Category Archives: Poprock Themepark

Jangle Thursday

18 Thursday Feb 2021

Posted by in Poprock Themepark

≈ Leave a comment

Tags

, , , , , , , , , ,

It’s been a while since we’ve jangled Thursday so to make up for it today’s post features two heavy hitter album releases and a spate of other good things. Secure the good china because the heavy reverb here is definitely gonna make things shake.

In one of the most anticipated albums of the year, The Boys With the Perpetual Nervousness defy the sophomore slump with a drop-dead gorgeous collection of new tunes. If anything, Songs From Another Life is even better than the band’s outstanding debut Dead Calm. The sound is a bit edgier, the feel a bit more urgent. It’s all there on the album opener, “I Don’t Mind” with its muscular jangle hooks and earworm melody. When the sweet sweet instrumental break kicks in at 1:11 it’s like a shot of adrenaline. And then it’s over all too soon! The obvious musical reference points here fall somewhere between the Byrds and Teenage Fanclub, particularly on “Play (On My Mind)” and “How I Really Feel.” But there’s a bit of the duo’s previous incarnations – Dropkick and El Palacio de Linares – lurking here too on tracks like “Rose Tinted Glasses” and “In Between.” And then the band go in totally new directions on songs like “Lethargy” with its hypnotic synth adornments. Personally, I can’t stop hitting replay on “Waking Up in the Sunshine,” the should-be hit single to my ears. If you need something to lift your spirits, something to make your heart soar, then proceed directly to this long player. I may be calling it early but my gut says Songs From Another Life is the feel good album of the year.

Another jangle band that never fails to impress and delight are The Vapour Trails. Their brand new EP Underneath Tomorrow is no exception. These guys hit all the 1960s marks but always throw in a host of original twists. Sure “Tommy’s Tune” sounds so Byrds but there’s a bit of CSN&Y there too. Title track “Underneath Tomorrow” has lovely jangle and great background vocals, with some inventive instrumental interludes. And there’s “That’ll Do It” with its killer Monkees-reminiscent, lead-line opener and addictive pumping organ drawing you in. Man, what hooks! But it’s not just the great retro feel of the album, the songwriting is up to the band’s reliably strong standards. Check out their turn in a more Beatles direction with “Autumn and Spring” or a British 1960s blues vibe on while “Strange.” The only real limit to the EP is that everything ends far too soon.

There’s something so beach dreamy about Stephen’s Shore, you can practically feel the sea breeze coming off the title track from their new EP Brisbane Radio. At just 12 minutes long the release is perhaps more like a maxi-single but, hey, I’d argue it’s a short time well spent. The lovely lilting lead jangle guitar carries us through “Up To No Good” and the mostly instrumental “Midvert.” Meanwhile “Skogen” sounds more like what we might expect from a new album. It’s a song with a bit more complexity and a melody that captures the darker vibe of late 1960s folk rock. Compared to the band’s earlier work, 2016’s crisp and hooky Ocean Blue, this new material sounds more organic and less in a hurry, though no less melodic and endearing.

Last up on our jangle-heavy feature, two singles that showcase the breadth of the genre. First, Will Courtney teams up with two members of the Ugly Beats, Joe Emery and Daniel Wilcox, to take on the Byrds’ classic “Here Without You.” The original is pretty hard to improve on so the boys wisely decide to take it in a slightly new direction, distorting its traditional jangle and countrying up the vocal delivery. The result is a refreshing, exciting reset to an old fave. By contrast, like Tom Petty and Greg Kihn before them, Boston’s Modern Day Idols demonstrate how jangle can be woven into the very core of modern poprock. MDI have a great song with “Not the Only One” from their recent self-titled album but the jangle lead guitar just adds that extra dimension of bliss. I’m liking their whole LP – it’s all eminently listenable – but this particular song just won’t vacate my short term memory.

In these dark times jangle is the musical light glinting from the far reaches of our ‘isolate in place’ tunnel. Click on the hyperlinks to hear more.

Saturday Club: The Poppermost, The Unswept, Cupid’s Carnival, and The Meatles!

13 Saturday Feb 2021

Posted by in Poprock Themepark

≈ Leave a comment

Tags

, , , ,

The Beatles’ first live appearance on BBC radio occurred on Brian Matthews’ Saturday Club January 26, 1963. Today we create our own version of the club, chock full of more recent Merseybeats from bands both far and near the Lime Street Station.

The Poppermost hail from Glasgow, Scotland and their releases are very 1963-64 era fab four fantastic. Ok, the ‘they’ here is actually just him, one guy, Joe Kane, but what a beautiful noise this guy manages to pull off playing and singing everything. The feel is the breezy pop perhaps a bit more associated with some of the songs The Beatles gave away in their early days, to groups like The Fourmost, Billy J. Kramer and the Dakotas, and Peter and Gordon. The band’s debut single “Can’t Take That Away” has a definite “Bad to Me” swing while its b-side is the Beatles brand of American R&B reinvention. The pop carries over on the just released EP A Piece of the Poppermost with “Laziest Fella in the Realm” and “In and Out” while “Get It Down” nails an “I’ll Follow the Sun” vibe. But the EP does rock out a bit with the opening cut “Well I Will,” in a very gear 1964 sort of way, of course.

