A new week, a brand new batch of just released tunes from some seriously melodic dudes: Sofa City Sweetheart and Wyatt Blair. When I heard what these guys had on offer, they went right to the front of the blogging queue. Why not start the week off right?
I was digging Juan Antonio Lopez’s Elliot Smith-style vocals and the clever hooks in his new single “Stop the Thinking” when the Herb Alpert & the Tijuana Brass trumpet kicked in and then I was totally sold. His band is Sofa City Sweetheart and the song is a pre-release from his soon-to-be released new album – with this as a teaser, I can hardly wait! Check out the fun video that plays with the HA&TB imagery to good effect.
Musical chameleon Wyatt Blair has owned the sounds of so many different musical styles on his previous releases, though they’ve mostly focused on the 1980s. This time Blair steps back a few decades to nail the late 1960s California pop sound on his new record, Inspirational Strawberries. Things kick off with “It’s Yesterday,” a song filled with those classic fun 1960s sounds like harpsichord, bicycle bells and a killer organ, and then layered with some ace Cowsills vocals in the chorus. Next up is the obvious should-be hit single, “Gotta Get Away,” an adrenaline rush of Mamas and the Papas meets the Bryrds power sixties hooks. And Blair just keeps hitting the 1960s melodic marks after that, with some spot on, rocked up Hollies vocals on “Who’s to Blame,” a distinct Abbey Road vibe on “A New Tomorrow,” and some great rumbly lead guitar with Beach Boys vocal stylings on “Tenderly.”
Tis the season to think of others and bandcamp makes it easy to give away great music like this to your friends. But, frankly, you’re gonna want to click on Sofa City Sweetheart and Wyatt Blair for yourself too.
They say the third time around is the charm but, frankly, if you didn’t light up hearing Super 8’s first two records this year, you may be immune to his retro-1960s brand of hooky, summer-infused tune-age. Yes, you heard right, three albums in one year! Bringing back productivity standards not seen since the mid-period Fabs, one play of Hi Lo confirms it isn’t coming at the expense of quality. This installment is another delight! The vibes here vary, sometimes sounding very Arthur-era Kinks or late 1960s country Rolling Stones or even early 1970s Van Morrison. Check out the great laid back late 1960s sunshine pop of the opening track “Mr. Sunshine” or the cool beach groove of “Good Times.” The whole record is very mellow party listenable but with a few very cool surprises, like the brilliant Beck-like deconstruction of Neil Diamond’s “Cherry Cherry” and the spot-on Smiths’ riffing of “If Ignorance if Bliss.”
I just saw They Might Be Giants last night here in Toronto and I’m in love again. How can a basically two-man band be so talented? So smart. Seemingly endlessly inspired. Incredibly musically proficient. Funny, political, and wonderful to just listen to ad libbing comedy between songs. It was a show that seemed both spontaneous and perfectly executed, performed by extraordinary guys playing at being easygoing and unpretentious. It took me back to my joy in discovering them with their third album, 1990’s Flood. I just couldn’t believe how interesting and intelligent their songs were. And the hooks were glorious!
This year Brooklyn’s joy released their 20thalbum of original material with I Like Fun. And it is just freakin’ fabulous. The guys keep churning it out year after year but the quality does not take a hit. “Let’s Get This Over With” kicks things into gear with a jaunty uptempo melody and driving piano, “While I Left My Body” has a great droney hook, “All the Time” is just straight up pop goodness, and things just carry on in a very TMBG set of veins after that. I love the deft jazzy piano base undergirding “Mrs. Bluebeard” or the Beach Boysy sound of “This Microphone” or the more straightforward poprock vibe of “Last Wave.” But special attention must go to “The Bright Side,” the obvious single to me, with its super hooks. The band got the album out early this year but hardly let up on their amazing productivity, mounting a world tour and releasing even more brand new material on their special Dial-a-Song Direct website. Check out the video for their latest melodic zinger: “The Communists Have the Music.”
When the Extra Arms promo people sent me a heads up bout their new album, Headacher, I thought, ya, I like that Ryan Allen dude. But when they sent me a follow up not long after I thought whoa, pushy much? But they were right to push me. Headacher is a fabulous record from beginning to end. Joining the ranks other great muscular pop rock albums released this year from the likes of Ruler, Tiny Little Houses and Odd Robot, the band behind the music is both more and less than its previous incarnation. Formerly Ryan Allen and his Extra Arms, obviously the front man’s name has been lopped off. But more than previously, Extra Arms is more than just Allen’s backing band, with each of the four members now contributing more creatively. The result is kinda like a more rowdy version of Fountains of Wayne, or perhaps Squeeze after a few too many rounds ‘down the pub’. Here the guitars may be a bit more cranked but that unerring melodic sensibility permeates everything.
