Fans of Bruce Springsteen, John Cougar Mellencamp and Tom Petty at their hookiest are gonna love the Cerny Brothers’ “American Whore” from their late 2018 release, Looking for the Good Land. Like their inspirational sources, the brothers head a crack band and there’s some pretty amazing playing all over the album, particularly on the boogie piano-heavy “Laugh at the Devil” and the beautiful, moving “Million Miles,” with its light harmonica and banjo touches. But “American Whore” is clearly the centre-piece of the album, with AOR hit single written all over it. Curiously, though the band has nailed the sound and songwriting style of Springsteen and Mellencamp, the song’s message is decidedly different. Internet entertainment magazine PopDust quoted Robert Cerny describing the song as “… born out of frustration. So many people rally against capitalism and consumerism, yet don’t always admit we’re all a part of it. The system is a product of us, for better or worse – not the other way around.” In my trade (social science), this is what we call a logical fallacy. The fact that people work within a system of rules doesn’t mean they are the authors of it. But no matter. You don’t have agree with an artist to enjoy or even learn something from their art. “American Whore” is a great song that bodes well for future releases from the brothers Cerny.
Check out the Cerny Brothers’ website for deets about tours and new releases.
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.
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
