Oh happy day, a new single from The Primitives is here! Coventry’s most reliable sixties-infused jangle band has a double A-sided single out and both tracks are super pleasing. “I Won’t Care” sounds like any current hooky poprock band, Tracy Tracy’s light and breezy vocals here are riding a propulsive guitar backing. There’s an Ivy-like sophisticated polish to the overall sound. Flipside “Everybody Needs Somebody to Hate” has guitar-player extraordinaire Paul Court on vocals working his way through a song defined by an updated Buddy Holly-esque Bo Diddley beat. Right now the songs are only available direct from the band’s Big Cartel record label but I imagine they’ll be coming to other e-retailers soon. Of course the big question is, are the band just teasing us before a new album comes our way? It’s been six long years since 2017’s New Thrills and we could use some even newer ones from a band that clearly has a few more to offer.
Fill out your Primitives recent back catalogue from their Bandcamp site and get the latest goods from Big Cartel direct.
We are springing into action as winter finally ebbs away, returning with our second seasonal installment of singles. Here are another 21 songs, playlist-tested and ready for maximum musical enjoyment as you and yours contemplate heading outside.
New Jersey’s The Anderson Council have got a heaping helping of sixties-inspired tune-age ready with new LP The Devil, The Tower, The Star, The Moon, due out shortly. While we for wait we can enjoy the teaser single “Alone With You,” a guitar-centric slice of the band’s distinctive brand of power pop. Birmingham’s Lolas never fail to please. Every release is sibilant guitars aplenty and buzzy, harmony-drenched vocals working the melody hard. “Trick Myself” is hooky pleasantness itself, with some nice 1970s chorused lead guitars in the instrumental break. Recently ads for Lexington Kentucky have been interrupting my TV shows. If they’d featured Lexingtonian Scott Whiddon I might have paused the mute function. Taking a gander at his bandcamp pages you’ll find some nice acoustic guitar pop and indie-ish poprock. But his most recent single “I Can’t Remember the Things I Love” is decidedly more quirky, employing a swirl of 1980s computer noises and some harder edged guitar backing. I like where this is going. When “Trout Fishing in America” opens Speckled Bird’s new EP the Bryds vibes are pretty serious. And yet there’s a fresh feel to the proceedings, particularly on the vocals. The longer it goes on, the more it sounds like its own very original thing. When McFlygot going they could have easily morphed into a guitar-slinging One Direction. And yet there was always something more to this band of rosy-cheeked boys. They could write songs, they could harmonize with a Beatlesque ease. Now two decades on from their commercial heyday they are still producing AM-worthy tunes in the best sense. Like “Corner of My Mind,” a track from 2020’s The Lost Songs, an album of demos from aborted recording sessions. Hard to believe a band could sit on songs this good.
McFly – Corner of My Mind
On “A Sailor’s Song” Brian Troester marries an early 1980s AM pop sophistication with a laid back country vocal. The result should be gold, as in, gold record. The lead guitar hook and the song’s alluring steadfast pacing sounds so John Waite. Meanwhile the song’s lyrical narrative begs for 1984 MTV video treatment. Trim, Ireland – population 9000 – hardly seems like it would be a hotbed of rock and roll. But local lads Spearside are going to change your mind. They’ve got a handful of singles and an EP of psych-rock that make a mark. The opening title cut on their EP Remember, No Regrets charges into your consciousness with big guitars and a load of sneaky pop hooks while stand-alone single “Not Up to Much” steps on the melody pedal with jangly guitars and sweet harmony vocals. I am sure this is just the start of a beautiful thing with this band. Getting into the swing of our theme Ohioans Librarians with Hickeys just “Can’t Wait ‘Till Summer.” The jangly guitars and ethereal vocals make this track something special. There’s an air of late 1960s Moody Blues in the song’s melancholic demeanor. What happens when you put half the members of the Flashcubes and Screen Test into a studio with one of the Pernice Brothers? Freakin’ 45rpm magic, that’s what. Gary Frenay, Tommy Allen, Randy Klawon and Bob Pernice are The Half Cubes for this session, recording a remake of The Pernice Brothers’ 2003 song “The Weakest Shade of Blue.” And the results are a tantalizingly fresh reinvention of a pretty solid tune. Frankly, it sounds like a Screen Test recording to me, which I consider a thing of poprock beauty. Brooklyn’s Worriershave recorded what should really be my theme song, “Power Pop Mixtape.” Happily name-checking Nick Lowe, the Undertones and song titles from the Jam and Style Council, the song is defined by stark, striking guitar chords cast against a cool vocal delivery.
Brian Troester – A Sailor’s Song
Norway’s The Armchair Oracles are working up to something, as “Time to Realise” is their fifth stand-alone single since 2019’s Caught by Light album. As with previous releases, the mood is a sophisticated, very much polished pop performance in line with Alan Parsons Project or 1980s Moodies. And yet there’s just a hint of Rogue Wave in there somewhere. On “Norman 4” Vancouver’s The Sylvia Platterssound like they’re working the streets of Glasgow somewhere near where Teenage Fanclub hang out. Perhaps that’s not surprising – this sometime bonus track to the band’s 2022 EP Youth Without Virtue is dedicated to Norman Blake after all. It departs from the overall sound there, with an extra helping of jangle. J. Matthews is Mr. Mellow, swanning into the room on orchestral keyboards and light airy acoustic guitar strumming. Then “Wanderlust” hits the chorus and the hook just grabs you like a stranger’s unexpected smile. What a perfect little pop song. Another slow burn delight is “Lose” from Lachlan Denton’s new album Furnishings. The whole record settles lightly on the stereo, the instrumentation sparse and low key. But “Lose” stands out as the obvious radio single with its bare bones lead guitar licks and subtle melodic hooks. Valencia, Spain’s Lisasinson return with “Cuchillos,” a driving bit of rocky pop. The vocals are sweet but the guitar hits you somewhere below the gut, pushing your dancing machinery into gear. Just try to remain still.
