Throughout my life, Nick Lowe has been poprock constant. No matter what was going on, the arrival of a new Nick album was always an occasion. I probably first heard him as most other people did when “Cruel to be Kind” hit the radio in 1979, and Rockpile’s “Teacher Teacher” cemented my love of his style a year later. And what’s not to like? I had grown up consuming my parents’ record collection – Chuck Berry, Hank Williams, the Everly Brothers, Buddy Holly, the Beatles, etc. – and Nick was like a new wave synthesis of all those influences! Over the past four decades he’s grown as an artist, shifting his songwriting style and performance, but somehow managed to stay true to these roots. Currently on tour with retro rocking Los Straightjackets, Lowe continues to release great songs.
In what follows I review Lowe’s album career, highlighting the non-hit songs that stand out for me as great overlooked poprock tracks, ones I think are strong on melody and hooks. No doubt other Lowe fans might choose differently but these are the ones that stuck in my head and remain eminently listenable to me, even after countless hearings.
Discovering Lowe in 1979, I had to play catch up with his earlier career releases. “I Can See Her Face” from Kippington Lodge was Lowe first songwriting credit in 1969 and arguably that band’s best tune. From there Lowe wrote most of Brinsley Schwarz’s material over the course of six official album releases (seven if you include the long unreleased It’s All Over Now) from the early to mid-1970s and he would recycle some of that material later as a solo artist, most famously “Cruel to be Kind” and “What’s So Funny About Peace, Love and Understanding.” There’s some strong material on those records but “The Ugly Things” (from 1974’s New Favourites, later covered by Elvis Costello) really stands out for me as reaching the Nick Lowe solo-era standards for melody and hooks. Solo material started emerging in 1977 with the EP Bowi and various one-off singles (like the faux Bay City Rollers tributes or the label-ripping “I Love My Label”). Lowe’s first solo album, Pure Pop for Now People (or Jesus of Cool in the UK) contained a host of great songs (“Marie Provost,” “So It Goes,” “I Love the Sound the Breaking Glass”) but I think “Tonight” really captures Lowe’s talent for tuneful, ballady material.Brinsley Schwarz – Ugly ThingsNick Lowe – Tonight
1979’s Labour of Lust would be Lowe’s breakout album, featuring his only American top 20 hit, “Cruel to be Kind.” But the album has real depth songwriting-wise with great rockers like “Switchboard Susan” and tender ballads like “You Make Me.” Personally, I was always drawn to the crashing intensity of “American Squirm” and the pop jauntiness of “Without Love.” Next up was Rockpile’s Seconds of Pleasure, where only six of the twelve tunes were penned by Lowe and that didn’t include the charting single, “Teacher Teacher.” Of the six, the sparkling jangle of “Now and Always” only slightly edges out “When I Write the Book” as the best Lowe tune on the album. By 1982 Lowe was back to being a solo artist but Nick the Knife failed to produce a charting single. Still, I love acoustic guitar-anchored “My Heart Hurts” and the wistful “Raining Raining.” 1983’s The Abominable Showman (despite its dad-joke worthy title) was a strong album, featuring a great organ-heavy Paul Carrack duet on “Wishing You Were Here.” But for me, “Raging Eyes” was the obvious single, while “Mess Around with Love” (Lowe’s reworking of his earlier Brinsley cut “We Can Mess Around”) was another highlight.
Nick Lowe – Without LoveRockpile – Now and AlwaysNick Lowe – Raining RainingNick Lowe – Raging Eyes
In 1984 Nick was an early adopter of the roots sound on his Nick Lowe and his Cowboy Outfit, a record that also contained a should-be hit single, “Half a Boy and Half a Man.” But I was more drawn to the poprock gems “Love Like a Glove” and “God’s Gift to Women.” 1985’s The Rose of England contained Lowe’s most naked attempt to get back on the charts with his own version “I Knew the Bride (When She Used to Rock and Roll),” a song previously popularized by his old pal Dave Edmunds on his 1977 album Get It. It proved to be a very minor hit that tended to overshadow just how strong the album was, particularly it’s folk-poppy title track and the inspired John Hiatt cover, “She Don’t Love Nobody.” Nick’s next two albums witnessed him struggling to find his place in the then contemporary music scene. Both 1988’s Pinker and Prouder than Previous and 1990’s Party of One had plenty to please Lowe fans but no hit singles that might expand that base of support. Still, for hooks, I’d single out “Wishing Well” from the former and “Who was That Man?” and “All Men Are Liars” from the latter.
