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Aaron Lee Tasjan, Arthur Alexander, Astral Drive, Ben Talmi, Bill Lloyd, Billy & Dolly, Bird Streets, Brad Peterson, Caddy, Cape Cartel, Car City, Cupid's Carnival, Daisy House, Daniel Romano, Danny Wilkerson, David James Situation, Dot Dash, Even, Extra Arms, Freedom Fry, Gentle Hen, Glen Robinson, Greg Pope, Henry Chadwick, Hurry, J. Eastman and the Drunk Uncles, Jeremy Messersmith, Jim Shorts, Michael Simmons, Michael Slawter, Modern Space, Nick Piunti, Oberon Rose, Richard Turgeon, Rob Bonfiglio, Ruler, Sofa City Sweetheart, Starbelly, Summer Magic, Super 8, The Connection, The Essex Green, The Maureens, The Spindles, The Tearaways, The Wellgreen, Vegas with Randolph, William Duke, Wiretree, Wyatt Blair
2018 was a freakin’ fantastic year for poprock! How do I know? Every year-end I put together a playlist of tunes released that year. In 2016 it consisted of 58 songs clocking in at just over 3 hours. By 2017 that list expanded to 98 songs running over 5 hours. This year the list exploded to 175 songs going on for over 9 hours! My list of should-be hit singles had to expand to a top 50 just to accommodate all this talent. Hit the links below to find each artist as featured in my original blog post this past year or to go to their bandcamp or Facebook page if I didn’t write them up.
So, without further ado, here is Poprock Record’s should-be hit singles for 2018:
- Daisy House “Open Your Eyes”
- Oberon Rose “No Stranger”
- Ruler “Unhindered Pace”
- William Duke “Carole and the Silver Screen”
- Aaron Lee Tasjan “End of the Day”
- Car City “(Don’t) Give Up On Love”
- Greg Pope “Forget About You”
- Modern Space “Flip for It”
- Summer Magic “Attraction Corridors”
- Bill Lloyd “Satellite”
- Arthur Alexander “I’ll Get Your Love Someday”
- The Spindles “I Want My Baby Back”
- Starbelly “Lay Low”
- The Essex Green “Sloane Ranger”
- Michael Simmons “No More Girls”
- Astral Drive “Summer of ‘76”
- Caddy “Miracle Turn”
- Danny Wilkerson “How She Lost Heart”
- Bird Streets “Betting on the Sun”
- David James Situation “I Should Know”
- Ben Talmi “Chances”
- Nick Piunti “No Return”
- Michael Slawter “Summer’s Kind”
- Henry Chadwick “I Can Stick Around”
- Cupid’s Carnival “She Don’t Care”
- Super 8 “Your Love is my Blanket”
- Jeremy Messersmith “Monday, You’re Not So Bad”
- Freedom Fry “Past Lives”
- Cape Cartel “More”
- Gentle Hen “She’s Got It”
- Daniel Romano “Anyone’s Arms”
- Hurry “Waiting for You”
- J. Eastman and the Drunk Uncles “No Political Agenda”
- The Connection “The Girl is Trouble”
- Even “Out of the Woods”
- The Tearaways “I Could Love You Forever”
- Richard Turgeon “Look Away”
- Dot Dash “Unfair Weather”
- Brad Peterson “Whispering”
- Rob Bonfiglio “Passenger Seat”
- The Maureens “20 years for the Company”
- Extra Arms “Why I Run”
- Wiretree “Rainy Corner”
- Jim Shorts “James Tailored”
- Vegas with Randolph “Women in Airports”
- Billy & Dolly “Everything is Off”
- The Wellgreen “Take What You Get”
- Glen Robinson “Get You Down”
- Sofa City Sweetheart “Stop the Thinking”
- Wyatt Blair “Gotta Get Away”
For the second year running Daisy House tops my list of should-be hit singles. I have simply run out of superlatives to describe the musical genius of this band. Great songwriting, a killer 1960s vibe, flawless production and performance – it just doesn’t get any better than this. Do yourself a favour and head over to Bandcamp to download their whole catalogue. Oberon Rose came a close second with what must be one of the coolest singles rolled out this year. Ruler ruled my playlist for a good part of 2018, with “Unhindered Place” just one of the great songs on his album. I love the way William Duke’s guitar sounds like a jangle waterfall on his hooky masterpiece “Carole and Silver Screen.” And Aaron Lee Tasjan is a real find – so many possible selections – but more on that with my upcoming ‘20 must-have LPs for 2018’ post. I could go on … (but click on the links to get the full story).
I hope you enjoy these fifty songs enough to click on over to some of the artists’ web real estate and help them along career-wise. 2019 promises to be another hungry year for many of these mostly struggling artists – so do your part: buy their music and go see them live when they come to your town.
