Phil Keaggy has an impressive story. Got his start professionally as the sixties turned into the seventies with his band Glass Harp and a record deal with Decca. But he turned away from the drug-fuelled rock and roll lifestyle to embrace his faith, pretty much full time. That’s usually the end of the story, at least in terms of being a successful musician. But 50 albums later, Keaggy is a world renowned session musician, fan-favourite finger-style guitarist, and Grammy-winning gospel artist! His recorded output runs a gamut of styles, both vocal and instrumental. Today I want to highlight just one song from one album that I think is pretty exceptional: “I Always Do” from his 1988 release Phil Keaggy and Sunday’s Child. Now I can’t say I’ve given his all of 50 records close attention but I’m pretty confident that this track is a bit of an outlier. The whole album is pretty great but from it’s mellow opening, particularly on the vocals, “I Always Do” screams great lost Crowded House hit, and as the tune picks up steam the Neil Finn-isms are unmistakable. This single should have been Keaggy’s breakout crossover into mainstream chart success. In my alternative poprock radio empire, this baby is stuck on repeat.
I Always Do
Keaggy has a huge catalogue to explore. Get connected with him via his Facebook page.
I love these rock and roll stories from the trenches. The Late Show forms in 1972, gets serious as a band from 1975 to 1979, puts out its first album, Portable Pop, in 1980, eventually getting critical love from Goldmine magazine and some power pop ‘best of’ lists. But they don’t storm up the charts. Then comes the unreleased second and third albums, the lure of various major label deals that don’t materialize, and then, nothing. The backstory on their bandcamp page reads like a movie script for just about every supremely talented band that didn’t make it. But there is a happy ending of sorts, at least for the fans. In 2018 the band has miraculously reappeared toting an album, frankly IMHO, even better than their debut: Sha Sha La. The record is brimming with should-be hits that showcase the band’s super 1960s-meets-1980s indie chops. So many highlights: “To Let It Go,” “Sha Sha La (Wake Me When You’re Done),” “Tears” (with that great rumbly lead guitar), and “Always,” to name just a few. But the song that sounds like a single to me is the exquisite “Hello Linda.” Love the build, the distinctive chiming guitar at the 24 second mark, and the slashing rhythm guitar work. Check it out and click through the rest of the album too. It’s long player joy all the way through.
The UK’s Ordinary Boys were a big success with three hit albums before their first break up in 2008. But I’m most partial to their 2015 reunion record, the self-titled The Ordinary Boys. To my ears, it’s a bit more pop-rocky in the best tradition of The Jam or more recently The Rifles. Case in point: “Disposable Anthem.” Full of chiming guitars and sweeping melody lines, the song speeds along fueled by nonstop hooks. It has that killer shimmering pop sound I also associate with The Mighty Lemon Drops. Other highlights from the album for me include “About Tonight” and “Putting my Heart on the Line” but you can’t beat “Disposable Anthem,” the definite should-have-been single.
Let the summer begin! From the glorious keyboard roll out that kicks off this song, you know you are in a time-warp sunshine groove, with girls in satin shorts on roller skates and hair feathered to within an inch of its life. Channeling equal parts Todd Rundgren’s Utopia and Philly soul, with a dollop of Hall and Oates at their most melodious, “Summer of ‘76” is poprock perfection. Click on the lyric video below and I guarantee your summer playlist will have a new add, it’s a single of epic earworm proportions. The song is taken from the self-titled debut album of Astral Drive, a project that is largely the work of Phil Thornalley, a producer, performer, and songwriter with a staggering musical resume. He’s worked with some pretty talented people and it’s clearly rubbed off, if this single is anything to go by. I really can’t wait to hear the whole album. Really.
Now that it looks like spring has finally sprung it’s time to fill the playlist with some swinging, vocal swirling, feel good music. Cape Cartel deserve a strong ‘add’ to your rotation with their delightfully sunny “More.” Just hit play below and tell me, honestly, isn’t everything just a little bit brighter? With guitar lead lines dripping like a sonic waterfall, and intricately layered vocals that rival the best of the Moody Blues, this little gem is the stand out track on the band’s recently released debut album. Oh, there are other highlights on Close Talker. The record effortlessly ranges across multiple styles: a bit of jazz and folk, a dose of blistering rock, even some Jack Jones Hawaiian vibes, and throughout there are wonderful vocal arrangements. For instance, I’m also keen on “No One to Bear,” “The Great Indoors,” and “Feeling Cursed.” But get started with “More” – it’s the solid single.