Nick Lowe – Love Like a GloveNick Lowe – She Don’t Love NobodyNick Lowe – Wishing WellNick Lowe – All Men Are Liars
In 1992 Lowe took another stab at joining a band, this time Little Village with John Hiatt, Ry Cooder and Jim Keltner. With such an all-star line-up, excitement about the project was palpable, but the response to their sole album was lukewarm. Personally, I think Lowe’s turn on vocals is one of the record’s highlights on “Take Another Look.” Then Lowe shifted gears again, taking his albums into darker, more serious moods, with the release of The Impossible Bird (1994), Dig My Mood (1998), and The Convincer (2001). Here Lowe deliberately sought to reinvent himself as more introspective, mature artist, and the overwhelming critical response has been that he succeeded. Still, every album has a few more poppy numbers, like the uptempo “I Live on a Battlefield” or the more subtle earwormy “Indian Queens.” At My Age (2007) and That Old Magic (2011) lightened the mood somewhat, with the latter producing a particularly impressive range of material with songs like “Sensitive Man” and “Somebody Cares for Me.”
Little Village – Take Another LookNick Lowe – I Live on a BattlefieldNick Lowe – Indian QueensNick Lowe – Sensitive Man
While clearly slowing down on releases, Lowe continues to record, most recently releasing EPs with backing from Los Straighjackets on Tokyo Bay (2018) and Love Starvation (2019), both representing a return to Lowe’s more rollicking rock and roll sound. But check out “Blue on Blue” to see how he still has a few surprises.
Nick Lowe and Los Straightjackets – Blue on Blue
Nick Lowe truly is a legend of poprock and one of my favourite artists. He is the bar that I judge what great poprock sounds like. I can still go back and listen to any of his albums, enjoying them as if for the first time. Check out Nick’s website and Facebook page to keep up with his continuing exploits. You can also read all about Nick in Will Birch’s great new biography, Cruel to Be Kind: The Life and Music of Nick Lowe. Click on his name to find out more.
Hopefully the hits keep on coming with this September batch of recent single releases from these great artists. Jangle, 1960s rock and roll vocals, crunchy electric guitar lead lines and harmonies – it’s all here!
We loved Brett Newski’s 2018 album Life Upside Down here at Poprock Record, particularly punchy, addictive tracks like “Ride” and “The Afternoons.” But there’s more to Newski, like his fantastic 2016 LP Land Air Sea Garage. Love the jaunty melody of “Stranger” or the great mix of vocals on “Bending Spoons & Skipping Prayers.” But the killer cut here is undoubtedly the should-be hit single “Garage.” From its opening guitar ring to those hooky ‘da da da da’s the song motors along in a solid poprock groove, repeatedly building the tension back to a great chorus release, with what sounds like some nice French horn near the end (but who knows, it could be keyboards!). The quality on this and his other recordings suggests this is guy just getting started creativity-wise. Can’t wait for a new record!
Some definite hot properties in this newscast with new releases from Poprock Record faves Richard Turgeon, The Rallies, Dan Israel and Aaron Lee Tasjan!
