Aimee Mann of the year!


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aimee_mannAimee Mann snuck up on me. I had one record and then another and before I knew it I had them all on some kind of regular rotation. My Columbia House subscription at the time probably bears some responsibility.  Why do I like Aimee Mann so much? I don’t know. There’s something comfortable and sutured about the space she creates, like a self-contained sonic mini-universe. And despite the often sad stories and the sad sacks responsible for them, Mann’s work is never obviously melancholic. Instead, she gives musical voice to the emotional ambivalence of our times. Shit’s happening and people are trying to find love and there seem to be no obvious heroic scripts to draw from. When you can’t work that kind of stuff out sometimes you just want to wallow with someone who isn’t forcing you to smile or cry.  Mann gets it.  Easy answers are not that satisfying. Her albums are filled with characters struggling to cope with not knowing which way to turn. They’re idealistic enough to want to do something, but wise enough to know each choice has a cost.

Aimee_Mann_-_WhateverIt has been fascinating to watch the trajectory of Mann’s career. Three albums with her band ‘Til Tuesday channeled a lot of 1980s bombast, with a few gems along the way like “Will She Just Fall Down” (which sounds the most like the post-‘Til Tuesday Mann sound). But with 1993’s Whatever Mann declared her creative independence, establishing the rudiments of the style she would continue to develop the rest of her career. You can tell a little about her from the people she has chosen to work with, co-writing songs with Elvis Costello, Jules Shear, and Jon Brion, and inviting the likes of Squeeze’s Glen Tilbrook and the Shin’s James Mercer to add vocals to various tracks.  But ultimately comparisons fail because Mann is a category of her own. In terms of stylistic confidence and delivery, she reminds me most of Joni Mitchell. She is post-genre.

aimee-mann-im-with-stupid-800pxTrying to single out a few songs to feature from Mann’s many albums is painful, there are just so many good tracks.  Whatever kicks off with everything Mann has become celebrated for in “I Should Have Known”: a wall of guitar, a solid melodic hook that comes out of left field, great background vocals. But “I Know There’s a Word” showcases the more tender, acoustic side that is never absent from any Mann release.  Two years later I’m with Stupid appears to repeat the formula but with a few twists.  Opening track “Long Shot” is a bit punchier while the obvious single “That’s Just What You Are” is pulled in a different direction by the distinctive vocal contributions of Squeeze’s lead singer. Though again, the quiet acoustic “You’re with Stupid Now” is a slow burner of a killer tune. Mann came out with Bachelor No. 2 in 2000, which featured songs that had appeared in the film Magnolia. Rightly praised for its strong material, I’m particularly partial to “Red Vines,” “Driving Sideways,” and “Susan.”

Forgotten_armsI lost track of Aimee Mann for a few years. You know, I got busy, she got busy. 2002’s Lost in Space passed me by, though now I love “This is How it Goes” and “Invisible Ink.” I did catch the brilliant Forgotten Arm when it came out in 2005. It makes sense that a story-telling songwriter like Mann would want a bigger canvas, a whole album that develops an over-arching story. You can’t pick and choose your 99 cent choices here, you have to buy the whole thing to really get it, but I do tend to hit repeat on “Video,” “Little Bombs,” and the achingly beautiful “That’s How I Knew This Story Would Break My Heart.” I missed both 2008’s @#%&*! Smilers and 2012’s Charmer when they came out. Ok, there are more attentive Aimee Mann fans than me. But I’ve made up for lost time – both these records are fabulous. @#%&*! Smilers adds a wonderful array of keyboard sounds on the uptempo “Freeway,” and the more swinging “Borrowing Time,” while “Little Tornado” is breathtaking with its starkly simple arrangement of guitar, echo-y piano, and whistling.  Charmer takes the keyboard exploration to new heights on so many strong tracks, but I really like the title track, “Crazytown,” and “Red Flag Diver.”