The On and Onsare Australia’s most reliable sixties-inspired party band. Their records have a freewheeling Hoodoo Gurus energy delivered in a dead-on swinging-1960s register. Close your eyes and it’s 1966 on “Let Ya Hair Down,” just add go-go gals and dancing teens. It’s one of 12 winning cuts on the band’s new album of the same name. San Francisco’s Richard Turgeon is the hardest working guy on the indie rock/power pop scene. His ouvre is one part classic rock, two parts 1990s dissonant indie, and one part whatever he’s been grooving on lately. This time he serves up another super-charged power pop single with “All Alone,” a four on the floor rocker worthy of Matthew Sweet. On Kicking Bird’s debut LP Original Motion Picture Soundtrack you hear a band that is having fun, not taking themselves too seriously. There’s a Titus Andronicus shambolic feel to things sometimes (“Hickory River”), but a more measured sixties girl group pacing at others (“Just To Be Here With You”). Personally, I’m taken with the topical, jaunty “Talking to Girls (On the Internet).” New York City’s Tchotchke have fashioned an album full of attractive musically decorative objects we call songs, like “Ronnie.” The track has a great guitar sound, both on rhythm and the hooky lead lines. This band is 1960s sunshine pop reborn, with slightly louder guitars and a bit more urban street attitude. Who is Danny Patrick? I don’t know. He’s a guy on bandcamp giving his music away. There you can find 16 singles, some repeated on an album entitled sometimes I, all for free. Still, I know what I like, and Patrick’s spot on early 1980s new wavey sound works for me. Just click on “Blue Jean Champagne Girl” and you’re back in 1981 when you could hear this kind of stuff on AM radio. Those were the days. You can relive them here.
Kicking Bird – Talking to Girls on the Internet
Last year I went nuts for Dazy’s addictive single “Rollercoaster Ride.” Now I’m grooving on “Always in Between” from his more recent (extremely short) album Otherbody. Slashing guitar chords, hooky lead guitar work, and neat little melodic turns around every corner – it’s the whole package.
You’re stocked and ready to face spring with four score and some odd songs that will make your heart sing. Click on the hyperlinks to visit these music makers and find out they’re more than just a pretty single.
Top image courtesy Mark Amsterdam Flikr collection: ‘Citroen car dealer brochure 1963’
Sunshine and blooming buds can no longer be contained. Time to spring a new load poppy rock and roll singles on you. Whether you’re clearing the garden or chasing new love right now, you’ll need some tunes. Here’s your first instalment of 21 seasonally-approved spring singles.
Let’s get started with what one wag called the ‘savage pop’ of North Carolina’s Paint Fumes on “Starting Over.” It’s got a rough and ready veneer hiding more than a glimmer of pop goodness. These are rock and roll hooks par excellence. And there’s more of the good same all over the band’s just released fourth album Real Romancer. From the delightful surprise file, a new single from Vancouver’s Odds. The band broke out big in the 1990s, then went on hiatus for a while, returning post-2007 with a series of unjustly over-looked new releases. The latest single “Crash the Time Machine” sounds like vintage Odds, all striking lead guitar lines and deadpan Northey vocals. Time to let your Odds flag fly, the band website promises a whole new album soon. It’s funny how labels stick. Scranton’s The Menzingers are regularly described as a punk band but you’d be hard pressed to single out the punk element of their new single “Bad Actors.” Ok, maybe it’s there in the vocal delivery but, on the whole, this new single is just solid poprock, the melody guiding the rocking backdrop into solid potential audience sing-along territory. How does one capture what Eytan Mirsky is? Is he just a magisterial vocalist? Seriously, I could listen to this guy sing the New York Times crossword. Lately he’s proven to be a crack song-writing collaborator too, taking lyrics from friends and acquaintances and cooking up up dynamite material like “Lost in the Jet Stream.” In some ways it’s signature Mirksy – those organ trills! But the guitar work is pretty special too. Vienna’s Good Wilson offer us some very jazzy guitar vibes on “Undecided Changes.” Think Steely Dan in space mode. Or a bit like The School Book Depository and The Golden Seals.