Richard Turgeon just keeps on getting better and better. His debut (In Between Spaces) and sophomore (Lost Angeles) albums were solid slabs of 1990s-inflected poprock, layered with hooks and slathered with a grungy alienated demeanor. Now he’s back with Go Deep and this time he’s upped the melodic quotient. This is the record Matthew Sweet should be putting out! There’s plenty of solid hooks, a bit of crunch, and those slightly dark melodic twists that sink deep in your sonic consciousness and stay there. It’s all there in the great opening track, “The One Who Got Away,” with its driving guitar and lovely background vocals. Or “Next to Me” with its strong guitar lead line hook. Then Turgeon shakes things up with an early Police ska rhythm guitar anchoring “Beware of God” accompanied by some REM-worthy background/foreground vocal interplay. The REM comparisons continue with “Loneliness,” a spot-on could-be outtake from Document. Two different versions of “Lost and Found” both capture the aching beauty at heart of the song. And then Turgeon shows his songwriting depth and range with the country/folk tune, the winsome “Cowboy Life.” Ultimately Go Deep is a great album experience, worthy of repeated listenings.
Seattle Washington’s The Rallies are back with their sophomore LP Upside Down and it’s a reverb-charged dose of sunny hooks and bittersweet sentiment. If you enjoyed their harmony-drenched debut Serve you’re going to love this new record. The solid acoustic guitar rhythm backing is still there. The distinctive mix of harmony background vocals combined with lead singer Steve Davis’ heart-tugging delivery remains front and centre. But the songs have a bit more muscle this time out. Somebody stepped on the jangle pedal because its ringing tone threads its way throughout the album, from the single-worthy opener “All Over Town” to the soaring closer “You’re the One.” The album opens on an extremely strong note. Really, in a properly poprock world “All Over the Town” would be zooming up the charts with its Beatles-esque background vocals, hypnotic guitar hooks, and earwormy melody. Overall, the influences alternate on this album, from the Tom Petty-ish “Brand New” and “Up To You” to the more Crowded House vibe of “It’s OK” and “Alive.” The hooky lead line opener to “If You Do” comes off like a lost cut from the That Thing You Do soundtrack. And I also love the lilting, more slow-paced melodic charm of “In Everything.” But make no mistake, the band have their own distinctive sound and style, as in evidence on the moving “All of Us,” a song that highlights this group’s overall uplifting positivity. 2017’s Serve landed on a host of ‘best of ‘ album lists and I predict Upside Down will heading to the same places for 2019.
Minnesota’s Dan Israel is like the money in the bank, turning out reliably great poprock records year in and out. This time he’s back with the timely-titled Social Media Anxiety Disorder and it is another winning collection of poprock ruminations on life and surviving the modern world. The album opens with “Be My Girl,” the obvious single with its endearing horn section, hooky bass guitar work, and hit single aura. But the whole record is quality stuff, alternating between Dylanesque observations and a Cat Stevens kind of confident delivery. Check out the hooky wordy attack of “Another Day” or the Tom Petty-ish country demeanor of “Tired.” Or how about the “Strawberry Fields Forever” organ quality adding something to the already winning “125” – killer! Personally, I’m smitten with the intimate acoustic revelations of “Still I’m Lost” and the almost church-like gospel hints embedded in “Out of My Hands” and “Out of My Hands Reprised.” Dan Israel is leading the singer/songwriter poprock revival, one you should be signing on to.
Aaron Lee Tasjan’s Karma for Cheap was my number 1 album for 2018. I just couldn’t get enough of it. The songwriting was exquisite, the musical performances – amazing. Now Tasjan has returned with a stripped down version of the album, Karma for Cheap: Reincarnated, and it’s a revelation. It’s like Karma unplugged, and stripped bare the songs really stand up. In this re-ordered version of the album, former album closer “Songbird” is now the opener and in its more naked form it exudes all the acoustic majesty of McCartney’s “Blackbird” or “Mother Nature’s Son.” And so it is true for all the other songs. These more spare recordings reveal new depths in songs like “Strange Shadows” and “End of the Day.” Reincarnated does make one major change in the set list of Karma for Cheap, swapping out the Orbison-esque “Dream Dreamer” for the delighful “My Whole Life is Over (All Over Again).” Tasjan’s a major talent, as revealed by his ability here to bring even more new life to some pretty great material.
With autumn just around the corner, time to twist the dial on some hooky new tunes from this crew!