MIWhich brings us to the present and Mann’s stunning new album, Mental Illness. With Whatever I thought Mann had put the bar pretty high but looking back over her career I think she has gotten better and better with every release. Mental Illness has the hooks, the careful attention to arrangement that characterizes all of Mann’s output, and an impressive range of instrumental quirks. The two singles, “Goose Snow Cone” and “Patient Zero” showcase this beautifully, particularly the spooky ‘oohs’ that introduce us to the latter song. Is the record a departure from Mann’s past work? In one sense, not really. Acoustic guitar anchors most of her work and every album usually features more than a few solely acoustic numbers. What is different here is the balance, with “Simple Fix” the only track that employs a more full band sound. Aside from the singles, right now I’m also really enjoying “Rollercoasters” and the more piano-based ballad “Poor Judge.”

Aimee Mann is currently on tour with the hilarious Jonathan Coulton opening her shows and playing in her backing band (he played on Mental Illness as well) so hustle on over the Mann’s website to find when she will be in your town.

Nice guys finish first: David Myles


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pouches_2065Nova Scotia’s David Myles is so nice it hurts. The sweetness of his songs will melt the heart of the toughest cynic.  He has an amazing knack for composing songs that sound like standards, even when he casts them in a variety of contemporary styles. But boiled down, his songs are great singer/songwriter material. Yet Myles is nothing if not contemporary, taking advantage of multiple possible audiences by combining great songcraft with acoustica, dance beats, and even rap.  For singer/songwriter, check out his early material, like “Turn Time Off” or the achingly beautiful “I Will Love You.”  For a more contemporary sound, listen to “One in a Million” or “So Blind” featuring rapper Classified.  More recently, Myles has added dance beats to “It Don’t Matter” but really his songs can all be reduced to more rudimentary arrangements, like 2017’s “I Wouldn’t Dance.”

David Myles is like Edam and Gouda from Holland, he won’t bite.  Visit him on his webpage and Facebook page.

Time capsule top five


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TIme 2So many would-be hits have ended up in the equivalent of a rock and roll wasteland: the cut-out bargain bin, unheard and/or underappreciated. What if those great tracks could be resurrected in a different time to more appreciative ears?  Today’s time capsule top five gathers up a number of strong singles that deserve another crack at the hit parade.

Dogs LLThe Dogs were a French punky new wave band, particularly active recording-wise from the late 1970s to late 1980s.  Like Elvis Costello, they evolved from pub rock into something harder, taking punk’s influence to sharpen their basic rough-edged rock and roll sound on albums one and two before attempting a more commercial breakthrough on a record number three, Too Much Class for the Neighbourhood.  By contrast, their fourth album, 1983’s Legendary Lovers, represented a return to some of their earlier rough edges, ably demonstrated on the fantastic single, “Never Come Back.”  This is an uber cool sound – check out the ringing guitars and the heavily French-accented English pronunciation.  By all accounts The Dogs were a legendary live band, something that really seems obvious from the evident and palpable excitement oozing from this recording. Never Come Back

SighsThe number of bands whose albums got lost in the various record label merger and acquisitions that took place throughout the 1990s would include The Sighs. Originally signed to Charisma/Virgin, their 1992 debut What Goes On failed to excite EMI, the new owners, who let it stall with lacklustre promotion.  The band’s second album four years later also failed to take off.  And that is shame.  Just listen to “Make You Cry” with its jangly opening and incredibly catchy chorus, the latter featuring a stunning harmony vocal.  When I first heard the band hit the “he’ll make you cry” line it literally stopped me in my tracks.  This should have been a break out hit single.Make You Cry

EvenEven’s “Seconds” is an amazing 1960s-inspired single from their 2001 album A Different High.  Well, actually, it wasn’t the official single, but this scribe thinks it should have been.  The hypnotic hooky lead line, the super Beatles’ Rubber Soul-era vocals, the overall chimey-ness of the sound – surely this says hit material. Perhaps things could have turned out different for Even, an Australian outfit perennially at the top of the critics’ lists but not the charts, if this had been the official 45 shipped to radio?  I know, probably not.  But it remains at the top of the Poprock Record charts.  Actually, a great deal of Even’s catalogue is in high rotation around here.  This tune is just the tip of a great songcraft iceberg.   You really can’t go wrong with any of their six albums and three EPs.Seconds