My blogging friend Eclectic Music Lover introduced me to Copenhagen’s Thomas Charlie Pederson, specifically “Yesterdays and Silly Ways” from his latest LP Employees Must Wash Hands. He describes the sound as chamber pop (read EML’s detailed breakdown of the album here) and that nails it, the song is very like The Zombies on tracks like “Care of Cell 44” from Odyssey and Oracle. Philadelphia’s Canadian Invasion are hiding in plain sight, releasing music with seeming impunity. Perhaps they hope to seduce the American empire from within with song? Their latest Your Favorite Lies EP might just do that with killer tracks like “Catch a Falling Knife.” Who marries an addictive violin solo and echoes of FOW’s song-writing? Geniuses, that’s who. Speaking of genius marriages, everybody’s fave Beatlemaniac TexMex combo The Krayolas have a bit of old and new out on their new EP King of Pop. There’s a great cover of The Monkees (“Pleasant Valley Sunday”), some totally new material, and a remix of “Catherine,” originally featured on 2008’s La Conquistadora. The latter is pretty stunning, a perfect distillation of all that this great band can do and has done over its decades-long history. Just catching “In Flames” from Roller Disco Combo on my phone shuffle I had to stop short, thinking it was a new single from Farrah. No joy on the Farrah reunion but plenty of smiles for RDC’s new EP The Sun After the Rain. Cleveland music legend Randy Klawon has cooked up a magic bit of 45rpm popcraft on “Marlo Maybe,” with help from former Raspberries drummer Jim Bonfanti. The style reminds me of tracks like Paul Davis’ early 1980s hit “65 Love Affair” in that it reinvents nostalgic pop motifs for a new era.
Thomas Charlie Pederson – Yesterdays and Silly Ways
Every since J.D. McPherson relaunched the neo-1950s sound for a new millennium a host of acts have been trying to tread the same boards. But few nail the atmosphere quite like The McCharmlys. “Love Me Too” breaks out of the speaker like the soundtrack to a classic 1950s movie montage sequence. The fine balance between rapier-quick lead guitar lines and the band’s commanding lead vocalist gives this tune its particular charge of excitement. This is doo wop on steroids, with a dab of Debbie Harry and Amy Macdonald thrown in. We’ve featured Floridian guitar virtuoso Kurt Lanham and his inventive covers of classic pop hits a few times (“I Want To Hold Your Hand,”“Jenny 867-5309”) but he also writes and sings on his own original material. Like “Pallas” from last year’s LP Lanham. The song has got a languid bit of swing in the playing, buffeting the melodic vocal lines and varied guitar tones. Mellow but definitely ear-wormy. Back to Denmark for a moment, it was such a hard choice to decide on a cut from Mansfield’s repertoire. Both “Tell It Like It Is” and “Please, Shine a Light” from their 2020 debut album Star Crossed Lovers are a special blend of Merseybeat and Oasis influences but “Chasing After You” from their new EP Come Rain or Shine brings a decidedly Jake Bugg swagger into the mix. How about a dose of both? Today’s artists like to spread themselves over multiple projects, undoubtedly to satisfy their creativity and increase the chances that something will land with the public. See Benji Tranter’s resume for exhibit A. He’s a member of psych-folk group The All Night Chemist and power pop trio Ski Lift while also a collaborator with Show Boy. His recent solo effort Songs to Make You Happy is a definite departure from his group work, going for a more full-on folk effect. I really get a sense of Elliott Smith déjà vu from “Speed Camera.” Husband and wife duo Skoopski add to their continuing inventory of inventive stand-alone singles with “Double.” The song shifts from a stark, stripped-down, almost off-Broadway feel to a more full blown indie workout. I love the lead guitar tone that threads its way through the tune.
The McCharmlys – Love Me TooKurt Lanham – Pallas
Live fast, die young might sound romantic to aspiring artists but the reality is just loss, for a whole lot of people. What might have been won’t be. Zev was an up-and-coming indie artist still finding his own unique sound when he died in a car accident earlier this year at just 16. But just listen to his promise. On “Parachute” he owns a Velvet Underground groove like he’s camped out at Lexington Avenue and 125th Street. It’s got a touch of psychedelia in the chorus and some prophetic lyrics:
‘that young boy with no parachute looks a lot like me’ ‘that young boy’s gonna die’ ‘someone save him’
Still, my fave from his handful of songs is “4th of July.” What a neat slice of cool guitar pop. It’s hard not hear a Ben Kweller influence here. Vicenza, Italy’s Hearts Apart shift between spare verses and a combustable poprock sound in the choruses of “You’re All Around.” They’re clearly building up to something, an album perchance? There is something going on in Rochester, New York these days. The range of bands putting out amazing sixties inspired new material is incredible. The Low Spirits have got the garage angle covered. It’s like the Leaves or the Troggs time-travelled and got into a modern studio to cut a few tunes. “Outta Sight” is so the 1966 garage rock brief. What a party band these guys must be. Speaking of partying, the Teenage Tom Petties are back with a great double-sided single. A-side is “Posters” and I like it. But I like the B-side more, “My First Beer.” It’s strummy and, as the band say “95 seconds of pure first-beer-buzz, all climaxing in a messy-as-hell solo before passing out in the garden.” Really, couldn’t have summed it better. Heading now to the American Pacific northwest we pull a few tracks from Patty and Oh’sdebut album Out of Everything. The record’s first single “Useless Love” is pretty cool. Like Jonathan Richman if he’d focused on getting a hit single. But I’m skipping over that for “Heard Some Kind of Light.” I love the computer-ish keyboard work. It’s got a sprightly pop feel, yet with some eclectic David Byrne notes. B-side? I’d choose “New Flavor of Gum.” It’s great guitar pop elevated with endearing keyboard tones and layered background vocals.
I was going to call a wrap on this instalment of spring singles sampling with K. Campbell’s recent song “Smoke.” And it is a great track. But then I stumbled across Campbell’s even more recent release “Neil and Joni” and I had to shift gears. Two iconic Canadian songsters celebrated in one song? What’s not to love? And the additional accent vocals here from Mandy Kim Clinton really add something consequential.
