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Brand New Day, Bring on the Beats, Get Hip Records, Motor!, Stars Align, Take a Stand, The Ugly Beats
Looking for a new fave 1960s-influenced band? Your search ends here. Today’s post is all about the beauty of Austin, Texas retro poprock should-be hit-makers The Ugly Beats. Often referred to as ‘garage rock,’ the band definitely has one foot in the car port but a dip into any one of their five LPs shows they have are so much more to offer.
Take the band’s most recent 2019 release, Stars Align. Sure, track three, “Count to Ten” is arguably garage-y, but it’s the tidiest one on the block. Meanwhile tracks one (“All In”) and four (“Heidi”) are vibing R.E.M. big time. The rest of album ranges across various sixties influences, from the Monkees-ish “In Her Orbit” to the early Kinks guitar squawk kicking off “She Come Alive.” What I love about this band is that the influences are obvious but never overbearing. “What Was One” combines an indie-fied British dollybird vocal with alternating jangle and power chord guitar – brilliant! And seldom have I heard a band use an organ to such good effect – check out the pulsating Farfisa in “Boy You’re in Love.” Meanwhile, few solely garage outfits can produce the nuanced Rubber Soul acoustic/electric guitar blend backing on “One Down.”
More good news: if you like the latest record, you’re going to love the band’s back catalogue. The 2005 debut Bring On the Beats established the group’s strong garage rock cred with some pretty sweet 1960s touches, particularly on tracks like “I’ll Walk Away” and “I’ll Make You Happy.” Think of what The Molochs have been doing recently and you’ve got the groove. 2007’s Take a Stand broadened the sound, upping the melody quotient (“Million Dollar Man”) and even throwing in a ballad (“Get in Line”). Of course, there’s more great 1960s garage numbers and few really unique departures, like vocal harmony-laden “Last Stop” with its great Rickenbacker guitar accents and organ shots.
2010’s Motor! put the organ even more front and centre on tracks like the Plimsouls-ish “Things I Need to Know” and “Through You.” While featuring the fabulous garage juggernaut instrumental “Motor,” most of the album sees the band flexing their musical chops across a number of styles. A bit of the Bakersfield sound on “Harm’s Way,” Blue Rodeo country tinges on “You’ll Forget Me,” some Merseybeat on “Please Don’t Go,” and classic mid-1960s American poprock with “Funny Girl.” 2014’s Brand New Day is more of the good same, from the manic garage intensity of “Up on the Sun” to the groovy jangle on “All of the Things.”
You just know from these records that The Ugly Beats would be an amazing live experience. Help fund that tour trip to your town by stocking up on their party-approved LPs from Get Hip Records (a label with a pretty impressive roster of other 1960s and punk-inspired bands!).
Marshall Crenshaw has long been my fave solo artist. Why MC? Maybe it was the glasses – he looked kinda smart and rock and roll. But what first caught my attention was the 1000 watt hook lighting up Field Day’s first single, “Whenever You’re on My Mind.” Has anyone recorded a more perfect seven seconds of poprock intro? I don’t think so. But then I’ve always been a sucker for a stunning lead guitar line – stuff like the Beatles’ “I Feel Fine” and “Day Tripper” or the Church’s “Unguarded Moment” and Big Country’s “In a Big Country.” But it’s more than just hooks that makes Crenshaw a poprock legend, there’s something about his songs that can always toggle the joy and an involuntary smile from me. And it’s all there with his combination of 1950s Buddy Holly and Everly’s roots, Beatlesque melodies and a 1980s new wave/indie delivery.