The Unswept are originally from Sheffield but now reside in Chicago and their brand of Merseyfied poprock leans heavily on Harrisonian jangle. His distinctive Rickenbacker sound is all over the fun cover of Marshall Crenshaw’s “Cynical Girl” that appears on their brand new EP Power Pop for All the People. Well, sort of brand new – three of the four songs were previously available on their self-titled 2014 release. But hey, who doesn’t want to hear a jangly romp through The Rutles “I Must Be In Love” and Nick Lowe’s “So It Goes” again? I definitely do. And add to the mix another magical Liverpool contribution, the La’s “I Can’t Sleep,” and you’ve really got something special. The La’s don’t get covered much because, frankly, their songs are hard to do. But The Unswept ace the energy, vocal interplay, and dynamic guitar work the track demands. If this EP doesn’t send you packing to pick up a copy of their recent EP of original stuff, The Codependent, then it’s time to make a hearing appointment.

Ever since they hit the scene Cupid’s Carnival have reliably serviced the mid-period Beatlemaniacs. These guys really know how to throw out a slightly psychedelic, harmony-vocaled set of hooks. As we wait for a follow up album to 2020’s Colour Blind, the boys have got a fab new single “You’re So Cool” and it’s the injection of Mersey poprock you need right now. Our last featured act on this rogue episode of Saturday Club are The Meatles, from their Beat the Meatles release. Now, I thought it was just National Lampoon that went in for these sort of gags but apparently there’s a New Zealand Beatles cover band that has a predictably over-the-top lewd take on the idea. That’s not what we’re featuring here. What we’ve got is uber talented Gary Ritchie’s strictly classy 2000 tribute to the Fabs, twenty-two lovingly crafted note-perfect covers of the early to mid-period Beatles catalogue. Personally, I think Ritchie adds some distinctive elements to “Little Child,” “I’ll Cry Instead,” and “I’ll Get You.” But the whole record is a dance party booster. Get it on the turntable and then get it on!

Cupid’s Carnival – You’re So Cool

The Beatles are not coming back but their influence keeps returning in new releases, showing up in both predictable and innovative ways. Make sure to tune in to these acts at your local e-music retailer.

Cover me! Kirsty MacColl’s “They Don’t Know”

05 Friday Feb 2021

Posted by in Poprock Themepark

≈ 2 Comments

Tags

, , , , , , , , , , , ,

The guitar harmonics intro to Kirsty MacColl’s original version of “They Don’t Know” is just so perfect, conjuring both the Phil Spector and British girl singer traditions. But ultimately it’s the strength of the songwriting that makes this song a classic and eminently coverable. As one internet commentator quipped, the track is ‘bombproof.’ After listening to a couple dozen versions I’d have to agree.  Still, MacColl’s version remains definitive for me.

Kirsty MacColl

MacColl’s 1979 original was her recording debut and an immediate hit with British radio. But distribution problems with Stiff Records prevented the single from making the official charts. In fact, most fans would have to wait for MacColl’s 1995 album Galore to get their hands on it. In the interim comedian Tracey Ullman took the song to number 2 in the UK and number 8 in the US in 1983. Ullman cranked the sixties references in the tune to the max, turning it into an enjoyable bit of retro kitch. But as subsequent covers have made clear, “They Don’t Know” is not limited to a 1960s girl group register.

There are plenty of choices when it comes to covers of this song so my picks are obviously selective. Early covers by Gigolo Aunts and the Young Fresh Fellows are fine but not as pop rocky as I would prefer. Subterfuge’s 1988 low-key jangle-heavy version strips things back a little, letting the song’s bones show through. Leslie Carter’s 2001 take leans on the piano for the ornamentation and some strong girl group background vocals. The song’s popularity can also measured by the number of foreign language versions – of which there are many. Moneybrother’s 2006 Swedish version speeds up the tempo and gives the proceedings an aura of Springsteen at his most power pop. Belgians Nailpin sing in English but sharpen things up with a very poppy, slightly punk-infused version that bends the basic melody in interesting ways.

Leslie Carter
Moneybrother

More recently indie versions of “They Don’t Know” have been piling up as MacColl’s songwriting skills and performance have gained greater appreciation and prominence. Big indie names like Matthew Sweet and Susanna Hoffs added the song to Volume 3 of their Under the Covers series but, as far as duo versions go, I think I prefer Geoff Palmer and Lucy Ellis‘ version from their recent Your Face is Weird collaboration. Michael Carpenter gave the track a wonderful 1960s beat group treatment while Robyn Gibson lovingly recast the song as a great lost Peter and Gordon out-take on his critically acclaimed Volume One in his Bop of the Pops series.

