I hear on Lousy, the group’s new (third) album: swooping fattened up vocals and unique hooks, with just a touch of jazz sensibility, particularly on tracks like “One Wrong Turn” and “Subject to Change.” But then check out the straight up poprock hooks all over “The Gang Goes On Tour” – bliss! The record does have some challenging avant garde moments but spending a bit of time with songs like “Those Few Words” and “Your Own World” ultimately pays melodic dividends. From a mainstream poprock point of view, Perspective, A Lovely Hand to Hold are more than a bit out there. But, like Nashua, ultimately worth the trip.

Personally, I think this line-up of bands are freakishly talented and worthy of a horde of manic fans. Preferably with some disposable income. Visit Deadbeat Beat, Lolas, Big Nothing, and Perspective, A Lovely Hand to Hold online to find out how out to become manic.

Top photo courtesy Larry Gordon.

Jangle Thursday: The Vapour Trails, Family Values and Doug Tuttle

15 Thursday Aug 2019

Posted by Dennis Pilon in Poprock Themepark

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Doug Tuttle, Dream Road, Family Values, See You in the Next World, The Vapour Trails, Time Stands Still

Screen Shot 2019-08-15 at 3.52.05 PMSet your phasers to ‘reverb’ for this edition of Jangle Thursday as it’s a ‘celebration of sibilance’ of the ringing guitar sort.

The major news here is a whole album of jangle fun poprock from The Vapour Trails. Their new record is See You in the Next World and it is delightful stroll down quality street. While containing a few tracks from the EP Godspeed It released earlier this year (“Godspeed It,” “The Inner Truth”), this album is mostly chock full of fresh 1960s-influened jangle. Drop the needle anywhere across this record and hit a great song, from the Tom Petty-ish opener “Sonic Wave” to the 1960s sunshine vibe on “Drag It Around” to the more swinging rock-pop sound of “You, With Love” and the title track “See You in the Next World.”

Shifting to singles, Norway’s Family Values wowed us with the 1980s British jangle sound on their 2016 EP Time Stands Still, particularly the song “The Paris Syndrome.” Now they’re back with “Sayonara Eyes” and it’s another winner, this time with the vocals really reminding me of so many great Grapes of Wrath cuts.

Rounding out this edition of Jangle Thursday is Doug Tuttle whose fat acoustic rhythm guitar wash forms the perfect backdrop for “Long Day to Your Home” a choice melodic treat from his latest LP Dream Road. Imagine a Dire Straits/Bryrds collaboration and you’re in the zone.

Reverb’s great but it’s not free. Check out The Vapour Trails, Family Values and Doug Tuttle to keep the signal flowing.

A Great Record from U.S Highball

13 Tuesday Aug 2019

Posted by Dennis Pilon in Artist Spotlight

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Great Record, Scotland, Think Again, U.S. Highball

Screen Shot 2019-08-13 at 11.51.15 AMRight out of the gate U.S. Highball join the renaissance of great Scottish jangle poprock with their debut, the aptly named Great Record. The 14 songs included here immediately draw comparisons with the best of Teenage Fanclub, Dropkick, and The Boys with the Perpetual Nervousness. Perhaps that shouldn’t be surprising as Calvin Halliday and James Hindle have long played together in the delightfully whimsical group, The Pooches. Yet U.S. Highball is not merely a rebranding of their previous efforts, but a logical development of those influences. Great Record leans more heavily on a Brydsian jangle and a complex use of the duo’s voices on songs that alternate effortlessly between hooky popcraft and hints of highland folk. Case in point – these twin influences meld beautifully on “Summer Boy” with its distinctive jangle lead line opener. Or another candidate for lead single might be “My Frankenstein” with its swinging chorus. Then again, I love the mid-period Simon and Garfunkel vibe of “Old Place.” But then hear how the duo change things up with the rock-pop groove on “Where’d the Century Go?” Overall, you can get a clear sense of what U.S. Highball is doing by checking out how the band bookend the album. They open and close the record with their distinctive folk poprock sound on “Kelvinhall” and “Old Dumbarton Road,” leaning a bit more on the folk side of the equation.

Great Record is 28 minutes of jangle-folkish poprock good times. And don’t miss their 2018 EP Think Again, which contains three more highly listenable tunes. Just click on the Bandcamp link above to complete your collection.

Country time! Paul Cauthen, Mason Ramsey and the Cerny Brothers

04 Sunday Aug 2019

Posted by Dennis Pilon in Poprock Themepark

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Famous, I Saw the Light, Mason Ramsey, My Gospel, Once You're Gone, Out of Time, Paul Cauthen, The Cerny Brothers, Twang

Screen Shot 2019-08-04 at 11.07.43 AMIf rock and roll is the bastard child of an illicit encounter between country and western and rhythm and blues then I’d characterize poprock as bearing a bit more of the genetic stamp of the former. So calling country time is totally in order around here!

On a brief pass over, Paul Cauthen looks and sounds pretty outlaw country. But check out the hooks on “Once You’re Gone” from his 2016 album, My Gospel, with it’s Nick Lowe-friendly country shuffle and heavenly background vocal ‘oohs’ and ‘ahs’. His recent album, Have Mercy, is another winner, channeling the stentorian reserve of Johnny Cash vocally at times. At the other extreme, 12 year old Mason Ramsey manages to capture some of the vulnerability of Hank Williams senior on this covers of “Jambalaya” and “Lovesick Blues.” For traditionalists, the backing on his 2018 EP Famous is a time travel trip back to 1951 with it’s killer pedal steel and fiddle playing. Personally, I love his cover of William’s lesser known “I Saw the Light” best. His new EP is Twang and though it steers more toward a commercial country sound its title track is still pretty sweet. Rounding out this country time is another track from the immensely talented Cerny Brothers, this time from their 2013 self-titled release. “Out of Time” is a banjo-driven, melodic traditional-ish number that is a duet with Debbie Byrd, whose vocals are moving blast of a more 1950s female country sound.

https://poprockrecord.files.wordpress.com/2019/08/06-out-of-time.m4aThe Cerny Brothers – Out of Time

Pull up to the e-rodeo by clicking on the links above to get back to the country with these artists!

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