SplitsThe sibling two-thirds of Greenberry Woods split off to form Splitsville in the late 1990s, eventually releasing five albums between 1997 and 2003.  For a band with that much material, they leave a surprisingly light imprint on the ole internet.  Influences abound on their music – Teenage Fanclub, Matthew Sweet, as well as all the usual 1960s suspects (e.g. Beatles, Beach Boys, etc.). “I Wish I’d Never Met You” is from their last album, Incorporated, and it is definitely channeling a bittersweet Teenage Fanclub feel both musically and lyrically.I Wish I’d Never Met You

FOA quick listen of “Waterfall” from San Francisco’s The Fresh and Onlys might have you scratching your head at descriptions of their sound as garage rock.  Garage pop maybe.  Sure the vocals hover with that distinctly sixties garage rock ambience but the guitars are wonderfully melodic, both the rumbly one that anchors the versus and the more buoyant one that anticipates and rides through the chorus.  Aptly named, “Waterfall” it’s a song that rushes over you in a most pleasant way.

You don’t have to wait to enjoy these time capsule treats.  Visit The Dogs, The Sighs, Even, Splitsville, and The Fresh and Onlys at these internet portals today.

The Pepper challenge: Greg Classic versus New Greg


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GP ChallengeGregory Pepper is a poprock songwriter and performer extraordinaire. He specializes in writing short, punchy, hook-filled masterpieces on bizarre and/or hilarious topics.

The Pepper challenge is a taste test to determine whether you prefer Greg Classic or New Greg.  Compare Pepper’s two different versions of his recent tune “This Town” to see what we mean. The song’s lyrics continue to develop some of his longstanding themes: a comic fascination with the macabre, the dead, and a dated horror movie sense of panic.  But the two treatments of the song couldn’t be more different.  The Greg Classic version from his recent EP Ghost is clearly sweeter with a predictable edge, naughty but still nice to curl up with on a hot summer day or crisp winter night.  But the New Greg version from the just released Black Metal Demo Tape album has its charms too. Uber cool in a mascara-wearing, post teenage goth sort of way. Greg Classic will have you humming in the shower.  New Greg might make you want to write depressing poetry and hang out in ill-lit, dilapidated buildings.  Both are acceptable motifs for today’s hook-obsessed hipsters.

Is there really a need to choose?  No.  But it’s fun making you go through the motions.  Anything that draws potential fan interest to the multi-talented Gregory Pepper means our job here at Poprock Record is done.

Gregory Pepper is based in Guelph, Ontario (which might explain a lot).  Check out his video of the Greg Classic version of “This Town” which recuts scenes from the Breakfast Club into a synched up, dance-a-thon.  And don’t forget to visit Camp Pepper, where you can peruse his artistic and musical endeavours in a pleasant, web-based environment.

Breaking news: Greg Kihn, Tommy and the Rockets, The Shins, and Miniature Tigers


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greg-kihn-band-new-album-rekihndled-personally-signed-by-greg-kihn-4.gifWhile known largely for just two tunes – “The Breakup Song” and “Jeopardy” – Greg Kihn actually has an amazing catalogue of material.  Pick out any of his albums from the 1970s or 1980s and you’ll find more than a few gems.  Well twenty years after his chart heyday Kihn is back with a new album, Rekihndled, and the good news is that the magic is still there, particularly on the lead single, “The Life I Got.”  Things open with that familiar Kihn crunchy guitar and a ‘whoo’ from somewhere, giving way to vocals with perhaps a bit more gravel than back in the day.  But when the chorus kicks in with its catchy drone-like lead guitar line it might just be 1982 all over again.  Nice to see a veteran pop rocker jump back in and show he’s still got it.The Life I Got

TRThis new EP from Denmark’s Tommy and Rockets is a special treat with its fabulous artwork and blast of perfectly modulated 1970s poprock.  Comparisons with early Ramones and Rockpile abound but the sound that really comes to mind is Dave Edmunds’ retro-1950s movie soundtrack work on Stardust and Porky’s Revenge.  Edmunds had a talent for producing a very tight, almost squished sound, like the music was made to be heard through a transistor radio at the drive in, and Tommy and Rockets similarly feels very AM radio, in a good way.  My featured cut from Rock ’n’ Roll Wrecking Machine is “Hey Daisy,” a wonderfully structured tune, from its early alluring guitar lines to its compressed vocals.

