Tags
Absolutely, After Dark, All My Baby Brought Back Was the Blues, Baby Scream, Beach Bunny, Brian Jay Cline, Bubblegum Baby, Cloud 9, Dolph Chaney, Dreamboats 2, Ed Ryan, Everybody Wonders, First Hits Free, Foreign Films, Ghost, Hard to be Happy, Hey Susanne, Honeymoon, It's Ok, Just Covers, Kyle Vincent, Letterman, Ms. California, Music for Sale, Nicholas Altobelli, Ocean Moon, On My Way to Somewhere, Orbis Max, Pale Lips, Rebuidling Permits, Rozwell Kid, Secret Agent Man, Songs for a Generation of X's, Steven Wright-Mark, That Old Ghost Don't Lie, The Cry!, The Cry's, Tommy Ray, Tommy Sistak, Tuesday's Girl, Two Left Feet, Underground, Wake Up!, Warm Fuzzy Feeling, Whatever It Takes, Wonder
Thirteen original artists! Twenty featured songs! Springtime 2020 is witnessing an explosion of sounds, curated here specifically to ease your pandemic-induced isolation. It’s not K-Tel, but it’s the next best thing. And the best part? No groove-cramming or adverts for a bogus, non-working record selector. So get ready to add some hooks to your springtime playlists.
Since the early 1980s scribes have routinely dubbed Kyle Vincent’s 19 album body of work ‘soft pop’ but that changes with his new release Whatever It Takes. Well, sort of. There’s still a strong easy listening pop vibe to the album (he’s even written a song that name-checks Gilbert O’Sullivan, so that’s a strong clue) but with former members of the Raspberries for a backing band on some tracks, things rock up a bit in a 1970s soft focus, low wattage power pop way. It’s there on the breezy Shaun Cassidy-esque “Bubblegum Baby” as well as my choice for b-side, “Hard to be Happy,” with its low key ABBA notes. Another incredibly productive fellow is Brian Jay Cline, with 13 albums and 4 EPs out since 2001 by my count. His most recent EP is Songs for a Generation of X’s and it taps that vein of melodic Americana that Cline does so well. I’ve been hitting repeat on the addictive “Two Left Feet” with its great Springsteen harmonica and irresistible hooks. Heading over the Valencia, Spain Baby Scream has a new album of covers out entitled, predictably, Just Covers, and this time everybody’s fave DIY John Lennon definitely colours outside the lines. This is fun collection, with inspired reworkings of Cyndi Lauper, the Psychedelic Furs, 10cc, Culture Club and more! I’m singling out for a double A side the muted yet rollicking “Secret Agent Man” on one side with the tight pop-rocking Fastball track “Warm Fuzzy Feeling” on the other. Back in North America, if anyone doubts that Montreal is Canada’s undisputed cool city, slip Pale Lips 2020 LP After Dark on the turntable. Self-described ‘dripping mascara slopped rock and roll with sprinkles,’ the party vibe is evident from the opening chords of “Some Sort of Rock and Roll,” the album opener. Overall, the songs are variations on a 1950s-meets-1970s workout, except for “That Old Ghost Don’t Lie” which changes things up, slowing the tempo, and anchoring everything with a spooky lead guitar. B-side? Definitely the hilarious romp “All My Baby Brought Back Was the Blues” – such great lyrics!
Kyle Vincent – Bubblegum BabyKyle Vincent – Hard to be Happy
If anyone has written an anthem for our times, it’s Dolph Chaney. “It’s Ok” (from his recent Rebuilding Permit) was written before our current state of affairs but its message definitely resonates now. Well, frankly, it’s always a pretty relevant message. And Dolph loads it with a host of nice melodic twists and turns, shifting the song’s dynamics like a hooky mood swing. Also love the distinctive synth solo at the 1:50 mark! Bill Majoros describes his new Foreign Films record Ocean Moon ‘retro-futurism, musical technicolor and groovy beats’ and I’d have to agree. It’s certainly a departure from his previous 2018 set, The Record Collector, a sprawling, 3-album stylistically varied offering. Now Majoros turns to a somewhat familiar, pleasantly throwback sound circa early 1980s. I’m particularly enthused about the title track “Ocean Moon” with its breathy Elvis Costello-meets-Roy Oribison vocals and Travelling Wilburys rhythm guitar. Another new single echoing some classic EC to my ears is the latest from former Cry! Leader Tommy Ray. The new LP is First Hits Free and check out the catchy lead line and brash guitar driving “Hey Susanne.” The dance floor never looked so alluring. For a b-side to this single, I’d add “Tuesday’s Girl” with its mid-1980s British energy and familiar vocal snarl. Honourable mention: “Gone South” – love that organ opener! Chicago’s Beach Bunny are doing that contemporary dissonant pop sound with a bit of vocal grit in the mix all over their debut record, Honeymoon. Personally, I’m loving the deep cut single, “Cloud 9” with its hooky bass line and rocking-out swinging chorus. I could see “Ms. California” as the b-side with its almost FOW-style chorus and crunch rhythm guitar. On this record, feeling bad never felt so good.