It’s all there with the opening title track, “Headacher”: surging crunchy guitars, great hooks, and killer FOW vocal technique. This winning formula infuses most of the rest of the material, with particular force on stand out tracks like “Done to Death,” “Why I Run,” “Old Heads” and “You Make the Life You Want.” There is some variety here with less crunchy, more mellow tracks like “Under Surveillance” and “Honey Brown.” And then the album’s closing number, “The Last One,” offers a real departure, a winsome acoustic number.
I was running down my usual jogging route when Freedy Johnston’s “Anyone” came on the playlist from his 2001 release, Right Between the Promises. I was struck by the enduring freshness of a formula Johnston has consistently utilized since his breakthrough albums, 1992’s Can You Fly and 1994’s Perfect World, particularly on what probably amounts to his most famous quartet of songs: “Tearing Down This Place,” “The Lucky One,” “Bad Reputation,” and “This Perfect World.” Combining Nick Lowe pop hooks with the lyrical ennui of Leonard Cohen, he’s everybody’s favourite melodic sad sack. Yet like so many gifted troubadours (Randy Newman, Elvis Costello, John Hiatt, etc.) his initial brush with stardom appeared to stall with the new millennium. But you can’t blame that on the music. Albums of new material in 2001, 2010 and 2015 were as good as anything he’d ever released – maybe better!
Right Between the Promises makes the case with such killer, single-oriented cuts as “Broken Mirror” and “Anyone,” or the more American songbook feel of “Radio for Heartache” and “Save Yourself, City Girl.” It was a long nine years for a follow up but 2010’s Rain on the City was worth it, chock full of strong material like the toe-tapping “It’s Gonna Come Back to You” or the more western rock and roll feel of “Living Too Close to Rio Grande.” There’s some truly classic Freedy songwriting here on tracks like “Don’t Fall in Love with a Pretty Girl,” “Venus is her Name,” and “The Other Side of Love.” Five years later he was back with another fabulous album, Neon Repairman. Opening cut “Baby, Baby Come Home” is on par with any of Johnston’s great songs for it’s aching lyric content and subtle hooks while the rest of album showcases his unique observational talents on tracks like “TV in My Arms,” “By the Broke Streetlight,” and “Sentimental Heart.”
I’m a notorious needle-dropper. I skip through albums like some people click through the ‘recently added’ section on Netflix. But every now and then an album grabs me and I find myself listening all the way through, taking more from each song with every listen, or sometimes just transfixed by the order of the tunes themselves. When I run across material like that it’s time to repair to the listening room and give the albums in question some serious attention. Today’s listening room selections are new releases from Mike Pace and Child Actors and Aaron Lee Tasjan.
Forget what you’ve heard from this performer – get ready for something new. With sound like a distilled retro 1980s poprock playlist, the energy on Mike Pace and the Child Actors’ new release Smooth Sailing is seemingly irrepressible, akin to Bleachers’ great debut Strange Desire in its ability to take sonic elements from decades past and make them into something new. This is well illustrated on the opening track, “Everyone Out of the Car” which squeezes just about every ounce of 1983-era indie into one propulsive number, or “Senior Statesman” which injects a little melodic 1980s Springsteen into the mix. This album has highlights galore. “Blaster” kicks off with hit single written all over it and never lets up. “Disconnected Heart” captures the tender acoustic Big Star sound while “Troubleshooting” swings like Joni Mitchell at full volume. Back catalogue honourable mention – don’t miss out on Mike Pace’s previous band, Oxford Collapse, particularly the infectious “In Your Volcano.” Actually, you can’t far wrong with anything stamped ‘Mike Pace’ somewhere.