I loved the acoustic swing + harmony vocal-stylings of Cape Cartel’s breakout single, “More.” The rest of 2018’s Close Talker was a bit harder to nail down but still great, mixing styles with the effortlessness of a latter day NRBQ. So a new single from the Montreal band had me on the edge of my seat – and I can report I am not disappointed. “The Matador” is the first of five singles that will comprise the band’s new EP Vitamins and it’s a flowing rush of melodic hooks and charming vocal harmonies. I love the bowl-you-over tempo of the song, bolting right out of the gate, and the carefully crafted arrangement. This certainly bodes well for the rest of the EP, which arrives late September.
The multi-talented Joe Adragna pretty much is The Junior League. He writes the songs, he plays nearly all the instruments, he produces the records. I imagine he answers the phones too. Well, clearly he’s an effective multi-tasker because Adventureland, the band’s latest long player, is a thrilling theme park of re-invented garage rock. Opening cut “Heavy” sets the tone for this outing with a 1980s indie grind that successfully reinvents the more rough and ready 1960s rock and roll sound. It says, effectively, this record is going to be a more muscular rocking affair (with a few notable exceptions) than past Junior League outings. Check out the REM-ish cover of Scott McCaughey’s “Have Faith in Yourself” – the song is anchored by a hypnotic synth that sounds like it’s on loan from the MGMT equipment room. “Everybody Wants to Play” and “Town in a Box” would not go amiss on a renewed Nuggets compilation brand. “No More” and “Adventureland at Night” are like love letters to that great crunchy 1960s rock sound. But the album does hold a few contrasts, like “Falling in Love” which sounds like it’s going kick into The Archies’ “Sugar Sugar” before going its own distinctive melodic way, or “Delete and Repeat” which adds a bit of Beach Boys to the broader garage motif. I don’t often have call to recommend this but Adventureland begs to be PLAYED LOUD.
Milwaukee’s Fuzzysurf have an interesting mix of influences covering their musical sleeves: Beach tremelo’d surf guitar, Beatles hooks and harmonies, and large dollop of self-effacing humour. The new album is Fuzzy & the Surfs and it both conjures past glory while moving in a new direction. In terms of past glory, “Problems” has a swinging early 1960s pop sound, “Please Please Me Do” lovingly riffs the Fabs, while “Denny” and “When I Fell I Love With You” work the melodrama side of that decade. And the band’s early surf focus appears on tracks like “Vomit” and “Sign of the Times.” All this is great but when the new direction kicks in, the effect is breathtaking. The ear-wormy “Don’t Worry Baby” has hit single written all over it, vibing Guster at their poppy best. “Enemies” reels off seemingly effortless jangly guitar lines in support of a wonderful neo-1950s tune. Or check out “Alone” with its beguiling background vocals and spare guitar work. I love where these guys are going – hookville.
There’s an early 1980s rock sound that balances melody with a certain no nonsense rock and roll sensibility. Ex Hex have dialed that up for their latest LP It’s Real. The album’s opener “Tough Enough” would not sound out of place on an early Pat Benatar album, “Rainbow Shiner” evokes Billy Squier’s guitar flashes, while “Good Times” has a punky Go Go’s vibe. The whole album is like a time trip back to an era (really, the transition from the 1970s into the 1980s) when some spare rhythm guitar work could set the tone and pace of the tunes, showcased nicely on the slower tempo “Want it to be True.” The songwriting here is strong and cast in a very consistent style, with a few departures like the more poppy “Cosmic Cave” and the Beatlesque/Go Go’s “Talk to Me.” Want to bolster your next 1980s theme party with some fresh material? Ex Hex have got your record here.
Ah 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!
Was there ever a band with a more tragic story of fabulous talent meets destructive perfectionism and bad luck? If I were holding a contest, 
And 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.
Commentators 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 
Things get more creative in the new millennium. First up, Japanese indie band 
Great 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!
Here’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!
Detroit’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 
It 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.”
Philadephia 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.
Nashua, 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.
Set your phasers to ‘reverb’ for this edition of Jangle Thursday as it’s a ‘celebration of sibilance’ of the ringing guitar sort.
Right 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.
Poprock Record 