Many artists have messed with the tempo and feel of the song, with both arresting and exciting results. Feather and Down slow things down with their spare, mostly acoustic performance, an effort that only amplifies the song’s aching melodic beauty. Lydia Loveless takes things in rebel country direction, Karen Basset goes garage rock, while both Boys Forever and So Cow work the DIY indie rock vibe in different ways. My most recent fave cover is from Men of the North Country with their great horns, trebly guitar and video with Kirsty hovering in the background.

Feather and Down
Lydia Loveless

Kirsty MacColl’s catalogue is full of great tunes, well worth exploring. But if she’d only written this one song she’d be in the karmic black for sure. More covers in the future are a certainty.

Skating party singles

01 Monday Feb 2021

Posted by in Poprock Themepark

≈ 1 Comment

Tags

, , , , , , , , , , , , ,

I do remember skating to the AM radio tunes of the 1970s. Even though we were just going round and round in circles there was something about the Steve Miller Band or Cars accompaniment that made it seem cool rather than just cold. So as temperatures continue to dip this winter it’s time to playlist a modern version of the skating party with only the coolest of new singles.

For a moment I thought Jim Basnight’s “Rebel Kind” was a cover of Dino, Desi and Billy’s 1960s hit but turns out it’s much more cool than that. The song was originally by the criminally under-appreciated Vancouver band The Modernettes. Basnight honours the tune with a Replacement’s indie vibe that really connects. This is just one of 21 highlights from his recent covers album, Jokers, Idols and Misfits (check out the fabulous “This Is Where I Belong” for another surefire winner). Ok, sometimes new singles are just new to me, like Kamino’s “Where Do You Want Me?” iTunes unreliably informed me it was a 2020 release but the song actually came out in 1999 on the band’s debut EP Donut. Frankly, it sounds so fresh and contemporary it could be brand new. The song has an analog feel to the instrumentation and a clever melodic dissonance the reminds me of Fountain of Wayne’s best work. Would love to see this group take up where they left off.  Weezer have a brand new album out (OK Human) and as with all their releases I can find at least one absolutely fab single-worthy cut. This time out it’s “Here Comes the Rain” with its dramatic piano hooks and earworm after effects. From the ‘who doesn’t need some low key jangle?’ file The Umbrella Puzzles have a nice little EP built around the striking guitar work on the single, “Slips Through the Cracks.” It’s an amble along little ditty with a surprisingly rich tone on the solo lead guitar that is something special. I’d have bought Gavin Bowles’ This Year’s Modern for the cover alone, he so aces mimicking This Year’s Model right down to the shady brown hue on the backdrop. The title track is an interesting vamp with some Steve Nieve organ and 1940s background vocals. For a very Costello vibe in sound and songwriting check out “Boy From an Unknown Planet” from the same record.

Kamino – Where Do You Want Me?
Weezer – Here Comes the Rain

I raved about The Feels “She’s Probably Not Thinking of Me” as the prototypically perfect poprock single, from the guitar hooks to the melody-echoing background vocals to the overall sound. So it won’t surprise readers that I’m loving the band’s recent new song, “Is Everything Alright?” It’s got a bit of Bleu or Adam Daniel about it and it’s making me itch for a whole album. Jenny are a straight up pop punk outfit that blast through “Rose City” at an enjoyable clip. They know what their audience wants and they deliver with just the right amount of guitar distortion and melodic undercurrent. Lucy and the Rats offer up an updated early 1960s girl group sound, elevating the rock and roll feel on “On Fire.” The guitar sound and plinky keyboards meld so wonderfully with the group vocals. I think the best descriptor for The Outta Sites is neo-1960s. The band has got the sixties chops but aren’t afraid to mix in stuff from other eras. You can hear it on the title track of their recent album Beautiful You, a delightful bouncy mid-sixties-style song combined with a fab late seventies syth lead line. The band’s skill here really reminds me of The Smithereens, particularly on tracks like “This Time.” Now for a departure, I’ve got some neo-folk/gospel with Thee Holy Brothers. The sound is very Bombadil in escaping the bounds of conventional folk, evident on “My Name is Sparkle,” and the album cover is so Brothers Four 1962. I’m not a god guy but I like what these guys are doing all over this record.