Spring singles are a thing and this is just phase one. Return here for more seasonally-attuned songs soon.
Top image courtesy Mark Amsterdam Flikr collection: ‘Citroen car dealer brochure 1963’
This iteration of breaking news marks the exciting return of a host of artists who seldom miss a beat. Definitely worthy of film at 11.
So where were we? Oh right, Sacramento’s reliable hook-meisters The Decibels were in the middle of recording a follow up to 2019’s smash LP Scene, Not Herd when a world-stopping pandemic hit, effectively pausing the tape machine. All was not lost however. Band member Brent Seaver did shift into solo gear, putting out a fabulous record entitled BS Stands For … But now the band have completed their interrupted sessions and the result – When Red Lights Flash – is everything you’ve been waiting for. Great songs, fab guitar tones, killer playing. Stylistically, it draws from both 1960s and 1980s poppy rock traditions. “Why Bother With Us” breaks things open with a skipping-in-the-sunshine bit of jangly guitar that seems to cross The Monkees with REM. “Enough” definitely revs the 1980s poprock engine a la the Paul Collins Beat. “There’s Just Something About You” has the happy-go-lucky early 1960s American pop sound, but with a bit more muscle. “Walk Away” vibes a crisp 1979 new wave sound while “In Remembrance” has a melodic arc that is reminiscent of an early 1960s song-writing style, but updated. And so goes the rest of the album, merrily shifting decades without ever seeming to jolt the listener. I love the almost early Go Go’s punky ferocity on “He Thinks He’s Right (But He’s Wrong),” particularly the sizzling lead guitar break, the Romantics-worthy chord changes and handclaps defining “We Don’t Need to Be Afraid,” and the Marshall Crenshaw-like “World Goes Around.” Should-be hit single? I vote for “Looking Back.” I could totally hear The Smithereens covering this. If you’re looking for an album that hits the rock and roll melody pedal and never lets up, pick up a copy of When Red Lights Flash – it’s absolute listening pleasure.
Andrew Taylor must be one of those guys always scribbling down new song ideas on napkins or humming into his phone. Still, between recent releases as a solo artist, with Andrew Taylor and the Harmonizers, and The Boys With The Perpetual Nervousness, it’s hard to believe there could there be anything left for a new Dropkick record. But there is. Welcome Dropkick album #14, The Wireless Revolution. “Don’t Give Yourself Away” kicks things off like a coy suitor, somewhat tentative at first before easing into a comfortable familiarity. Then there’s “Telephone,” in many ways an exemplar of the band’s signature sound – so Teenage Fanclub but with Dropkick’s own original stamp. “Unwind” gives us gentle pop driven by ever so pleasant jangly guitars. Bringing out the band’s more country hues Alan Shields takes over both song-writing and lead singing duties on “The Other Side” in a very Jayhawks vein. I love the lead guitar runs and light keyboard touches that swathe “It Could Finally Happen.” I hear echoes of Neil Finn and his work with Crowded House throughout this song. Another guitar-charged pop beauty of a should-be single is “Ahead of My Time,” almost a Teenage Fanclub meets the Beatles mash. “Wouldn’t Know Why” also really delivers in the supremely pleasant pop tune department. Churning, chimey guitars – check. Lighter than air harmony vocals – check. Hitting replay again – check. Don’t let the title fool you, The Wireless Revolution delivers another jangle tour de force in the grand Dropkick tradition.
A month back we called Ransom and the Subset’s new single “Perfect Crime” ‘textured pop goodness’ and that judgement still stands. In fact, it can be extended to the whole of the band’s fabulous new album Perfect Crimes. These guys really know how put together a slick pop sound without sacrificing originality or nuance. Second single “Sara Kandi” showcases these strengths. It’s got a 1982 Alan Parsons Project clever sheen to it. Still, putting a name to the overall sound that defines this album is challenging. “Left Her at the Shinkansen” floats in an almost yacht rock vibe, punctuated by subtle lead guitar and pedal steel work plus a killer hook in the chorus. Stay with me here but I actually hear a lot of Rupert Holmes’ soft rock magnum opus Partners in Crime on this tune. Or perhaps the sound is more akin to the smooth poprock of Hall and Oates in their Private Eyes/H2O prime. I really do feel the pull of H&O on tracks like “Meet You Again” and “One Last Thing (Leaving).” Or check out the manicured pop precision on “Time in a Tunnel,” each element and instrument is so carefully conducted into the mix. Not that the band fails to turn up the rock from time to time. “Don’t Remember What Was Her Name,” “Should Have Said Nothing At All,” and “Fast Car” all ace that early 1980s poprock style. With Perfect Crimes Ransom and the Subset prove that perfectly polished pop songs are a thing of beauty.