What I love about this single is its simplicity. It starts with a classic rock and roll motif, heard a gazillion times, nicely light on delivery with what sounds like an acoustic guitar. But then it slowly builds out with a half dozen subtle embellishments here and there. Like the beachy background vocals or Chuck Berry lead line breakout at the 1:53 mark. The main vocal itself is nicely subdued, delivered like a secret shared in bed. The song was featured in the 2007 movie Wedding Daze and Macdonald’s 2011 release The Art of Hanging Out and represents a departure from this artist’s now main body of work. Macdonald is largely known as the sometime drummer for Teenage Fanclub but more recently has produced an impressive body of quasi-classical and instrumental work, some of it for soundtracks. Check out his beautiful 2015 release Music for String Quartet, Piano and Celeste, which reminds me a lot of some of the best Wyndham Hill releases many years back. But I do wish he would turn his formidable talents back to such simple poprock fare as this great tune.
Phil Dutra strikes me as an eminently nice guy. His songs have a pleasant 1970s soft rock aura, roughed up just a bit around the edges with some 1980s new wave and 1990s indie sensibilities. His recorded output has emerged in fits and starts in 1999, 2007, and more recently in 2014. I like a lot of what he does. But I was floored on first listen to what I think should be a monster hit, his anthemic “She Walks Away,” particularly the Michael Lloyd remix featured on his 2007 EP Right Behind the Rain with its more tweaked vocal effects. This is a big song, with changes that ring out with that ‘I’m a classic song’ feel. I can’t believe the song has not been picked up by some hit-belting vocal giant like Michael Buble or Rod Stewart. Of course, I’d prefer covers more in the Fountains of Wayne register but you get my drift. The song deserves to be sung and should be Dutra’s regular paycheque. Well, for now we have Dutra’s version and make no mistake it’s pretty special.
Instrumentals are the original cross cultural phenomena. Not just because they overcome the language barrier in an increasingly global world, but also because they tend to be the first bridge crossed by generationally divided tastes. Back in the 1950s and 1960s, albums of often tepid instrumentals introduced Elvis and the Beatles to an aging record buying public brought up on swing bands and Frank Sinatra. Rock and roll was too noisy for them but the hooks proved too much to ignore. Radio stations offering ‘easy listening’ formats of contemporary songs done in an instrumental style were a popular addition to elevators and doctors’ offices everywhere by the 1970s. Then with the explosion of California beach and car culture in the early 1960s instrumentals became a thing in rock and roll too. Today, its an established sub-genre.
Which brings us to this fabulous interpretation of Nick Lowe’s 1975 throw away tribute to the Bay City Rollers, “Rollers Show.” For Nick, the song was largely a contractual obligation effort, a way to cynically cash in on the teenybopper love of all things BCR at the time and fulfill his contract with United Artists records. But even knock offs from Nick can still showcase his songwriting magic, lovingly teased out in this rendition from the hilarious, over-the-top instrumental group Los Straightjackets. The band has produced a whole album of Nick covers and they are not merely knock offs. Each song is creatively reinterpreted, sometimes in boldly different ways (check out their languid version of “Cruel to be Kind” as an example). The first single was a great version of “Peace, Love and Understanding” but my current faves are “All Men Are Liars,” “I Live on a Battlefield,” and, most of all, “Rollers Show,” which really is the standout track here in my view. The album cover is pretty cool too – a riff on Lowe’s Jesus of Cool album with Nick himself featured prominently. Rollers Show
Bob of the Pops is a labour of love from Robyn Gibson, leader singer of The Junipers and, in this case, a one-man band performing all parts on this particular project. Sneaking in recording sessions after his main band was done work for the day, Gibson took five years putting together this amazing collection of covers. The range is spectacular, from rare to well known choices covering 1960s up to the 1990s. Gibson’s formula is simple: take catchy tunes and apply his unerring talent for recreating a jangly 1960s British poprock sound. The fit is obvious with his covers of sixties bands like the Hollies, the Springfields, the Who, the Beatles and the more obscure Honeybus, but it works just as well for later material from the Dentists, Kirsty MacColl, Teenage Fanclub, and the Laverne and Shirley TV theme.