With ten albums, six EPs, and a host of one-off singles, compilation contributions and covers there’s plenty of Crenshaw to choose from. What follows is just my whirlwind and idiosyncratic take on a pretty fabulous and inventive career. Now to begin, let’s be clear that MC’s first two albums, the self-titled Marshall Crenshaw and Field Day, are pretty much poprock perfection. I shouldn’t single anything out – these records are nonstop ear candy. I’ll say this much, you can dance to “She Can’t Dance” while “One Day With You” is a masterclass in melodic songcraft. Funny, though I first heard MC via Field Day’s initial single, I didn’t pick up the album until years later. Problem was, as an older release (by one year when I first heard it!) the damn record never went on sale at my local retailer.
The first Crenshaw album I really got into in real time (i.e. when it was released) was Downtown and it remains my favourite, mostly for sentimental reasons. I bought it and played it non-stop in my first one-room apartment in Vancouver’s West End. It was both a declaration of adult independence and – thematically, with its retro 1960s Warner Brothers vibe – a strong link to my parents’ record collection. The album rocks on tracks like “Right Now,” “Little Wild One,” “Terrifying Love,” and “(We’re Gonna) Shake Up Their Minds” while Everly-ing the hell out of “Vague Memory” and “Lesson Number One.”
From then on I’ve pretty much picked up every EC release as soon as they hit the shelves and never been disappointed. If you’re just starting out, here would be my picks from each to get you into the groove. From 1987’s Mary Jean & 9 Others I’d drop the needle on “Mary Jean” and “Calling Out for Love at Crying Time.” You really get a sense of Crenshaw’s mastery of the hooky lead line here. 1989’s Good Evening is hard to make choices over given its exquisite, dynamic mix of originals and covers. Personally I love “Someplace Love Can’t Find Me,” “She Hates to Go Home,” and “On the Run” but really I feel like I’m choosing which limb to hack off because every song here is pretty special. In 1991 MC left Warners for MCA with Life’s Too Short. In interviews for the record Crenshaw talked about the work he put into extending his guitar technique and it showed on should-be hit singles like “Delilah,” “Fantastic Planet of Love,” and “Don’t Disappear Now.”
And then Crenshaw left the major label scene altogether for the relative freedom of more independent releases, first with Razor and Tie and then with his own 429 Records. Since then he’s moved in some new directions musically but always offered up some melodic poprock gems, like “What Do You Dream Of?” and “Starless Summer Sky” from 1996’s Miracle of Science, or “Television Light” and “Right There in Front of Me” from 1999’s #447. In the new millennium there’s been “A Few Thousand Days Ago” from 2003’s What’s in the Bag? and “Long Hard Road” from 2009’s Jaggedland. #395 is MC’s EP collection from 2015, a kind of quasi-album at 14 tracks, and it sees Crenshaw back in excellent form with “Moving Now,” “Front Page News,” and a killer Bobby Fuller cover “Never to be Forgotten.”
Just to prove my MC cred, here’s snap from my past featuring my unique bachelor apartment decor! Ok, this is actually my second apartment (circa 1987) but if you look up in the far right corner, you’ll see the Billboard magazine ad/poster for MC’s debut LP that appears above on the wall! Photo credit: James Koester.
Time for our first 2020 spin around the dial now that our vision has cleared and there’s nothing but blue skies from now on …
First up, a brand new 2020 album from London’s Emperor Penguin. Just one look at the cover says we’re in for fun! Soak Up the Gravy hits all the indie poprock marks from decades past. From the wily XTC-like veneer of “Go Guitargonauts!”to the poppy Dylan elements in “You’ll Be the Death of Me” to the mid-period Squeeze waft of “Memoria Magdalena” to the Sgt. Pepper vibe animating “Burning Man.” Other songs like “What’s Come Over Me” and “Public Information” simply burst with delightful melodies. “Speedwell Blue,” the duet with the fabulous Lisa Mychols, is well, just, gravy! Definitely a full album experience.