On Be The NowCliff Hillis marshals his considerable song-writing and performance talents to create a veritable poprock confectionary, something for all 1970s-inflected melodic tastes. There’s straight-up seventies AM radio soft rock (“Wanna Feel Good”) with a folkie chaser or some ELO-infused popcraft (“Motel Parking Lot”) introduced by a dose of Bacharach/Costello strings. At other points Hillis appears to be channeling Adam Schlesinger in both movie/TV (“Take Me As I Am”) and band modes (“Good Morning and Good Night”). I could really imagine Mike Viola belting out the latter tune. He even throws in some classic 1970s goof country on “Spring Forward” as well as a touching and fun tribute to folkie protest singer Dan Bern (with Bern echoing the sentiments to Hillis in a duet). But let’s get serious here – where is the hit single? Hillis rarely denies us some piece of dynamic should-be chart magic on his releases. The mellow FOW-ish “Just Drive” could be it. The sentiment is so summer car-driving playing-on your-radio. Then again “Goodbye Spider” sounds more like the jump-out-of-the-speakers uptempo hit. It’s got that killer sing-along chorus – just try not to join in. I’ve listened to Be The Now a number of times and I still don’t know what the ‘now’ is – but I want to be it.
The news cycle moves fast but I’d recommend taking it slow in reviewing these stories. You’ll want to tune into all the hooky details.
Top photo courtesy Heather David Flikr collection ‘1957 Wall-Tex scrubbable wallpaper ad.’
Seems closets and filing cabinets are spilling out great lost albums every other week, if you can believe the stream of releases that have come out recently. Steve Rosenbaum and Bruce Moody’s great collections of their respective lost recordings from the 1980s come to mind. Now you can add today’s featured performers to those acts that could have been but never were. But hey, they’re here now.
LA’s The Bings were working the west-coast American music scene pretty hard back in the early 1980s but apparently couldn’t get the time of day from Capitol Records. Listening to their unreleased 1981 album Power Pop Planet all I can think is: epic A&R fail. The whole thing is highly listenable poppy fun, sometimes revving a Beach Boys-on-amphetamines atmosphere or breaking out into a classic new wave guitars-everywhere style. “Please Please Please” opens the record with a solid Paul Collins feel. “Oh No” follows in a similar vein, updating a sixties beat group sound by roughing things up a bit. “Go Bye Bye” is another retro reworking, almost bubblegum in its intensity with a Jan and Dean vocal demeanor. “Billboard on the Highway” is also a retro-ish tune, giving off early 1960s tragic-rock vibes. But The Bings are not limited to updating the sonic past on this album. Departures abound, like the mellow “There She Goes” and solid rocking “She’s Got the Power.” And the band really ace that early 1980s new wave sound on a number of cuts. Just check out the killer Cars-like guitar-attack undergirding “Don’t Stop Dancing” or the hook-laden “Hold On.” My vote for sleeper hit goes to “Close Your Eyes” with its innovative lead guitar work. Though I’m pretty seduced by the subtle jangle touches animating “Snowbound in our Town,” a style that would define later acts like Fire Town. Power Pop Planet sounds pleasantly old and totally timeless, depending on where you drop the needle. Here’s a find I’m really glad got found.
The Popsicko story is right out of rock and roll central casting. A hardscrabble band of party hearty-iers manage to get a record out and start climbing the indie charts, only to fracture amid drug problems and the untimely death of the group’s leading light. I won’t dwell on the details – others have written up the equivalent of a screenplay treatment – but the surprise coda to the story is a quality re-release of band’s 1995 album Off to a Bad Start. As I hit play the record practically lunges from the turntable with opening cut “Nastassja.” It’s a full-on rock and roll aural assault, going right for the party jugular. Comparisons to Cheap Trick really make sense here and on a host of other tracks on the LP like “Distrust” and “I Don’t Need You.” The vocal/guitar swagger also reminds of more recent work from The Lund Brothers. But the record does shift gears a few times, vibing The Replacements on cuts like “Some Mother’s Son” and single-worthy “Back It Up.” Elsewhere the needle points to a muscular REM feel on “Hard To Tell” or even a bit of The Plimsouls with “Dragging Me Down.” Popsicko are clearly a band of the 1990s, whether in a dirty pop rawk style (“Same Old Me”) or something more smoothly commercial (“Starless”). The record even includes an eerie yet prescient acknowledgement of the band’s soon-to-be fate on the Big Star-ish “No Better Time” when they sing the lyric ‘If we knew the end was near there would be no better time.’ This one still sounds like a hit to me.
Is it ‘bait and switch’ to offer up early-to-mid 1970s demos from Doug Fieger and Burton Averre as The Knack? You won’t need much of a listen to give up such concerns, the duo are so clearly the real thing in embryo. It’s like Prescott and Gary just stepped out for a ciggie. Rock & Roll Is Good for You: The Fieger/Averre Demos is a collection of pretty polished tunes – 16 in all, some with just guitar and vocals while others sound like a small combo. The distinctive Knack sound is definitely all over these tracks and not just the ones that would end up on Get the Knack. Of course, the early version of “Good Girls Don’t” and “That’s What the Little Girls Do” are pretty riveting, with an intensity and charm all their own. But the other 14 cuts here reveal a performative polish and song-writing strength that undermine the usual ‘one hit wonder’ insults that dog the band’s reputation. Stylistically the duo riff on a number of 1970s styles, a bit of funk, boogie rock, even some folkie affectations appear here and there. But what we also hear is how the Beatles touches on those early Knack records were no marketing fluke, such influences were baked in. Both “Corporation Shuffle (Daddy Turns the Volume Down)” and “Little Lies” abound with Beatlesque guitar riffs and melodic turns of phrases. Meanwhile shades of the distinctive bassy guitar work that would define “My Sharona” can be heard on “Have a Heart.” For Knack fans this record is no mere money grab – it clearly adds to the band’s stature and is highly listenable to boot. And for band super-fans, even more pre-Knack product is on the way with the imminent release of two albums from Fieger’s early band Sky.
