Trying to separate out the various genres that have contributed to modern poprock is a bit hopeless. Take country, for instance. It’s right there in the rock and roll DNA of Elvis, Buddy Holly, Roy Orbison, and so many others. But country has a special relationship with poprock due to its buoyant approach to melody. Some of the greats of 1940s and 1950s country were hook masters who knew how to write a tune that would leave people singing in the shower. Merle Travis, the Louvin Brothers, Johnny Horton and, of course, the grandmaster tunesmith, Hank Williams Sr. The country rock of the late 1960s and early 1970s then was really just a return to rock and roll’s roots. And, of course, some country artists that rode the border of country pop and rock and roll never really went away in the 1960s – think the Everly Brothers or Buck Owens. Happily the tradition lives on with more recent acts mining the particular joy that is country poprock. It’s country time!
Australia must be a magical place. So many super creative people live there and they all seem to start a new band every other week. Anthony Bautovitch is the driving force behind The Forresters, just one of many musical projects he’s had a hand in over the years (you might have heard of the Orange Humble Band). Read his blog entries about this project and it’s like all the musical royalty of Australia showed up to do something on these recordings. “Tremblin’’ is from the 2008 debut Skin Deep and strikes a more traditional country vibe but check out the cool horns that slide in half way through. “Are You Ready” is from 2016’s self-titled album The Forresters and it has a stronger poprock feel. The chorus unfolds like a 1960s dream sequence. Hooky goodness here.Are You Ready
I was grooving on Rhett Miller for months before I discovered he was the lead singer for the Old 97s. “Our Love” from 2002’s The Instigator has a nice new wave aura to it, even as it takes the form of a classic country song construction. By contrast, “Lost Without You” from 2012’s The Dreamer has a more traditional country feel, if channeled a bit through Wilco. Improving with age (if that’s possible), Miller has some killer recent material, including the duet with Madison King, “Feel Like Fallin’ in Love,” and the recent collaboration with Black Prairie, 2015’s The Traveler. Love “Most in the Summertime” with its great lilting chorus line ‘Don’t give up … on me.’ The pause really makes the hook work.Our LoveLost Without You
I was digging the Steve Deaton Three’s self-titled album from 2015 when I hit their cover of Buck Owen’s “Tall Dark Stranger.” How could I know I’d be in for the definitive treatment of the song? SDT ramp it up just enough to capture the melodic magic that was always there but latent in the rather languid original version. Really, I’m surprised Dwight Yoakam didn’t cog onto this great opportunity. But just to show that these guys are not just poprock rodeo kings, check out their fabulous, driving should-be hit single, “Open My Eyes.” Not country, but a poprock spectacular single. And these are not the only charms this album contains.
At a recent house concert in Toronto, the Sam Weber band performed “All Your Favourite Bands.” It being a house concert, the song ended and I asked them about it – and discovered the definitely alt-country/folk sound of Dawes. Early recordings like “When My Time Comes” from 2009 North Hills has the poetic charm of Bruce Springsteen’s first album while “If I Wanted Someone” from 2011’s Nothing is Wrong sounds more late period Eagles. But Dawes are hard to peg, with 2013’s Stories Don’t End serving up the very Steely Dan-ish “From a Window Seat” and their most recent, 2016’s We’re All Gonna Die, throwing in a bit more FM rock a la “Rocky Mountain Way” guitar and late Doobie Brothers vocals on “Roll With the Punches.”If I Wanted SomeoneRoll With the Punches
The Jayhawks were there when alt country hit the indie rock mainstream along with Wilco, Blue Rodeo and many others. We’re not going to play the obvious ones from the 1990s. These guys are masters for a reason – they’ve continued to put out solid recordings, as “She Walks in So Many Ways” from 2011’s Mockingbird Time showcases nicely. The song has a very Everly Brothers’ “Bowling Green” vibe to my ears. Oh, what the hell. “It’s Up to You” from 1997’s Sound of Lies is a pretty sweet album cut.She Walks in So Many WaysIt’s Up To You
Last up is a band I just discovered this last week, San Francisco’s Midnight North. “The Highway Song” is a peppy poprock number sweet enough to appeal to any Dolly Parton fan, with a melody that is nicely echoed by some trebly lead guitar. Great lyrics here: “So meet me on a highway … where we can sing some tunes like Johnny and June ..” The whole of their most recent album, 2017’s Under the Lights, is pretty strong, with “Greene County” turning the classic leaving scenario on its head while “Little Black Dog” harkens back to a more traditional country sound.
Keep the country flavour of this poprock alive by slapping a few dollars down on cracker barrel, electronically speaking of course. Visit The Forresters, Rhett Miller, Steve Deaton Three, Dawes, the Jayhawks, and Midnight North online.