heartwromsartI discovered the Shins after wandering into a book store/coffee house in some remote college town and instantly fell in love.  Oh, Inverted World, Chutes Too Narrow, and Wincing the Night Away were so chock full of inventive, quirky songs brimming with hooks that I just couldn’t get enough of them.  Then came the Broken Bells experiment and the more subdued Shins release, Port of Morrow, neither of which grabbed me like the first three releases.  Hey, artists have got to follow their muse – far be it from me to hold them to just what I prefer.  But I will say that the new Shins album, Heartworms, is a bit of a return to form for those who really dig the early records.  “Midenhall” harkens back to the Shins’ strengths in really bringing out hooky melodies from acoustic arrangements, title track “Heartworms” layers up the poprock sonic landscape, while “Dead Alive” has a nice loping Halloween aura.Heartworms

Miniature-Tigers-I-Dreamt-I-Was-A-Cowboy-ArtChris Collingwood from Fountains of Wayne was reviewing the most recent Shins album with much more insight than I could ever hope to muster when he mentioned a few bands he was listening to. One was Brooklyn’s Miniature Tigers. I immediately flew to iTunes to check out their latest record, I Dreamt I was a Cowboy.  I was not disappointed! They have a wonderfully textured sound that reminds me of Foster the People, particularly the keyboards and vocals on “Crying in the Sunshine.”  Another great track is “Pictures of You” with its impressive range of character instruments (e.g. a Hawaiian-style guitar solo) popping in here and there. The music here is deceptively simple-sounding but in reality pretty sophisticated poprock.

Greg Kihn, Tommy and the Rockets, the Shins, and Miniature Tigers all host bright and shiny internet sites, just longing for traffic.  Why keep them waiting?

Spotlight Single: Robyn Gibson “He Doesn’t Love You Like I Do”


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BoPBob 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.

Bob of the Pops is a strong collection but the standout track for me is Gibson’s reinvention of Nick Heyward’s “He Doesn’t Love You Like I Love You.”  The song is a nice cut from Heyward’s 1993 album From Monday to Sunday, penned and ably performed by the former Haircut 100 front man.  But Gibson brings out the song’s inner 1960s soul, tweaking the melody as if it had been a hit by the Searchers (the first time around).  Besides, who refers to ‘rag dolls’ outside of the 1960s?  Nobody.  This is now the definitive version (sorry Nick).

Bob of the Pops deserves wide exposure, it’s that much fun.  Tell your friends, give it to your relatives.  You can get the album on Bandcamp and visit Robyn on Facebook.

Punking poprock: Jonly Bonly, The Lowboys, and Volcano, I’m Still Excited


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punk kidThere was a group of kids in high school who were into all the punk and early post-punk material.  I could dig some of the sentiments but just couldn’t hear the tunes.  That’s why I steered more to the new wave side of the street: Elvis Costello over the Damned, the Jam over Sex Pistols, and the mid-to-late period Clash over the early Clash.  But if we see punk as more a sentiment than a genre, then we can always find a number of acts punking up the perimeters of poprock.  Today we explore that punky poprock sentiment.

Jonly BonlyWe begin – where else? – Austin, Texas.  The Republican voting, open-carry gun-toting, millennial-cult-confronting state also breeds a damn fine indie music scene.  Jonly Bonly exemplify that tradition with a cool rush of adrenaline-soaked punky poprock on their debut album, Put Together.  I love the kick off to “I Don’t Mind” – so 1960s garage rock – and then the catchy lead guitar line that threads its way throughout the song.  “Never Thought I’d Die” has a nice hook and an interesting mix of guitar sound, as does “Long Distance.” All three songs are strong on melody.