The Feels – Is Everything Alright?
Thee Holy Brothers – My Name is Sparkle

I got message from Monogroove to check out their catalogue and I’m glad I did. “The Looking Glass” combines a Beatles Abbey Road vibe with some unerring 1970s pop hooks. A winsome bit of airy melodic goodness. You don’t have to take a ferry across the Mersey to get caught up with the Wirral’s West Coast Music Club, I’ve got their new single right here. “Thinkin’” mines the rock face these guys excel at: jangly, slightly distorted, melodically dissonant tunes, this time with a hint of Crosby, Stills, and Nash on the vocals. I love The Veras not just because they’ve taken my dear grandmother’s name but because their song is on a kind of permanent repeat right now. “Paper Cup Telephone” has a main structure so familiar to listeners who lived through the glam-drenched 1970s but the build up to it is so interesting. Those heavenly background vocals! Such out of this world guitars! And that organ. More please. Our skate ends with something a bit more subdued from Michael Penn. Anything new from this guy is to be treasured since he abandoned us for scoring movies. “A Revival” obviously speaks to the present moment in American politics, with Penn reassuring listeners that change is gonna come. It’s a stark, subtle, yet reassuring testament, with his usual knack for the aching, low-ball hook that keeps coming back to you long after the song has faded out.

The zamboni’s waiting to get on the ice, the ushers are screaming for the kids to exit the rink, and songs continue to rattle around in our heads as we twist our skates off. Funny how music can make the most mundane things seem special.

Prescribing for pop pandemics

22 Friday Jan 2021

Posted by in Poprock Themepark

≈ Leave a comment

Tags

, , , , , , , , , ,

In all the fuss about our present pandemic it’s easy to forget the still lingering effects of past afflictions. For instance, there’s a untreatable malady that ravaged the world for a number of years in the early to mid-1960s that continues to gain new victims to this day. I’m talking about Beatlemania, of course. And while there is no cure, the condition can be managed with strong, regular doses of melodic rock and roll, preferably layered with dollops of jangly guitar and effervescent harmony vocals. Now my Ph.D. doesn’t normally allow me to prescribe in this area but – what the hell – I’m going to recommend the following artists and their music to help manage your condition.

It was finding Frankie Siragusa recent concept album, Goodbye My Love – a reworking of songs Lennon-McCartney gave away but as if the Beatles had intended to include them on Rubber Soul or Revolver – that got me on this Beatlemania jag. What Siragusa accomplishes on the record is pretty impressive, with a little help from indie all-star friends (like members of The Posies, Jellyfish, and others). In the end, the results are not unlike what Apple Jam has done over the years. Stand out tracks for me include the exquisitely McCartney-esque “Goodbye” and the lovely spare “I’ll Be On My Way” but for some reason the more early period-sounding “I’m In Love” is what I gotta feature here. The band here nails the early 1965 feel. The record is the product of creative music company Reimagine Music who just happen to have two other Beatles-themed records, one recreating Rubber Soul (Looking Through You) and the other Revolver (Tomorrow Never Knows). From the former I love Bombadil’s folky deconstruction of “Drive My Car” and Olin and the Moon’s “Run For Your Life.” From the latter Jake Mann and the Upper Hand add a slow grind hypnotic element to “Taxman.”

Frankie Siragusa – I’m In Love
Bombadil – Drive My Car
Olin and the Moon – Run for Your Life
Jake Mann and the Upper Hand – Taxman

I used to think ‘why bother’ trying to cover the Beatles. It’s not like you’re going to improve on what the world’s greatest band could do. But I think that was shaped by growing up in the 1970s. Frankly, I just didn’t prefer what those cover artist were doing (MOR Beatles? Yuck!). But into the 1980s people starting taking Beatles covers in directions I could dig. Sometimes it’s just the subtle changes in harmonies that you can hear on Mike Carpenter and The Album Show’s take on “Baby’s in Black” or The Beat-less strongly Spanish-accented “From Me to You.” By contrast, Richard Snow Hattersley just pushes all the constituent elements of “Another Girl” just a little bit further, a bit more twang, a bit more rootsy feel. And then there’s the occasionally brilliant repositioning of a Beatles classic in a new register, like Caspar Babypants’ more upbeat “Mother Nature’s Son.” No more summer field acoustic guitar noodling for this happy go lucky boy. Similarly Timmy Sean adds a bit Beach Boys piano and vocal oomph to “You’re Going to Lose That Girl.” Or there’s Robyn Gibson’s Byrdsian folk rock version of “There’s a Place.” Once you hear it, it’s like ‘ya, that works!’

The Beat-less – From Me to You
Caspar Babypants – Mother Nature’s Son

The best dose for a spot of Beatlemania is, of course, something from the Fab Four themselves. Let’s assail your symptoms with the Beatles covering themselves, sort of, with this great Live at the BBC recording of “I’ll Be On My Way.” I was a sucker for this version when I first heard it on Beatles bootleg I picked up somewhere in the 1980s.

The Beatles – I’ll Be On My Way

In these troubled times it’s great to rely on some tried and true melodic remedies. Now initial reactions to this treatment might be fevered excitement but you can relax as that usually gives way to a measured contentment in short order.