New Jersey’s The Skullers have a great new single, a cover of a 1977 Richard Hell b-side called “I’m Your Man.” Their take marries a 1970s new wave sensibility with a more recent and fresh sound not unlike the UK’s Vaccines. But the new single is not why we’re focusing on the Skullers here. I have to draw your attention back to their killer 2017 single, “Can We Do That Again.” Described by some writers as neo-rockabilly and bop, I think the sound is pretty timeless. From the hooky lead line opener to the swing in the chorus, the vocals and guitar gel in a way that could put this song in any number eras, including this one.
How did I miss these guys the first time around? The five albums by Camden UK’s Silver Sun are a treasure trove of hook-laden, should-be hits. Indie rock critics have rightly lavished praise on their first two major label releases but I’m fond of this deep cut from their independently released third album, 2005’s Disappear Here. “Jody” sounds like it’s blasting right out of the most poprock moments of the 1980s, complete with obligatory horn section. The sustained chugging guitars are wrapped in an infectious multi-layered vocal arrangement, laid over a swinging beat and hooky melody. The song is all the more impressive because it is work of just one member of the original band, songwriter/lead singer James Broad (though the rest of the band did come back together to tour with the album). Though their last album surfaced in 2013 (A Lick and a Promise)Silver Sun are still putting out the occasional tune via James Broad’s Soundcloud 
Got the heads up on Daisy from Don over at 
I don’t think I’ve been this excited about a band since I overheard The Shins in some small town bookstore in 2005. This specific song is so hooky perfect it hurts. From the elegant arrangement of the instrumentation to the low key sweetness of the vocals, everything just comes together to create a hook that won’t quit. Just try to hit pause after hearing the line “I don’t know how local you are …” The magnetic pull of this tune is subtle but strong. It was pretty much hit play, hit repeat for me for a couple of days.
I know what you’re thinking. Just what kind of name is Funderburk anyway? I was thinking that too as I absent-mindedly hit play on “Love Will Lead the Way.” And then I didn’t care because this single’s magnetic quality completely drew me in. The chimey guitar made the sparse hair on my forearms stand on end. Then the drum kicked in, setting the scene for a John Waite “Missing You” kind of hypnotic tempo. What followed was a marvelous piece of hit-single-worthy songcraft. “Love Will Lead the Way” has a beautifully restrained musical arrangement, vocals and performance that delivers its melodic punch all the more effectively for it. The later Fountains of Wayne effervescent harmonies were just the icing on the cake. As the song faded out I knew I’d be hitting replay more than a few times.
“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.
My friend at 
“When I Learned Your Name” is the second teaser single from Romano’s soon-to-be released new album, Modern Pressure, and it represents a serious change-up from his previous solo releases – sort of. 2016’s Mosey certainly laid the groundwork for this new direction, steering away from country to a more decidedly poprock sound with tracks like “Valerie Leon” and “Maybe Remember Me.” But taking his musical output as a whole, Romano is a musical chameleon, channeling 1960s traditional country on most of his solo records while covering edgier material on a number of side projects. In terms of his broader artistic vision, he reminds me of the super talented Gregory Pepper, who also combines great songwriting and performance, witty but incisive social commentary, and pretty stunning visual arts chops.
Everything about this song says monster hit: the hooky lead line opening, the understated build up to the chorus, and then the amazing melodic payoff. Fire Town exude a western poprock sound that was all over the mid to late 1980s with bands like Rank and File, the Bodeans, True West, Blue Rodeo and the recently featured Soul Engines. Their material has just a hint of country influence, particularly in the vocals, usually set against a trebly lead guitar that all comes together in a solid hook-laden chorus. Fire Town had two albums in the late 1980s and handful of strong singles, like “Carry the Torch” and “Heart Country” from their their 1987 debut In the Heart of the Heart Country. But “She Reminds Me of You” from their 1989 record The Good Life suggested a band really just taking off. Then they broke up. Some of the band members reformed their old group, Spooner, which also has some great material, before going on to form the fabulously successful band, Garbage.She Reminds Me Of You
A bit of the beach is just what we need in January and LA’s Blonde Company have that magic, blissed out, buzzed on sound down pat. “Slow Days Fast Company” from their 2012 EP Slow Daze kicks off with a trippy lead guitar line that lopes throughout the song, conjuring up great weather and top down cruising by the water. The band have a series of EPs of great material, including tracks like “Silver Jesus,” “High Times,” “Blazed,” and their latest single, “Sha La La.” But there is something about the feel of this single, with its hint of Sugar Ray’s confident tempo, that says this should have been a monster radio hit. Keep up with Blonde Company’s latest grooves 