Tags
Jean Caffeine, Joe Goldmark, Keith Klingensmith and the TM Collective, Lasse Lindblom Band, Les Calamites, Matthew Sweet and Susanna Hoffs, Pete Townshend, The Connection, The Decibels, The Kids Are Alright, The Last Words, The Legend, The Lolas, The Queers, The Raveonettes, The Who
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.
American bands seemed to groove to The Who the earliest in the 1960s, with a decided garage and psychedelic bias (e.g. The Count Five covering two Who songs on their debut in 1966). El Paso’s The Legend cranked up a winning cover with some very groovy organ in 1968. Meanwhile Miami’s The Last Words offered a distinctive interpretation of the song in the same year, altering the melody of the chorus. Sweden gets into the act with the Lasse Lindbom Band’s 1979 more straight up poprock version. Then things take an indie/punk turn with France’s Les Calamités in 1984 but this version still manages to capture the song’s essential (and necessary) vulnerability. The last version from this early period is Pete Townshend’s own demo of the song, recorded in sixties but only released on his Another Scoop album in 1987.
The LegendThe Last WordsLasse Lindbom BandLes CalamitésPete Townshend
The new millennium has seen various acts cranking up power pop elements of the song. The normally very punky The Queers even out their sound to accent the song’s hooks. Not surprisingly, with Matthew Sweet and Susanna Hoffs it’s all super sweet background vocals and harmonies while tempering the more combustible sonic aspects of the tune. Possibly my fave cover comes from the reliably hooky The Lolas, featured on the 2004 Who tribute album Who’s Not Forgotten. And then for something completely different, there’s Joe Goldmark’s kooky but charming country instrumental version with John McFee on pedal steel.
The QueersMatthew Sweet and Susanna HoffsThe LolasJoe Goldmark
More recently a new flurry of covers have emerged, demonstrating how this hit just keeps on coming. Both The Connection and Keith Klingensmith and the TM Collective offered up sleek candy-coated versions in 2013 while The Ravenonettes turned all shoe gaze with their cover in 2015. Just this last year Jean Caffeine put a bit of edge into her otherwise melodic treatment of the song while The Decibels hit the jangle pedal pretty hard in a more rocking rendition.
The Raveonettes
A great song is one that you can hear over and over and somehow never tire of. Not surprisingly, such tunes draw other acts to want to cover them. “The Kids Are Alright” is one of them and as you can hear above, it’s actually pretty hard to mess it up.
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.
So many albums to listen to! Welcome to the listening room session II where we carry on distracting you from any holiday malaise that might be afoot with melody, hooks, harmonies and some jangle guitar.
Oslo, Norway’s The Needs is just another example of Nordic superiority. They manage to combine driving guitars with sweet melodies that make you want to jump and sing at the same time. The album is entitled You Need the Needs and truer words were never spoken. The record kicks off with “Summerbore,” a song that blasts out of the gate with the band’s signature driving guitar, coated with a slick vocal that holds back just a bit, creating tension between the vocal and instrumental elements. Next up is the obvious single, “I Regret It,” with its early Rooney-esque demeanor. And so on. There are a cartful of great tunes here: the hooky “I’m Doing Fine,” the more mid-tempo “First to Go,” and the fabulous “Stay at Home Friend” with its crashing guitars and endearing melody. Guitar lovers rejoice! Your needs are answered with this latest Norwegian export.
I agree with Richard Rossi over at 
Bulletproof is album number two for Birmingham, Alabama’s The Lolas for 2019 and there is no evident dilution in the quality of offering the second time around. And that’s pretty impressive because The Lolas is only one of the many musical projects that Tim Boykin is regularly writing for and performing in. Opening cut “Deestroy” sets the tone for the fun to come, sounding like a power pop Ramones with lyrics about wanting to ‘destroy capitalism’ and ‘take away your desolate vision.’ Finally, a ‘peace on earth’ vision I can get behind! Then Boykin goes all Rubber Soul Beatles on us with the delightful “Fall Away” while “Oceans on the Moon” sounds like a great lost Hollies cut to me. But the real news with this record is how political it is compared with earlier releases. Titles like “Stand Up and Fight,” “Stop the War,” and “Gunshot Holes” advertise their sentiments pretty clearly. But others, like “Storm of Silence,” carry a message of worker solidarity and hope that requires more active listening. Going political is a risk for any performer and can go agitprop in a bad way pretty quickly in the wrong hands. But this effort is entirely in good hands with Boykin, who strikes the right balance between message and art. And I love the final cut, a Merseybeat rendition of “L’Internationale” that totally works!