Every year I overlook some masterpiece or two, like The Jellybricks’ 2019 release, Some Kind of Lucky. The band has that classic rock and roll combo sound, two guitars, bass, and drums, working over material with solid hooks. Sometimes the guitar drone and vocal harmonies remind me of Rooney or The Odds, particularly on tracks like “Faith” and “D.O.A.” Presently I’m hitting repeat pretty hard on the obvious should-be hit singles, “Brooklyn” and “Can’t Get Over You.” I love the call and response between the main and background vocals on the latter track! Also, don’t miss out on the band’s winning mellow moments with the title track that rounds out the album.
You don’t get a much more perfect poprock song than The Who’s “The Kids Are Alright.” Crunchy guitar offset by a perfect vocal melody, backed by killer background vocals and harmonies at key points. Curiously then, the song has been both covered and not that covered since its 1965 release. A quick spin through the web-o-sphere reveals countless live versions by big name acts like Pearl Jam, pub rob darlings Eddie and Hot Rods, glammers The Glitter Band, and many many others. But studio versions don’t hit the major leagues as much. In fact, they’re far surpassed by punk and indie treatments. Personally, I find the punk ones tend to lose the sweetness of the melody by leaning on the song’s ennui. I get it – they love the rave up ‘I hate the world!’ potential. But in this post we’re going to hew to the hooky side of things.
Poor Myrtle. She’s only got Muzak® to keep her company through the long shift at work. If only she had access to this great new list of must-have LPs from 2019, helpfully assembled by Poprock Record, she might actually close that Henderson account and get off early. The lesson? You can take an oldies fixation too far. You don’t have to live in the past to love that retro sound. This year’s best-of round up of LPs from 2019 is definitive proof that everything old can be new again!
I really like the variety covered in this list. There’s everything from jangle (4, 11, 15, 25) and country (12) and Dylanesque stylings (21), to keyboard contemporary (8) and acerbic social commentary (10, 23) and straight-up Beatlesque poprock (17, 19). And there’s a lot of sweetness, like Mondello’s impressive 20 year labour of love (18). My number one album, Bombadil’s Beautiful Country, embodies this commitment to diversity. It’s got an overall indie-folk vibe but the songwriting and playing are so sophisticated that somehow the label fails to capture all of what’s going on. Believe me, it’s a 37 minute journey through a myriad of lyrical and musical delights. Close behind at #2 Matthew Milia’s Alone at St. Hugo represents an amazing synthesis of melodic rock influences, from the Beatles (obviously) to the more mellow Fountains of Wayne moments. It’s an tone setter – put it on and drift away! At #3 was #1. Confused? #1 was the name of the debut album from the power pop veterans behind The Brothers Steve and it did not disappoint. The record is like a veritable hit machine. I can only imagine that this was what it was like to get your hands on a new Beatles record in the 1960s: immediately engaging, inventive yet relatable, and with nary a bum track. And I could go on about every entry on this list … but instead just click on the links to go my original posts about the bands and you can judge them for yourself.
Clicking on this late 1990s track from northern California’s The Orange Peels you’d be forgiven for thinking you’re hearing a great New Pornographers single or maybe a late 1970s new wave reunion of the Mamas and Papas, if they’d become a rock band (and somehow brought a key member back from the dead). The guitar on this track is so striking, fresh and in-your-face resonant without being jarring, while the vocals are candy smooth but never syrup. Clocking at just a minute and 49 seconds it’s all over way too soon but that’s OK, it’s just the opening track of a pretty cool album of similarly fab songs. And now would be the time to add The Orange Peels 1997 debut album, Square3, to your collection as it has just been remastered and plumped up with 27 bonus tracks. Come back 1997! All is forgiven.
2019 had plenty of jangle, hooks, harmonies and melody to spare. From an initial list of over 200 songs I’ve managed to whittle my should-be hit single list to just 50 chart toppers for this year. Man, it was hard. Because I only post music I like this whole exercise is a bit like choosing your favourite child. Well, IMHO, the 50 songs featured here all have a strong earwormy quality to them. But let me know if you agree or disagree! Hit the links below to find each artist as featured in my original blog post this past year.