Propeller blasted into 2016 with their terrific Ramones-inflected romp, “Turn On the Radio.” Now they ‘re back with another slab of hooky 1960s and New Wave inspired tunes on their just released Don’t Ever Let This Let You Down. The record kicks off with album’s clear hit single, “Summer Arrives.” A great atmospheric opening (that reminds me of Porter Block) gives way to a yearning and sweet melodic ode to the beach season that wouldn’t be out of place on any mid-period Teenage Fanclub album. Another really catchy number is “We’re Better Than Nothing” with its alluring lead guitar work. “Little Unsteady” has the ‘ahhs’ and jangly lead guitar lines of a great Primitives or Sugar deep album cut. “Girl I Know” has a wonderful confessional Replacements quality. Meanwhile “Days Collide” is like someone took an Everly Brothers’ track and ran it through a garage rock filter, the basic magic is there but tweaked with some raw guitar amplifier voltage. The basic point I’m making here should be clear – this whole record is a solid poprock workout, one that bears repeated listening.
“I’m With You” should have been the song that shot Montreal band The Stills to international stardom. Instead, it was the last single they released before breaking up in 2011. And that was a shame because “I’m With You” has all the hallmarks of a classic hit single. It opens with a killer hook that sets the pace for the whole song. The vocals are shimmery and understated, seemingly just behind the beat, giving the song a sense of urgency. The single opens with a distinctive clanging keyboard sound and ends just as mysteriously. And then chorus tag line “I’m with you” just keeps echoing in your head long after the song is over. Oh well. Really, it’s such a Canadian story – good press for albums one and two with some commercial success and Canadian radio play, culminating in what appears to be a positive international reception from critics for the last album, 2008’s Oceans Will Rise, including two Juno awards (Canadian Grammys). And then break up. Well, at least we can enjoy the band’s back catalogue.
Failing to sign with a major label in the new millenium, the band took up an interesting strategy with their next two records: both were self-released double albums. 2004’s Tangents rocks out and here the two Lund brothers’ early love of Led Zeppelin shows up, though some poprock does shine through on tracks like “Wrong.” 2008’s Songbook IV mines the power pop sound a bit more consistently, as evident on cuts like “Can’t Read You,” “Listen,” and many others. But, as an aside, check out guitarist Chris Lund’s amazing guitar chops on the solo for “Such a Ride.”ListenSuch a RideWrong
Seven years passed before the Lund Bros. returned with 2015’s Sanguine, a title meaning literally ‘cheerful amid difficult circumstances.’ Apt much? But if the band was discouraged, it doesn’t show on the recordings, which are stellar, particularly the nice cover of Badfinger’s “No Matter What.” The obvious single is the perfectly paced “Blue,” which opens with some nice acoustic guitar and then builds to a great, vocal harmony-drenched chorus. Another nice tune with a pretty amazing guitar solo is “Ballad of a Former Martyr.” The lead guitar line ripples out at the 1:15 mark with some pretty beautiful runs.BlueBallad of a Former Martyr
New finds and fresh music from old favourites in this edition of breakings news, with an accent on unusual band names.
Freedom Fry keep turning out great singles. The combination of Parisian-born Marie Seyrat and American Bruce Driscoll produce a sophisticated brand of dreamy poprock, full of hooks. We previously highlighted “Stop, Stop, Stop” and their remake of Serge Gainsbourg and Brigitte Bardot’s “Bonnie and Clyde,” as well as their holiday single “Oh Santa (Bad World).” Now they’re back with a fresh, swinging slice of easy-going, car-driving, breeze-in-your-hair poprock called “Strange Attraction,” also the title track from their to-be-released EP. This song bodes well for what is to come.
Thrift Store Halo have a great name, great artwork and a great story. And their music is pretty good too. Dial back the time machine to 1998 and TSH appear on the verge of breaking with an album in the can, major label interest, and a possible national tour with an up and coming band called Train. A few bad decisions later and the band split, members heading for law school, a lucrative art career, and home renos. And that was a shame because their only full length album, World Gone Mad, is a lost treasure. Personal fave tracks include “Crashing In” and “With You Here.” But the lure of rock and roll proved too strong and now the band is back after a near 20 year absence with a snappy new EP, Pop-Rocket. The new album sound is a bit leaner, reminding me a bit of Ike in their prime. Stand out tracks: “Get Over You” and “I’m Not Through.”Get Over YouI’m Not Through
Sophie Allison is Soccer Mommy, a one-woman, bedroom-recording, Bandcamp phenomenon. Up to now her songs have been defined by their spare, stripped down intimacy, but on her new EP Collection Allison strikes up the band to give some old material more life and new material a decidedly more polished debut. “Out Worn” is new song that nonetheless adds to Allison’s litany of despairing lonely relationship songs but check out the languid guitar lines and sibilant hooky vocals, sometimes drifting to the dreamy side only to be righted with some great background vocals. Repeated plays definitely brings extra benefits.