Poprock Records’ 25 must-have LPs for 2020

18 Monday Jan 2021

Posted by in Poprock Themepark

≈ 2 Comments

Tags

, , , , , , , , , , , , , , , , , , , , , , , ,

I know, you’re too busy to scour the racks for great singles. If only you could find some great albums to kick back with? Something to slip on the old record player and enjoy with a cool drink. Well here at Poprock Record we feel your pain. So we’ve assembled the crack team you see above to vet the very best LPs from throughout the year that was 2020. The kids may be a tad young for martinis but do not doubt their vinyl erudition and exquisite taste. From more than a hundred possibilities they’ve whittled things down to an essential 25 albums that you must possess to say you’ve really experienced the past twelve months of melodic music. Fill your K-Tel Record Selector with these super fantastic long players!

So, let’s get to it – Poprock Record’s 25 must-have LPs for 2020:

1. Gregory Pepper and His Problems I Know Why You Cry
2. The Happy Fits What Could Be Better
3. Nite Sobs Do the Sob!
4. Mo Troper Natural Beauty
5. Mom Pleasure Island
6. The Rockyts Come On and Dance
7. Peggy Sue Vices
8. Chris Church Backwards Compatible
9. Richard Turgeon Sea Change
10. Juniper Juniper
11. Dave Kuchler It’s Pronounced …
12. The Vapour Trails Golden Sunshine
13. El Goodo Zombie
14. Geoff Palmer and Lucy Ellis Your Face is Weird
15. Vanilla Limerance
16. Bad Moves Untenable
17. Blitzen Trapper Holy Smokes Future Jokes
18. The August Teens I’m Selfish and So Is My Cat
19. Jim Shorts Late to the Feast
20. John Dunbar Oh Wellness
21. Gary Ritchie Head on a Swivel
22. Ed Ryan Even Time
23. The Yum Yums For Those About to Pop!
24. Nick Pipitone Thiensville
25. The Speedways Radio Days

Gregory Pepper dominated my listening for 2020 with his outrageously good I Know Why You Cry. The album was his own specially curated re-recordings of tracks originally composed during his year long Song-of-the-Week extravaganza. There’s whimsy, there’s pathos, there’s references to Enya. It’s the kind of poprock that makes my heart burst, a never-fail mood improver. Coming up second this year was the kick-ass second album from The Happy Fits, What Could Be Better. Other than Pepper, I’m hard pressed to suggest anything. This whole album is a killer production that puts the cello at the centre of melodic rock and roll (where it belongs). Here are songs and performances that inspire descriptions like ‘thrilling’ and ‘exciting’. And then there’s the extreme hooky pleasantness of Nite Sobs throughout Do The Sob! An impressive head-bopping good time. And so on. All the records here really pay dividends via repeated listens so carve out some time to enjoy them. The great lost art of an album-long musical vision lives on with these 25 selections.

Next up, Poprock Record’s top five EPs for 2020:

1. Gregory Pepper Under a Heather Moon
2. David Woodard Grand Scheme of Things
3. Danny McDonald Modern Architecture
4. Brad Marino False Alarm
5. Aaron Lee Tasjan Found Songs Vol. 1

What?! Another Pepper selection topping the chart. Fear not dear reader, our completely unscientific selection process has not erred here. Hey, I just really like Pepper’s stuff. And he is crazy talented, as is obvious from this stylistically varied and pumped up collection of song snippets, 10 in all amounting to just 15 minutes of music. But what a ride. I mean, just check out the brilliant 17 second track, “Do Sports.” I want more! These other EPs are pretty special too and fabulous for those times when you can barely sit down and squeeze in a quick sherry.

And let’s not forget, Poprock Record’s best compilations for 2020:

1. Garden of Earthly Delights: An XTC Celebration
2. Wild Honey Records: The Benefit of Things to Come
3. John Wicks: For the Record

2020 tried our patience but, glass half full, it did provide a bit of downtime. That allowed for a lot more album listening than normal and what a treat that turned out to be. And given the impact of 2020 on live music, artists need albums sales more than ever. So let the rewards flow freely from your e-wallet to theirs.

Time capsule take 5: Tim Burgess, Dirty Girls, Valley Lodge, The Squirrels, and the Rosquettes

13 Wednesday Jan 2021

Posted by in Poprock Themepark

≈ Leave a comment

Tags

, , , ,

I mostly write about new music but all the time I’m discovering great tunes I somehow missed when they first came out. Some were successful on release but many missed connecting with an audience. So let’s take five and crack open the time capsule to give these tunes another shot at stardom.

Charlatans frontman Tim Burgess has had his share of success and even put out a fab new solo album just this past year. But today we’re reaching back to 2003 for his first solo album I Believe to spin “Oh My Corazon,” a delightful bit of jaunty poprock. Reminds me a little of Brendon Benson in its overall pop texture and textbook hooks.

Tim Burgess – Oh My Corazon

Described as ‘garage rock hedonists’ by some, I hear a smoother sound from Columbus, Ohio band Dirty Girls, at least listening to their ‘free to download’ 2011 EP Yoko No No. This is perhaps a more rudimentary version of Guster-style melodic rock and roll with a bit of Sugar Ray thrown in. The whole EP is great but right now I’m digging “Overblown” with its low-key jangle and dynamic vocal punch.