Today’s duo of bands are like opposite ends of the Beatles influence circa 1966, with Rochester NY’s The Demos handling the sweet vocal harmonies and melody-driven tune-age while Sacramento California’s The Decibels grind out a bit more of the rockin’ jangle side of the equation. Both bands benefit from strong songwriting and some pretty inspired and unpredictable performances.
The Demos debuted with a low key EP, 2008’s Your Girl Has Fun Without You. The band’s essential elements are all there in the opening track, “I Gotta Know” with its spare guitar work and layered vocals. Overall, the EP reminds me of more recent fab work from The Rallies. 2011’s full album Lovely fleshed out the band sound a bit, sounding slightly reminiscent of Farrah on tracks like “Nervous.” And check out the full on ELO vocal palate cushioning “Don’t Wake Me Up Again” – breathtaking! 2016’s Paramount Clouds EP takes things in more Rooney-ish direction, particularly with the keyboard focus on “I Don’t Mind.” Personally, I think the 2018 If You Only Knew EP may just be The Demos strongest outing, representing another slight departure style-wise changing up the keyboard and vocal delivery. Should-be hit singles “Make It Better” and “If You Only Knew” vibe a host great bands like Guster or Sunday Sun without losing any of their own originality. The spooky background vocals on “Make It Better” alone are worth the price of admission! The EP also features a nice reinterpretation of the previously released “Nervous.” Oh for the days when a ferry could taxi me over Lake Ontario to see this band.
The story of The Decibels is like a script right out of indie rock and roll Hollywood. Promising band release a handful of great records to critical acclaim but poor sales. They break up. Then they’re brought back together for a one-off show and fan demand pushes them to reunite but, alas, poor health stalls the comeback. But somehow, years later, the band returns with new material and new lease on rock and roll life! The Decibels roared back into action in 2019 with not one but two new records, both critically acclaimed. Big Hits (plus twelve more!) was a rehearsal session of the band’s live act (focusing on cover tunes), originally taped to help them prepare to record new original material. But the record company liked the sound so much they insisted on releasing it. It was so the right decision. Compared to their other 2019 long-player, the feel of Big Hits (plus twelve more!) is a bit edgier, with a punky live vibe. It’s amazing to hear how they bring new life to songs like “Pictures of Matchstick Men” by picking up tempo (frankly, I found the original Status Quo version a bit plodding). The album is full of highlights like the glorious “Sometime in the Morning,” the melodically rocking “Ship Went Down” and “There’s a Place,” the vocally clever “Try and Stop Me” and the very 1979 stripped-down new wave sound of “Cover Girl.”
Of course, none of this is meant to suggest that their other 2019 release, Scene, Not Herd, is anything less than stupendous. The album is brimming with radio-ready should-be hits like “Hey Emily,” “I Need to Tell Her” and “Misery.” The renewed band sometime come off like a more indie version of The Wonders, the fictional group from the film That Thing You Do. At other times you could be forgiven for thinking The Plimsouls had got back together on tracks like “The Only Reason Left” and “Thinking About You.” And here’s a bonus if you just discovered The Decibels – there’s a pretty special back catalogue awaiting your attention! For instance, the band’s 1997 debut Create Action is a janglicious mix of 1960s-meets-1990s swinging tunes. Check out “Change,” “Something Good to Go By” and “Can’t Play Tag Alone,” the latter sounding like a compressed greatest hit of the 1966 mod rock and roll sound.
My vision for 2020 would be for a bit more truth, beauty and justice to come to light. It’s getting harder and harder for working class people to make ends meet, all the while a circus of obscene over-consumption by the 1% of the 1% is shoved down our throats culturally. So why don’t ‘the people’ revolt? Well, there are lots of reasons …
2019 has been a generous year for poprock. So many great songs! And yet here are a few more that I somehow didn’t manage to squeeze in before now.
Poprock Record 