In today’s instant and connected world, everything old is new again. You can make yesterday today by checking out worthy new releases of decades-old stuff.
Curio pop songster Gregory Pepper has declared his brand new seventh album will be his last. No Thanks is dubbed a funeral march full of “brooding resentment and alienation bubbling below the sprightly melodies.” That does pretty much capture the tension that makes Pepper’s creative genius so alluring. His wild imagination runs to a kind of irony-deficient version of They Might be Giants while his messages seem to invert Jack Kerouac (‘that road just leads to disappointment!’). On this new release his tunes are routinely delightful, full of whimsy and striking instrumental adornments. And, as usual, the lyrics are dark, walking a fine line between sarcasm and sincerity. If No Thanks really is the swan songs of Gregory Pepper and his Problems then the vehicle is definitely going out on a high note.
The album opens with the deceptively buoyant “No Friends.” Here you have the Pepper formula – start simple and sparse but build out from there, in this case adding Quinn Martin whistly synth lines and a chorus of voices that eventually cascade into a Beach Boys big finish. “I Just Called to Say I Hate You” opens with a riff that sounds like a variation on Nik Kershaw’s “Wouldn’t It Be Good” but with added menace. “True Crimes” has a Kirsty MacColl’s “They Don’t Know” pop simplicity going on. Pepper seldom repeats himself but “Dadda” was a stand-alone single from 2019 that reappears here. It is an expert capture of the ennui of aging. “Never Have Never Will” sounds like slow motion Fountains of Wayne. I could go on, separating the madcap (“I Shit on Your Grave”) from the brooding (“Bad City Bus Ride”), but you really have to feel your way through this emotional no-fun fair for yourself. I will single out “I Miss Drugs” as the should-be hit-single. It’s a brilliant melange of styles, stitched together with a McCartney-doing-medleys sleight-of-hand. As we head for the exits Pepper lobs one final accusatory missive with the sombre, quiet “You’ll Pay.” But how? With an end to Gregory Pepper and his Problems releases? That seems an exceedingly high price.
Maybe No Thanks is a just a rumination on this particular moment and our anti-hero will rise again, perhaps in some new musical form? It is Good Friday after all. You can say ‘yes please’ to No Thanks at Camp Pepper or Fake Four Records Inc.
I distinctly remember when Billboard magazine introduced the ‘heatseeker’ designation on their Hot 100 singles chart in the 1980s. Initially it just indicated a song that was moving quickly up the chart but later it would be used to single out new artists or those that hadn’t charted before. Well today’s debut heatseeker single on Poprock Record is new to me and this blog. New York’s Taking Meds have come a long way from their screamcore roots with their new power pop single “Memory Lane.” As frontperson Skylar Sarkis remarked in a recent interview, “We wanted to write big choruses and big leads because that’s what we want to hear right now.” Well they don’t get much bigger than this. The song practically launches into the hook stratosphere right out of the gate. It’s like equal parts Swervedriver, Weezer and Matthew Sweet all battling it out to define what’s going on. But, ultimately, the chorus provides the heat here: it’s relentless, driving, and oh-so hooky. As I return to start with this group album-wise you can really see how they got to where they are now. An unerring knack for melody was always present but often more than a bit buried in the mix. It was certainly coming to the fore on their recent long-player, 2021’s Terrible News from Wonderful Men. But that album had nothing quite like this single. A full album of “Memory Lane” rocking pop goodness? Really. Can’t. Wait.
Memory Lane
Check out Taking Meds via their back-catalogue at their Bandcamp page and, like me, get caught up on what you’ve been missing. You won’t need a prescription.
The phone used to be something that hung on the wall. Now it’s a friend depository, an entertainment centre, an information lifeline, and more. People almost seem to be in a relationship with their phone – they can’t stand to be separated from it and mourn its loss if it goes astray. Everywhere you look it’s a sea of bowed heads. A lot of people don’t even talk on their phones, they’re so busy doing other things. Today’s artists have got a strong connection to their devices for sure, though the link here does appear to come back to an actual human being.
Gavin Bowles and the Distractions are all over our phone theme. Their soon-to-be released album is entitled Phoning It In while their pre-release single is “On the Telephone (I Used to Call You).” The setting lyrically and stylistically is 1979 modish power pop. I definitely get a pre-Parallel Lines Blondie feeling taking this in. By contrast The All Night Chemist brings the banjo out front for “I’m In Love With My Phone.” No, this is not a paean to some AI-driven device but someone replaying a lost love’s phone message over and over. The song is a great shambolic mix of folk and new wavey keyboard riffs. The indomitable Fernando Perdomo has yet another vehicle to showcase his formidable talents with his new duo Broken Sound. “Fiero” is taken from their new self-titled album and it’s working our phone theme hard. As the video and lyrics for the song demonstrate, it’s all about car phones. The video pastiche of 1970s movie and TV car phone clips perfectly captures how cool/not cool the car phone was at the time. Last up a band literally living our focus, The Telephone Numbers. Ok, the song is not about phones but I’m giving them a pass because this single is so good. “Weird Sisters” has a Anglo-folk pop sound I associate with Roddy Frame or The Lilac Time. A poppy delight.
Being ‘on the phone’ appears to mean something very different today compared to days of yore. And people are gonna write songs about it. You can dial up these should-be new faves by clicking the hot-linked names you see above.