This blog loves Dropkick so there is no surprise we think the new Andrew Taylor solo release, From the Outside Looking In, is pretty special. All the Dropkick strengths are here: driving rhythmic guitars, layered lead and background vocals, and hooks a-plenty. “Someone” takes off and never quits, propelled by a strong rhythm section and some pretty sweet vocal harmonies. “Who We Really Are” channels just a hint of Teenage Fanclub with its loping pace and earnest, sweet sounding vocal delivery. “Standing Still” is a swinging dollop of country poprock. Another should-be hit album from a key member of Scotland’s most under-appreciated melody makers.
Rounding out this entry is a band I just saw open for Declan Mckenna at his great recent debut on Canadian soil: Dan Luke and the Raid. Who? Exactly. I’d never heard of them and I don’t think most of the audience had either. But from the moment they got started, they had the audience in the palm of their hand. Bowling Green, Kentucky’s latest find played a strong set of catchy tunes, most of which are still not available anywhere. So for the time being, check out “Black Cat Heavy Metal,” an ever so slightly psych-poprock number. I do look forward to the EP release, if only to hear the wonderful “Tragic Symphony” again.
Summer’s here and the time is right for some treats. No, not the ice cream truck – musical treats. What follows are some bands I missed the first time around but have come to know through a host of fantastic Facebook music groups. Accent on melody, harmony and hooks!
Coming back more to the present, check out Smith & Hayes lightly swinging poprock gem from their 2014 album People All Over the World, “Slow Down.” These guys emote some pretty impressive 1970s soft rock chops, a time when melody seemed inoffensive but was actually ear worm intensive. Previous albums by the band (e.g. 2007’s Changed By a Song) showcased their command of the late Beatles era sound and that work undergirds this single. From the harmonica opening, to the acoustic guitar lead lines, to the ever so subtle and building vocal hooks, you’ll be hitting repeat on this one.Smith & Hayes – Slow Down
Our last treat is a bit of an outlier for North Carolina’s Dillon Fence, a group whose material usually had a bit more bite. But “Bite of an Apple” is a delightful vocally-focused lilting tune that really takes off with some nice interplay amongst vocal lines, all over top of a consistent ringing rhythm guitar. The song appears on the 2004 collection Best +. Though the band’s recording career only spanned 1991-94, this song was one of a number specially recorded in the early 2000s for this release.Dillon Fence – Bite of an Apple
Putting a famous name in your song title would seem to be a sure fire way to have a hit. Kim Carnes’ “Bette Davis Eyes” or Weezer’s “Buddy Holly” readily come to mind. But really, those are the exceptions. A quick search of the internet actually turns up a whole bevy of celebrity names on songs, mostly on the indie side of things, most of them album cuts. So why do bands do it? Homage? Satire? Or are they just as celebrity obsessed as everyone else? The French duo Please was formed and recorded a song with the sole explicit intent of getting a response from Paul McCartney – not that Paul appeared to notice! The range of material covered in this post gives us a bit of all these approaches, from hero worship, to ridicule, to little more than just mentioning the celebrity name.
Bradley Skaught’s Bye Bye Blackbirds combine the west coast, late-1960s sound (e.g. Byrds, Buffalo Springfield, etc.) with some of Tom Petty’s southern rock and roll heft to produce a solid album of killer tunes on their new Take Out the Poison. The latest record departs from the more slick, high production sound of previous releases like 2013’s We Need the Rain and 2011’s Fixed Hearts (both great albums, BTW) for a more laid back, rootsy feel. “Earl Grey Kisses” sets the tone, opening things in a spare fashion with some great bass and a bit of guitar lead line, building to some nice harmony-drenched hooks in the chorus. Vocals are really to the fore on a lot of the songs on this release. Check out “Duet,” a lovely single with Lindsay Paige Garfield sharing vocals (and adding a nice country element) on some clever musical wordplay or the super harmony vocals on the Tom Petty-ish “Baby We’re Fine.” Speaking of Tom Petty, the previously released “Let Your Hair Fall Down” appears here and it oozes a great Petty vibe. Other influences could be noted – the Elvis Costello-y “Wasted” or hauntingly Big Star/Elliott Smith-like acoustic guitar and vocals on “I Meant to Write” – but the songs really stand on their own as compositions. A surprising highlight of the record is the band’s cover of Bill Monroe’s country and western classic, “Poison Love,” delivered here with a rootsy rock and roll verve worthy of Nick Lowe, Dave Edmunds or Elvis Costello in a more Memphis mood.
As we move around the dial on this post we cover a wide range of sound, from retro stylings, to melodic pop, to guitar hooks, to a cool hipster vibe.
Essex Green is band that seemed to come to the brink of stardom only to disappear. Their third album, 2006’s Cannibal Sea, was widely praised by critics and built on their growing fan base. They seemed well placed to take off. Then nothing. In a recent interview with 
Poprock Record 