LowboysThe Lowboys take us somewhere in Virginia, the band being mostly the work of Joseph Hurlock, described on Facebook as a “song guy from VA.”  The performances here all have a wonderfully chaotic feel to them.  “Defense Mechanism” is a song that often seems to be hanging on to its structure by a thread, given the endearingly shambolic vocal, but the basic hook survives and the chorus hints at a more straight up poprock potential.  Don’t miss the eccentric solo.  “Don’t Fail Me Now” is another good song that meanders out of the gate but somehow really comes together in the chorus.

VIELast up is Volcano, I’m Still Excited, an Austin-meets-Brooklyn combo that vocally reminds me of Everything Everything on their only single, “In Green.”  The song is a work of subtle discordant genius and clocks in at just over two minutes.  As quickly becomes apparent in listening through their self-titled debut (and only) album, these guys have the musical chops but they make their cuts in the most unexpected places.

Jonly Bonly, The Lowboys, and Volcano, I’m Still Excited all have Facebook pages waiting to be liked and followed.

Should be a hit single: Fire Town “She Reminds Me of You”


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Fire TownEverything 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

Most of the members of Fire Town have reunited on a new project with similar elements, the Emperors of Wyoming, which you can find out about here.

Around the dial: Berwanger, Sweden, SWMRS, and the Zolas


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The accent today is on fresh and contemporary versions of poprock that nonetheless draw on all the classic elements: sparkly guitars, upfront melody, and close harmonies, with the occasional cool synth thrown in for good measure.

BerwangerBerwanger’s Exorcism Rock is not what I expected it to be.  From the title to the cover art I was expecting some kind of strip joint boogie rock or a 1980s hair band.  But this album is whole heap of melodic fun.  The range of material is simply amazing, from the Tom Petty-inflected “Booty Shake” to the breathy Vaccines-style vocal on “Black Sun” to the killer poprock riff driving “Slutty Skin.” As one might expect from a veteran of two successful bands (The Anniversary; The Only Children), band leader Josh Berwanger has really got his songwriting chops down.  I also like the slow but melodic “Guess You Weren’t Wrong.”  Check out Berwanger’s older material as well.  The 2015 EP Demonios has a more downhome rock and roll feel, while 2013’s Strange Stains focuses more on the pop side with super tracks like “Bullets of Change,” “Mary,” and “Everybody Knows.”

sweden-oh-dustySo you live in Norway and decide to name your band Sweden – that’s not going to be confusing …  Another great guitar band that relies on mixing up the guitar sound over songs with solid hooks.  “Hey C’mon” from 2012’s Under the Sycamore Tree kicks off with a catchy acoustic guitar riff before exploding into a full on band treatment.  “Barefoot Summer” from 2013’s Sixes and Sevens shifts back and forth between what an old rock and roll friend of mine once called ‘gunga’ rock (because the guitar makes that gunga gunga sound over and over) and tasty melodic solo bits.   “American Kiss” is another strong cut from this album.  Then most recently 2016’s Oh, Dusty has a slew of strong tracks.  “Just a Kid” kicks off with a sound reminiscent of Hall and Oates ace single, “You Make My Dreams” but then goes in a totally different direction.  “Stockholm” is a pretty solid single while “Hanging Around” is prime poprock craft.Hey C’monBarefoot Summer

drivenorthEverything you read about SWMRS focuses on their punk sentiments and crazy stage shows. Certainly they look the part in their many online videos, i.e. young, male, and scruffy.  But I don’t hear that listening to their 2016 release, Drive North.  Instead these guys have a smooth and polished sound, apparent on tunes like “Turn Up” with its solid acoustic guitar and bass anchoring the song, and “Figuring it Out.”  I also really like “Lose It,” a masterpiece of understated poprock.   Check out this clever line – it just rolls out effortlessly with the music: “Why you’d have to have such a damn fine taste in music? Yeh, if all my favorite songs make me think of you I’m going lose it.”  The band is on tour but curiously seem to be avoiding any effort to actually drive north – no Canadian dates have been announced.Turn UpLose It

ZolasSpeaking of Canada, its version of Vancouver has a huge crop of great bands making the rounds these days, like The Zolas.  It is interesting to hear the subtle change in this band’s sound over the course of a number of albums.  2009’s Tic Toc Tic puts the piano upfront in a recognizable poprock combo sound on tracks like “The Great Collapse” and “These Days.” But melody and hooks come to the fore with 2012’s extremely catchy Ancient Mars.  Both the title track and “Knot in my Heart” seriously up the spooky melody quotient while “Escape Artist” is brilliant both lyrically and melodically.  “Strange Girl” is bit more rocking but with an eerie, haunting melody in the chorus.  2016 brings more change as the band puts its synthesizer front and centre to good effect on its most recent album, particularly the killer title track, “Swooner.”