Aaron Lee Tasjan makes it look so easy. His songs lope along, seemingly straightforward, and then – bang – some ever so simple change up reels you in. Karma for Cheap has a classic easygoing rock and roll combo sound, a bit of Beatles’ Abbey Road guitar here, some classic early 1980s poprock background vocals there. But it all comes down the songwriting. As I listened to the record I kept saying, ‘damn, this is best song!’ Until the next one came along. “If Not Now When” kicks things off with a great stretched guitar sound and pumping piano, “The Truth is So Hard to Believe” sounds like a great lost outtake from The White Album, while “The Rest is Yet to Come” has a super poppy blues feel. But nothing really prepares you for the subtle brilliance of “Heart Slows Down,” the obvious single. Oh, it starts ordinarily enough. But at the 35 second mark something starts happening that leads right to the killer chorus and before you know it you’ve hit replay five times. Those great back up vocals! So simple, so seductive. Then “End of the Day” (which could easily be mistaken for a Tom Petty single) does it again with an innocuous start that hits the fast lane in the chorus as the background vocals and driving lead guitar line combine into radio-friendly, hit single bliss. But Tasjan’s not done with us yet. On “Strange Shadows” he is the spot on reincarnation of Roy Orbison while “Set You Free” lets loose some fine jangle guitar and solid stadium-size poprock hooks. There are other songs I haven’t mentioned but I don’t want to seem obsessed.
There are songs that immediately bring a smile to your face, put a skip in your step, and have you hitting the replay button again and again. They channel a happy place that takes you out of wherever you are or makes the place you are just a bit more multi-chromatic. Los Angeles’ Sure Sure has this down pat with their goose-bump inducing single “Giants.” It starts sparse with some hooky acoustic guitar strumming and builds with what sound like toy piano keyboards, crystalline harmony vocals, and a great shuffling rhythm. It’s a wind blowing in your hair, strolling down the beach boardwalk, you’re starring in the video moment! And then there’s the fresh and cheeky breeziness of Liverpool’s Zuzu. From her breakout single “Get Off” the gal who lathers her singing with a healthy dollop of Scouse accent has exuded total fun. An EP of solid tunes – Made on Earth by Humans– emerged last summer, including two versions of the exquisite “Beauty Queen.” The song features a mother’s advice to her daughter to just ‘stay inside and you’ll be fine’ because ‘you’ve no chance, you can’t sing and you can’t dance.’ Zuzu sings ‘no way,’ not surprisingly and let’s loose a killer catchy chorus at the song’s 40 second mark. Personally, I prefer the acoustic version where the shift between verse and chorus is more dramatic and hooky.
Dave Rave is a Canadian musical institution. There at the beginning of the country’s own punk awakening in the late 1970s, leading man in Hamilton’s new wave Shakers, and key to the second round of success for Teenage Head in the mid-1980s. But unlike many other CanCon veterans of that era, he’s refuses to rest on his laurels just churning out nostalgia. Indeed, the past seven years have seen the release of five solid poprock albums and an EP, as well as other more jazzy and/or folkie single and albums.
All the essential elements are in evidence on the remarkable, chock full of should-be hits, 2011 release Live With What You Know. It’s got the tempo changes of a great McCartney album, switching from the melodic rocking of “Anne-Marie” and “Rain Song” to the more mellow acoustic-inflected “You’re Going to London” and “Rows and Rows.” Great songs are in abundance here but I have to single out exquisite low key hooks embedded in “One of Kind” and “All of the Love You Can Handle.”
From there it’s a poprock odyssey over the next few albums, as Rave continues demonstrate his impressive songwriting chops with some killer bands. 2014’s Ashtray Makeup takes the formula in a more straight-up rocking direction but still leaning strong on melody, as is clear from opening track “St Paul” and the Lou Reed-ish “Here She Comes.” 2015’s Sweet American Music is another winner, particularly the melodically discordant “Pullman, Washington” and the Nick Lowe-ish “You Take What’s Yours.” 2016’s Radio Rave channels a very Canadian Merseybeat vibe on the wonderful “Love” or mid-1960s Americana of “Slow.” I love shimmering guitar lines on “Satellite Treason” and the little bit country, little bit rock and roll sound of “Not Right Now” from the 2017 EP Indicator. Not letting up, Rave returned just months ago with All Night Raves. Here I would single out the jangly “Don’t Be Scared” and the early Joe Jackson sound of “Life of a Superstar.”
Stumbled across this just-released-today album from Santa Cruz’ Henry Chadwick on Apple’s new rock album feed and it is freakin’ fantastic! Marlin Fisher is the new full length follow up to Chadwick’s 2016 EP Guest at Home, which was also pretty special. Why is Henry Chadwick my new instant fave artist? Because the tunes on this album fall into this blog’s sweet spot: melodic, swinging, loaded with hooks, with just the right dash of rock and roll indie edge.