New York City’s Valley Lodge have been particularly successful getting their tunes on TV shows and it’s easy to hear why. Their songs have an immediately embraceable quality, a sonic sharpness in the mix of vocals and guitar hooks. But check out the classic sound on “Hey” from their 2005 self-titled debut. This one screams maximum rotation hit single to me, so ear-worm right out of the gate.

Tracking down info on The Squirrels single “Hey You” is not easy. This band is not the legendary Seattle group but they might be connected to screenwriter/filmmaker/actor Victor Colicchio’s 1970s punk group The Dead Squirrels. In any event, I love the song’s strong retro vibe, DIY feel and Merseybeat structure. iTunes clocks the song as 2013 but I suspect that is just a re-release date for a much older song, like 1977-78-ish.

The Squirrels – Hey You

The Rosquettes hail from Seville, Spain and they’ve got a great 1960s rock and roll sound that vibes all the great acts – the Kinks, the Beatles, a bit of the Monkees, Love – you get the picture. So far I’ve found thee EPs and an album on Bandcamp, with three available for nada dinero. All the albums have great artwork, equal parts pop art and spaghetti western. And the guitar hooks – they are just outta sight on tracks like “Branches” and “Shaker Pack” (both from We Could Have Been Bigger Than …) and Mr. Farmer (from First Covers). I was tempted to feature “Hard to be Sam Bell” from the most recent release Edible Incredible! but in the end I was hypnotized by the more gritty “A House is Not a Motel.” For melodic rocking out in a most 1960s way, check these guys out.

Time is an illusion, all our yesterdays are today, and yesteryear’s singles could be hits today. Why not take a moment to appreciate these time capsule treats in the here and now. You’ll be glad you did.

2021’s gonna be perfect

01 Friday Jan 2021

Posted by in Poprock Themepark

≈ 6 Comments

Tags

, , , , , , , , , , ,

Why not be positive? After the year we’ve been through 2021 can’t help but be an improvement. I know, I know, pandemic habits die hard. Bad news on the doorstep, again. So to help steel your resolve for positivity, here’s a slew of songs on the perfection theme.

Parthenon Huxley (aka P. Hux) has the perfect sound to kick off this themed post with the addictive guitar hooks and Eels-meets-ELO smooth vocals on his song “Perfect.” He even has another tune that would fit in here called “Perfection” – but let’s not overdo it. Irrelevant aside: I just discovered that Hux produced Eels front man Mark Everett’s first two solo albums and A Man Called E is about as perfect as a debut can be. Bombadil change up the pace and style of what we’re doing here with their song “Perfect,” a lilting folkie track with a lot of uplift, from their 2017 album Fences. “Perfecto” is another 2017 release, this time from big guitar guy Chris Church’s long player Limitations of the Source Tape. For Church this offering is actually a bit low key (well, until the end) but has a lovely Matthew Sweet vibe with vocals that remind me of recent work by that inventive iconoclast Brad Peterson. I don’t know a lot a about Louisville, Kentucky’s The Pine Club, other than that they have three albums of fab material dating from the beginning of the new century. From their self-titled LP we showcase “Oh, Perfect!” Nice horns and background vocals on this one.

P. Hux – Perfect

Our next batch of performers move from vague ruminations about the perfect to more bold and weeping claims, singing about a perfect world of some sort or other. Mike Viola has some serious songwriting magic going on all over his many releases and “El Mundo de Perfecto” from his 2011 album Electro De Perfecto exemplifies these considerable skills. The song is so quintessentially Viola while also seeming to draw from acts like Crowded House stylistically. Fastball was one of those bands I only discovered deep into their career, on 2017’s Step Into Light specifically. That meant I had so many delightful surprises waiting for me dipping into their back catalogue. “Perfect World” is from 2004’s Keep Your Wig On and it really is a perfect manifestation of their new millennium Beatles/Tom Petty-inspired sound. From Dwight Twilley’s ironically titled The Luck album came a bona-fide should-be hit single in “Perfect World.” I still can’t believe this track didn’t race up the charts when it finally got a single release in 1998. Now, in the interests of journalistic balance I must include Ball Park Music’s “The Perfect World Does Not Exist.”  I mean, they’re right, of course. And they say it with such a quirky You Won’t almost folkie charm.

Mike Viola – El Mundo de Perfecto
Fastball – Perfect World
Dwight Twilley – Perfect World
Ball Park Music – The Perfect World Does Not Exist

Well, if a perfect world is beyond our grasp what about more accomplishable goals? Gary Ritchie would settle for a “Perfect Girl” on this Buddy Holly-esque workout. However, despite a delightful 2 minute and 41 second exploration of the issue, even Gary has to admit by the coda that it’s probably not gonna happen. In the late 1980s American janglers The Springfields (no relation to Dusty’s 1960s outfit) just wanted “This Perfect Day.” Well, if I were spinning this song and the rest of the collection it comes from, the 2019 retrospective of the band’s career Singles 1986-1991, I’d say ‘mission accomplished’! Perhaps we’d be wise to scope things down even further. Mo Troper has the right idea with his just released, wonderfully hooky “The Perfect Song.” I mean, I thought he already wrote the perfect song with that single from his 2020 album Natural Beauty, “Your Boy.” But more on that when I get to 2020’s best of lists …

Perfection is really just that space you’ve created, shaped, and defined where you can find some joy. For me that’s often finding, enjoying and sharing all this great music. So here’s to a perfect year, whatever that may amount to for you.