In our one last EP file, here’s a release from 2018 that somehow missed my radar last year from Brooklyn’s Answering Machine – Color TV. Vocalist Samantha Campanile often comes off sounding like a edgier Neko Case meets Jenny Lewis on the epic tunes showcased here like title track “Color TV,” “Tri-State Kids,” and “Save the Date.” Though vocalist J.D. Fetcho also sounds great on backup or lead on tracks like “East of Eden.” The band did release a single in 2019 and “Bad Luck” bodes well for the group’s upcoming debut release due sometime in 2020, almost sounding an indie, slightly punk version of mid-period Fleetwood Mac.
Need some distraction to get through the holiday season’s seemingly endless family overtime period? Come with me to the listening room where we can tuck in to a raft of albums, all worthy of diverting your attention from squabbling children and leftovers. Divided into two sessions for your listening pleasure.
I miss a lot a stuff as the year goes by and one major oversight was overlooking relocated PEI-now-Toronto poprockers kiwi jr and their fab debut LP Football Money. The Canadian critics are falling all over themselves to heap 
Valencia, Spain’s Star Trip are obviously big Big Star fans. The influence is all over their 2019 long player, Salto al vacio. And yet they are so much more. First, their songwriting is strong and original. Coated with a shimmering guitar resonance and blissful harmony vocals the songs sound like a sun dappled summer day. I have no idea what they are singing about (it’s all in Spanish) but the sonic palate strongly suggest a post-1960s dose of truth, beauty and love. The whole record says ‘play me!’ but if I were single out anything, listeners are going to love the jangle and hooks propelling the opening title track, or the country pop elements undergirding “Hasta el atardecer,” or the Matthew Sweet quality of “Dias sin saber.” Overall, Salto al vacio is a must add for jangle addicts.
Add the new Mike Adams at his Honest Weight record to the pile with the likes of Matthew Milia, Telekinesis’ Michael Benjamin Lerner and even Marshall Crenshaw. Their defining element? Albums full of ebullient melodic gems, showcasing a deep knowledge of the poprock canon and an ability to twist such influences into original new material. Adam’s new LP There is No Feeling Better is a case in point. Each song is a perfectly crafted melodic miniature. From the off-kilter Beatles influences framing the opening track “Pressing Mesh” to the epic keyboard/acoustic guitar contrasts animating the closer “So Faded” this is a record of oh so pleasant surprises. “Do You One Better” is the obvious single, with its measured build up and strong melodic payout in the chorus. “Free and Reduced” has some great interplay between the rumbly guitar and 1980s keyboard while “Wonderful to Love” stokes a 1980s languid poprock groove. And check out “Datsun Dashes” with its reinvention of early 1960s American pop and Beatles influences or “I Need You” which sounds like a beat group version of the Eagles. Another ‘all-player’ for any road trip lasting longer than 39 minutes.
Let me slip in an EP amongst all this LP celebration. I featured a song recently by Pittsburg native Dave Molter but then got a copy of his 2019 EP Foolish Heart. Wow! What an action packed collection of ear worms. While citing the 1960s and Beatles as his main influences, Molter offers up a collection that exudes the best of 1980s poprock a la Greg Kihn, Huey Lewis and the News and ELO. I already lauded the Jeff Lynne-ish “Mid-Century Man” in my previous Molter post, now let me add praise for the EP’s title track “Foolish Heart” which could easily find its way onto any John Waite solo album, the psychedelic “See the Sunshine,” and the smile-generating Beatlesque “Tell Me That You Love Me.” Seriously, for Beatles fans, try not breaking into a grin when this song comes on! My only complaint about Foolish Heart is that it is an EP. Poprock Record wants more Molter!
Feel free to cancel Christmas, my present came early with Gregory Pepper’s new single “I’ve Got a Bottle.” Pepper is Canada’s should-be favourite curio pop songwriter. Master of styles, piquant tunesmith, a clever with words guy, Pepper never fails to deliver the goods. But I have to say, it’s been a while – too long. Pepper took a year to write a song a week during 2017-18 while weathering the loss of his father, arrival of a baby daughter, and driving the occasional snow plow. But now the word has come down that a new album of Pepper tunes – I Know Why You Cry – will drop in the new year. I can’t wait! Seriously, waiting is not my strong point. But in the interim you have this delightful dollop of Pepper pop craftmanship. Enjoy, and get ready for a fab Pepper-stravaganza coming to this station sometime this February.