Top photo featuring Poprock Record exclusive model Rob Elliott courtesy Swizzle Studio.
The Merseybeat goes on. Despite now being a long-time distant from both its time and place of origin bands just keep taking up the influence and re-working the sound. Not that I’m complaining.
With a name like The Mop Tops I was halfway to liking this group without hearing a note. This Swedish band has put out a scant few albums since 1995 but each one is pretty special. Sure, there’s a strong Beatles vibe to everything but the song-writing here is outstanding, letting the band succeed on their own merits. All 12 songs on the debut record Inside are terrific. “She’s So Fine” definitely skews to Beatles ’65 but songs like “Whenever I’m Alone” have a Smithereens’ feel. “Sending Letters” sounds a bit like Steve Earle channeling Buck Owens. And I love the driving droney guitar defining the title track “Inside.” Of course, there’s a reason “Plastic Moon Rain” was the single – it’s a killer. Thirteen years later the band returned with Ground Floor Man and it was another home run, brimming with fab cuts exuding Beatles, Tom Petty and Elvis Costello influences. Opening cut “You Crucify Me” just grabs the listener and won’t let go. Then last year the band returned with Running Out of Time and it was like no time had passed at all. The songs, the jangle, the strong Mersey vibe were all there. “Queen of Misery” gets my vote for the should-be hit single.
You Crucify Me
New Jersey’s The Weeklings seem to have come full circle. Their early records were very Mersey, recreating an early Beatles atmosphere to shroud their original songs and covers of Beatles rarities on successive albums released in 2014, 2015, and 2016. From those early records I love “If I Was In Love” and “Morning, Noon & Night” because the songs depart from the formula just a bit, marking them as unique without sacrificing the influence. 2020’s 3 saw the band branching out from their Mersey roots with a much more original sound, still Beatlesy but distant enough to make its own splash. Opening cut “I Want You Again” sets the scene with its Cheap Trick or Knack-ish fresh but rocking sound. Fast forward to 2023 and the band return to Mersey-proper with an inventive remake of “I’ve Just Seen a Face,” adding some rock muscle and vocal layering to one of McCartney’s bounciest tunes. You can hear the Weeklings’ mastery of the Beatles sonic stylings on all these recordings, whether they’re going full-on Merseybeat or just shaping a particular element to suit their melodic purpose.
If I Was In LoveMorning, Noon & NightI Want You Again
The Nerk Twins album Either Way was a one-off collaboration between Herb Eimerman and Shoes member Jeff Murphy that came out in 1997. Unlike the two previous bands the Mersey influence here is more muted, filtered through a creative independence that is synthetic rather than imitative. Other than taking their name from John and Paul’s throwaway reference to their partnership this record is more Beatles-adjacent than mainline Merseybeat. Still, there are some striking Beatle-isms featured here and there. Like the classic “I Want to Hold Your Hand” instrumental turnaround tucked into “In the Middle of the Night.” Or listen to how “I Still Don’t Love You Anymore” sounds like an outtake from the Rubber Soul sessions. Then again “Dream for Love” has some very Byrdsian vocal harmonies while “On & On & On” has a late 1960s California sunshine pop vibe. But mostly this album aces that lovely mid-1980s poprock sound on nearly every cut. Long out of print, its recent digital return is most welcome.
In the Middle of the NightI Still Don’t Love You Anymore
Somewhere in Hobart, the capital city of Australia’s island state of Tasmania, you’ll find Beatles aficionado Mondo Quinnworking up another Mersey-drenched bit of pop goodness. Online he’s got two albums and handful of singles that exude the loveable charm of the Fab Four in full-on Beatlemania mode. “I Love You (Why Don’t You Love Me Too)” from Quinn’s 2013 album Another Time, Another Place has a 1960s Searchers bounce to its lead guitar work while the vocal would suit Cliff Richards to a T. From the same album “Molly’s Song” is a dynamite instrumental with a fresh, crisp acoustic guitar sound reminiscent of “And I Love Her.” Then on 2019’s Pop Till You Drop “Girl Of My Dreams” has a vibe that is so “Bad to Me.” Altogether Mondo Quinn’s work is a delightful time capsule of the 1964 Merseybeat sound.
As long as the drums keep pounding that distinctive Liverpool rhythm to our brains, the Merseybeat goes on. Check out these modern fab beat groups to see how it’s done.
Radio used to be so important, an entrée into the broader world for the lonely or bored. A lifeline sometimes, or just a bit of fun, a diversion. So let’s get some quality diverting going on.