In hindsight: Bye Bye Blackbirds, The Click Beetles, Ed Wotil, Yum Yums, and more!

29 Tuesday Dec 2020

Posted by in Poprock Themepark

≈ 2 Comments

Tags

, , , , ,

How did I miss these acts? Well, if truth be told, I didn’t miss them actually. Perhaps ‘misplaced’ would be a more accurate description of what happened here. All these great albums hit the review pile with a thumbs up sticker but somehow got filed under ‘I-don’t-know-how-to-file-things’. Gotta come up with a new filing system. In any event, in hindsight I can see they should have gone straight to the ‘review now’ pile. Well, here they are!

The Bye Bye Blackbirds don’t disappoint with their recent Boxer at Rest release. The familiar chiming mid-1960s Beatles demeanor is back and the songwriting is as solid as ever. Personally, I hear a lot of Revolver on “You Were All Light” and “If It Gets Light” while “Baby It’s Still You” adds some Tom Petty to the mix. “Watch Them Chime” jangles, of course, in a southern California country rock sort of way. I love the slow swagger on “So True” and shuffle swing driving “War is Still Hell.” This is band that really owns its groove. However, I almost mistook “All Our Friends” for a Jeff Shelton song and performance. In my book, that’s pretty high praise.

On Pop Fossil The Click Beetles channel the fun poprock sound of the early 1980s where so many bands took a crack at reinventing the swinging sixties sound. Case in point, “To Rule the World.” It’s got reverby guitar, otherworldly vocals and a Squeeze-like farfisa organ solo. “Don’t You Call My Name” kicks off with a driving chord cycle, fueled by some serious jangle. “Alone” has that Long Tall Sally rockin’ out Beatles sound while “Hey Renee” works a 1965 lead guitar riff to good effect. “Rosanne” surprises listeners by combining 1960s guitar with a Gary Numan syth backdrop – but it works. Yet the should-be hit single to my ears is “Dreamland” with its hooky John Waite instrumental roll out and understated vocals. Or the Motown-infused album opener, “If Not Now Then When,” is also a pretty strong single contender.

There’s a lovely Marshall Crenshaw feel to Ed Wotil’s latest album, One in My Tree. Crenshaw was always able to combine strong feelings with hooks in a believable way, no matter how many love songs he wrote. It’s there on Wotil’s “When We Fall in Love,” a great song with classic Crenshaw-esque twists and turns and highly melodic guitar breaks. Or, for a more recent reference, “The Lie” has the country soul quality of Aaron Lee Tasjan’s recent work. “If the Sun Forgets to Shine” is just the kind of pop soul Nick Lowe’s been covering lately. The album leans on acoustic guitar on a host tracks, vibing a bit of Lennon on “Migrator” or Boo Hewdine on “Crying in your Sleep” and “Living in Between the Lines.” There’s great range on this record, from the lovely low-key emotional scene-sketches like “Do or Die” or the subtle single-ish “Make Me.”

Brandi Ediss (rhymes with ‘lettuce’) offers up highly listenable, mostly soft acoustic pop songs on her debut album Bees and Bees and Bees. But I do enjoy when she breaks out the band. The title track is an alluring, hypnotic ear worm that immediately calls to mind Juliana Hatfield and Liz Phair, with a solo guitar break that is so 1965 George Harrison. Ediss clearly has an ear for sonic detail. There’s the little banjo flourishes working at the edges of the main piano riff on “Count to Three” or the Amélie concertina solo half way through “Robot Heart.” Sometimes she just delivers a gorgeous hooky pop song, like “I Didn’t Try” or “Stupid Boyfriend.” She even makes flooring musical, winningly so on “Linoleum.”

Climb on board the Melenas rock and roll train and feel their relentless rhythm guitar attack, the mysterious keyboard interjections, the distinctive ghostly vocals. Once aboard, there’s no going back. This Pamploma, Spain quartet manage to sound familiar and original at the same time. The chugging rhythm section anchors “No Peudo Pensar” but it’s the lyrical bass playing and flashes of keyboard that gives the song intensity and staying power. “Los Alemanes” opens with a spooky guitar and keyboard combo but quickly suborns it to the overriding Melenas groove. I love the rollicking feel of the guitar work that defines “Ciencia Ficción” as a kind of upbeat shoegaze number. Or there’s the mesmerizing rhythm guitar work carrying “Ya no es Verano,” with its hypnotic interplay between vocals, guitar and keyboards. I don’t understand a Spanish word of the songs but I’m loving’em just the same.