Got some great tips for this week’s Around the Dial from a super poprock site – Sweet Sweet Music Blog – that combines band interviews with their music videos.  But don’t take my word for it.  Be sure to visit SSMB as well as Berwanger, Sweden, SWMRS, and The Zolas online and find out for yourself.

Lost stars: Soul Engines and The Someloves


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loungeI guess I lived in a 1960s bubble.  Growing up with my parents’ record collection it seemed that if the music was catchy and the performance was strong then it would be hit.  But I think it was the stalling of Marshall Crenshaw’s career after Field Day that woke me up to fact that not all great music gets to be widely popular.  There is an inescapable randomness to it all.  You don’t get two more clear examples of the fickleness of the fame god than Soul Engines and The Someloves.  Today’s tracks are red-hot bona-fide should-be hits.

SEThe Soul Engines hail from the Jersey shore and apparently put out a few albums, though only 2002’s Closer Still is widely available.  If their other records are even half as good as that one, the world is missing out on some pretty incredible music.  The whole album is a pretty solid genre-crossing effort, a perfect melding of old rock and roll, Everly Brothers’ style country harmonies, and upfront melody.  But two songs stand out as extraordinary efforts: “It’s Just Another Day” and “Tomorrow’s Girl.”  I can’t stop hitting replay on these two tunes.  “It’s Just Another Day” bursts open with a rapid fire smatter of jangly lead guitar that eases into the song with a nice organ backdrop.  The guitars, organ and vocals play off each other with a sound reminiscent of a lot of western-style 1980s poprock like True West, Rank and File, and Canada’s Blue Rodeo.  “Tomorrow’s Girl” kicks off with some great drumming that never lets the energy dissipate.  It’s a tune with great swing and harmony vocals: the whole arrangement of the song is perfect, there just isn’t a note out of place.  These songs would be in heavy rotation on Poprock Record radio!It’s Just Another DayTomorrow’s Girl

SMLThe Someloves are yet another example of the seemingly endless poprock talent pool that is Australia.  Formed in Perth in the mid-1980s, the band released a handful of singles and just one album, 1990’s Something or Other.  In this case, the lack of success is a bit easier to understand as one half of the band’s creative duo simply refused to tour in support of their recordings, killing their record deal.  Still, there have been non-touring success stories in rock and roll and given how drop dead amazing their lone album is, the lack of accolades and gold records remains surprising.  I mean, check out the killer roll out of “Know You Now.” It’s all ringing guitars and The Three O’Clock-style breathy vocals that builds to an catchy chorus and then back to more ringing chords.  It’s an intense three minutes and 49 seconds of poprock.  “Sunshine’s Glove” works a similar formula but ups the melody enrichment, allowing the ringing guitars to echo the hooks.  Pretty addictive stuff as a kind of double A-side single.  The good news here is that unlike the Soul Engines, a fabulous double CD greatest hits retrospective is available for The Someloves: 2006’s Don’t Talk About Us.Know You NowSunshine’s Glove

Hey, it’s never too late to make these guys the stars they deserved to be.  Check out the recordings they have available on iTunes and with other sellers.  Contacting bands that don’t exist anymore is a bit more problematic but not impossible.  The songwriters from the Soul Engines have a number of new projects on the go and can be contacted on their Jenny Pilot’s and The Susan Rumors sites.  Don Mariani from The Someloves has solo recordings and work with The Stems and DM3 available and can be reached at his website and on Facebook.

Speaking of Facebook, I discovered these two acts via some great Facebook music groups: I Love Power Pop and Power Pop Rock.  There is so much to know – it’s great to have help.