On her 2020 self-titled debut album Juniper so nailed the early 1960s girl singer sound it was like a love letter to all the jilted dolly birds on both sides of the Atlantic. But on her follow-up long-player She Steals Candy she’s settling into her own distinctive style, folding the sixties into a broader mix that takes from country, 1980s poprock, and contemporary indie rock and roll. Producer Michael Shelley has put together a crack team of players that really lets Juniper’s vocals stand out while the selection of songs is delectable. Basically you’ve got members of Los Straitjackets, Belle and Sebastian, the Mekons, NRBQ, and The Smithereens, among others, helping to cover songs by the Go Gos, the Bangles, the Muffs, and a host of rare compositions from Delbert McClinton’s early band, The Ron-Dells. Everybody doesn’t necessarily play on everything but you get the idea. The Bangles “James” is given an interesting make-over here, sounding wonderfully familiar and yet peppered with interesting changes. Contrast that with the inventive new take on the Go Go’s “Turn To You” where the light backing and slower tempo really allows the song to breathe. The album tracks like the changing moods of a summer party, shifting from the pleasantly tuneful to a rocking good time. I hear a bit of Marti Jones on “She Steals Candy,” some country-style Nancy Sinatra on “Picture of You,” and shades of Mary Lou Lord on “Alone With You.” The more rocking tunes like “Ride Between the Cars” and “I’ve Gotta Boy” are a blast, really demonstrating Juniper’s range. Personal faves include the cover of Delbert McClinton’s countryish “I Cry Cause I Care,” a duet with the Cactus Blossoms’ Page Burkum, and the uber cool atmospheric “Dawn Stole My Guy” with that unmistakeable lead guitar work from Greg Townson. To get in on this party, you’ll find Juniper’s She Steals Candy filed under ‘maximum fun.’
Vancouver band Star Collector’s reputation is that they live in a mod, mod, mod, mod world, one where elevators all play The Jam between floors and Pete Townshend is the resident poet laureate. But on their new record Attack, Sustain, Decay ... Repeat there’s a little bit more going on. As leader Vic Wayne says in a recent interview, you can hear a bit of The Sweet, Sloan, Cheap Trick, even some Grand Funk Railroad. You really get that 1970s rocker vibe from opening cut “Feeling It Coming On” but with a poppy Alice Cooper sheen. “Beat It To Death” opens with an almost Bad Company stripped-back set of chords but morphs into something more Fastball once it gets going. Wayne himself described “Halfway Home” as Tom Petty meets Echo and Bunnymen and I can hear that. Then “If We Can’t Take a Joke” cranks up a great distorted lick that runs through the song like the Beatles “I Feel Fine” or the Monkees “Pleasant Valley Sunday.” “Crashin’” – oh, there’s the Grand Funk. Then the opposite universe, there’s a lovely acoustic guitar ballad “Cross My Heart.” Personal faves are the Sloan-ish “Don’t Have to Fold” and delightful “Hungry Like the Wolf” strutter “Broken Butterflies.” You better get your dancing shoes ready, this is a 1970s-throwback party album, par excellence.
Chris Church knows how to throw out a hook while cranking his amp. His records have been billed ‘heavy melody’ by more than few writers. But as I listened to his new album Radio Transient I kept feeling like I’d stumbled back into 1986, something about the guitar tones, the way the bass guitar seemed so up front in the mix. Now I’m often guilty of thinking everything sounds like 1980s – it was my coming-of-age decade after all – so I was relieved to read in Church’s liner notes that the sound he was going for on this album was something he’d dubbed ‘Buckingham-Fixx.’ Yes! That is what I’m hearing here. This album takes sonic elements of Lindsay Buckingham’s manic 1980s pop records, those great mega-hit Hall and Oates releases, and the dynamic keyboard-plus-bass sound of The Fixx. It’s all there on his fab pre-release single “Going ‘Til We Go” and “I Don’t Want to Dance With Me,” with perhaps a dab of John Waite. And the theme carries on throughout the album, leaning into particular musical nuances on each cut. “I Think I Think I Like You” really captures that bouncy-guitar dance pop that soundtracked the early part of the eighties. Then “Already In It” sneaks in some of Church’s westcoast poprock sound a la Walter Egan, with some lovely other-worldly keyboards. “Gotta Go, Gotta Ramble” turns up the 1980s Buckingham influence, with perhaps a dash of early Split Enz. But the solid gold single is undoubtedly “One More Chance to Get Over You.” This is a gorgeous piece of poprock songwriting, a masterclass in how to put all the melodic elements together for maximum impact. Guest lead guitar jangle from legendary Bill Lloyd only seals the deal. With Radio Transient Chris Church rescues the very best of the 1980s for your here and now.
I can’t quite put my finger on just what The Scarlet Goodbye are doing on their debut album Hope’s Eternal. And I kinda like that. There’s a bit of Americana and Ozzie poprock and a subtle Beatles backdrop going on. Album opener “Rosary” introduces the basic tension pursued throughout the record, the pull of a more mellow melodic ennui cast against a sometimes urgent rocking backdrop. The lead guitar features prominently in “Panic and Blame,” though taken up more like a paint brush than an axe. And then comes the obvious single “Rosary” with it’s brilliant, hooky lead guitar work and AM radio polish. This contrasts nicely with the folkie vibe threaded throughout the album on tracks “Paris,” “Charity” and “Minor Things.” “Paris” particularly sounds a bit like Peter Case on his first solo records or the Eels. For Americana there’s a western tilt to “Surprised” or countryish feel to “Firefly.” But such genre distinctions break down on songs like “Celebrated Summer” and “The Ballad of Julie Ann,” with the former’s folkie poprock reminiscent of Guster (especially that great chorus!) while the latter is kinda Crowded House (especially that great organ!) with dash of Bond. On “Sandy” the band let their rock roll a bit more than elsewhere here and it’s another should-be hit for me. “Fresh New Hell” is another highlight, coming on like Michael Penn in full-on ennui mode. You can listen to the whole album here.
There’s four fine diversions coming down your radio relay towers. Click on the hotlinks to tune in for more.
Jewel Portable Tube Radio Model 5310 (USA 1953) image courtesy Mark Amsterdam Flikr collection.
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