On For Those About to Pop! the Yum Yums offer up a bit of glam, a lot of Ramones, and more than a dollop of early 1970s bubblegum, packaged with some pretty sweet California-beach background vocals. The title track or “Baby Baby” or “Bubblegum Baby” or “Can’t Get Enough of Your Lovin’” all really capture the sound. Some tracks say hit single a little bit more, like “She’s Got Everything” with its clever, layered arrangement, or “Crush On You” with its early Cars-like combo of chunky guitar and keyboard shots. I’m also partial to the 1970s fifties remake going on with “First Move” or the magnetic lead line and ample hooks pushing “The Kind of Girl.”

Late love is better than no love, right? You can dig these late additions to the hit pile by clicking the hyperlinked band names above.

Banner photo: Larry Gordon

The single file II

27 Sunday Dec 2020

Posted by in Poprock Themepark

≈ 2 Comments

Tags

, , , , , , , , ,

Holidays come and go and but singles don’t review themselves. That’s why I’m back here hard at work to clear a backlog of delicious three-or-so minute melodic treats. This is a fun, curious collection of tunes: a bit punky, all poppy, some serious, others mocking. In other words, something for everyone!

Written at the end of the summer, “There Goes the Sun” captures the wistful joy of those sun-filled days, one we’re definitely missing around here right now. Even though Vista Blue admit ‘we don’t live in a Beach Boys song’ they’re taking what sun they can get. The song brims with the band’s usual punky poprock vitality, with just a dollop of lush beach-strip background vocals. With Boston retro new wave outfit Muck and the Mires its a cheeky rave-up on “She Blocked My Number.” In my head, I can hear a killer Knack rendition of this ditty but that’s not saying this original doesn’t cut it. These guys are party rock and roll plus, a feeling that courses through this track. Taking things in a more serious direction, we have Sean Lund (of the fab Lund Brothers) going solo with “The Harder They Fall.” This is not a Jimmy Cliff cover. Instead Lund offers up a subtle poppy groove that is very Beatles’ White Album in tone, with an equally subdued but nevertheless effective political commentary. Cleveland’s Bill March has done his time in the trenches, a stalwart of his local music scene as band member and sideman to many projects. But lately he’s stepped out the shadows with some dynamite singles and extended play releases. 2018’s Songs from the Lifetime had a killer single in “I Need a Night” and his recent Home Remedies has the AM radio-friendly “Don’t Turn Away.” If that ringing 12 string electric sounds familiar, it should – it’s Billy Sullivan’s distinctive playing. Cheap Star have a slick gleam of power pop coating all over “Flower Girl.” Maybe that’s a predictable outcome when you’ve got member of Fountains of Wayne and The Posies playing with you. But, in the end, “Flower Girl” really works because its got the hooks.

Bill March – Don’t Turn Away

Jeff Gammill is having a busy year, despite COVID. His band Nite Sobs is heading for a host of year-end ‘best of’ lists for their fantastic debut Do the Sob! and people (like me) are still discovering the plenty-pleasing back catalogue for his old band, The Capitalist Kids. Now he’s got a solo thing going as ‘Jittery’ Jeff Gammill with the sprightly, punkish single “Good News (I’m Over You)” and it’s a winner. Just another delightful side to this talented guy. Portland’s Corvair mine what sounds like a new wave Moody Blues synthesis to me on “Sunday Runner,” a teaser single from their soon-to-be released debut. The organ on this song is so 1967 but the vocals are pure 1980. This husband and wife team are veterans of many indie bands, including Eux Autres, which bodes well for the rest of the album. Located in West Kirby at the northwestern tip of Merseyside’s Wirral peninsula, West Coast Music Club take their name from their geography. But they might as well be somewhere in California in 1966 because they’ve got the jangle guitar vibe down. “The Long Goodbye” is a reverb-drenched, guitar-heavy end-of-year bonus track from a band that already put out an album and EP this year. Very Vapor Trails on this song but the band offer a broader range of 1960s-inspired material on their longer players. Toronto’s Talk Show are cruising some nice punk pop on “This Monologue” when suddenly the chorus breaks out a serious ear-worm-worthy set of hooks. Can’t wait to hear the rest of what they’ve been up to when the whole album drops next February. To end things on this rifle-through-the-singles-bin post, Space Cadet’s “Forever for a While” is mad blast of rushing guitars and somewhat spacey, compressed vocals. It’s like Britpop meets an earlier generation of guitar poprock a la Simple Minds or INXS and the synthesis is very, very good.

As a product of the last gasp of 1970s AM radio dominance, I’ll always be a singles guy. Or maybe I’m just too distract-able for albums. Whatever. Needle-drop your way through these ten tunes and find yourself a year end fave, before it’s too late.