Speaking of alienation, there are times when West Virginia’s Rozwell Kid sound like they’re channeling some serious Weezer love, like on “Letterman” from their new Dreamboats 2 album. But then they shift gears and up the pop quotient on the obvious single, “Absolutely.” You can’t pin these guys down, other than to find the fun in what they do. The LP is celebration of pop culture, with tunes celebrating David Letterman, Dr. Doom, a possible fourth sequel to Back to the Future, and even an Enya cover! Now if you need a driving insistent guitar/synth combo, have I got a song for you. Nicholas Altobelli picks up the pace from 2019’s more low key Vertigo LP with his new single, “Ghost.” This is the distinctive melodic rock and roll that drew me to Antobelli releases like the great EP The Day-Olds and single “Exit Polls.” B-side “Wonder” is also a winner, with its charming, light 1950s ambience. Now, for a bit of Merseybeat, look no further than Tommy Sistak. Music for Sale is the new record and “On My Way to Somewhere” manages to work in that familiar Liverpool 1964 sound without sounding derivative. Like visiting an old friend who still has a few surprises in store for you. Speaking of old friends, people waiting for a follow up to Ed Ryan’s super 2017 Furious Mind have something to tide them over given his recent collaboration with Orbis Max on “Everybody Wonders.” The song is a solid slice of poprock, featuring some cool organ solos and nice vocal interplay. The song bodes well for new album of Ed Ryan tunes!
Hey, let’s end on with a guaranteed ear worm. I know I name-drop Fountains of Wayne a lot but Steven Wright-Mark sounds like he’s channeling a lost deep cut from Welcome Interstate Managers with “Underground,” from his recent EP Wake Up! If I had a Poprock Record chart this one would definitely be zooming up it. The vocal delivery, the background instrumentation with that seductive Gotye feel, it all adds up to ‘hit single’ to me.
Whew! That was a lot of should-be hit-single ground to cover. But health crisis or no, the chords must play. Assemble your own bargain hits collection by clicking links above. Looking for vinyl? You can the physical platter for many of these artists at Kool Kat Music.
Mondello was a break-out indie darling in 2019 with a story of musical struggle straight out of rock and roll central casting. Boy works for 20 years on an album of songs (Hello, All You Happy People) that finally sees the light of day and finds an appreciative audience amongst those who value slightly eccentric DIY-plus power pop. What a happy ending! Well, now he’s back with a new single and it’s a killer. Get ready for a slightly more polished AM radio-friendly Mondello on this outing, which features a horn section, anthemic chorus, and excerpts from a 1960s surrealist Italian sex movie for a video. Seriously, the execution of this single is nothing short of masterful, reminiscent of that very British reinvention of the sixties that occurred in the 1980s with Elvis Costello and Wreckless Eric, among others. Give this baby a few listens and see if you don’t agree it’s earworm central. “My Girl Goes By” definitely confirms Mondello is no one-indie-hit wonder.
Like it or not friends, our voyage to brave new worlds is already underway and it’s not clear return tickets will be honoured. That’s Ok. There’s always something exciting lurking on the musical horizon, songs and performances that will push the boundaries of something new but somehow also feel familiar. That covers the acts in today’s post, explorers and adventurers with a twist of the familiar about them.
Vices is the new album from Brighton retro guitar duo Peggy Sue and, for me, it’s the very best thing they’ve released. Past records exhibit a range of talents with songs and performances that range from experimental to borderline punk to performance art folk. The collection of covers included on 2012’s Play the Songs of Scorpio Rising kinda pointed where the band was going to go and ultimately arrive with Vices. I mean, the reinvention of “My Boyfriend’s Back” was sheer genius. But Vices is, to my ears, a new level of accomplishment for the band. The album kicks off uber cool with “I Wanna Be Your Girl,” its Velvet Underground chords drawing you in, that is until the vocals arrive and clinch the deal. You hear it again on the ethereal “In Dreams” with its twisted David Lynch early 1960s aura. There are going to be those who hear a spooky Lana Del Ray vibe here but duo’s otherworldly, sibilant harmonies remind me of other amazing vocal bands like Everything But the Girl, First Aid Kit, Jack and Eliza, and The Kickstand Band. The guitars on this record are also pretty special, like the ghost of Link Wray is haunting the proceedings. And the songs! I’m loving “Motorcade,” “Validate Me,” and “Souvenirs” just to get started but, really, the whole record is a listener. Tune in to Peggy Sue. They really demonstrate that everything old can be new again.
It starts out a bit harsh but then the acoustic guitar kicks in and you hear the sweet melody and hooks that are soldering “Grow Your Garden” into your brain. So begins Brett Newski’s latest long-player, Don’t Let the Bastards Get You Down. It’s a record with an edge, like that bite of tequila after the salt, but one that ultimately rewards the listener with loads winning, melody-tinted tunes. The first three tracks say radio singles to me, particularly the spare but hooky charm of “What’d Ya Got to Lose,” while “Do It Again” sounds like a great lost Tom Petty song. I love the little details on the songs, the subtle organ backing on “Do It Again,” the plinky piano on “Buy Me a Soul,” and the addictive swing and killer chorus carrying “Pure Garbage.” Longtime Newski fans will applaud the folk notes here on tracks like “Lousy T-Shirt” and “Fight Song, while Petty loyalists will approve the strong Tom Petty vibes radiating from “Last Dance” and “Evervescent.” Don’t Let the Bastards Get You Down is a masterpiece of understated melodic rock and roll. The songs are punchy but Newski’s performance is nuanced, sometimes spare, leaving room for their subtle charms to shine.
For a lot of people Grouplove amount to “Tongue Tied” but frankly I came to them on the strength of “Naked Kids” from that same 2011 debut album Never Trust a Happy Song and “Sit Still” from their 2013 EP Spreading Rumours. I love the loose group feel to the performances, like a crowd of friends just singing their hearts out. But such as sound actually takes a lot of precision and talent. Well, that talent is all over the band’s just released fourth album, Healer. The sound has that peppy contemporary pop feel of bands like The Mowgli’s and Portugal. The Man with just a bit of Fun thrown in. And let me note, this record sonically sounds amazing! Put on your headphones and just take in the exquisite mix on tracks like “Expectations,” “Youth” and the lovely acoustic “Places.” In terms of singles, “Deleter” got the nod for first release and it’s a worthy choice, but “Promises” is a subtle ear worm while “Hail to the Queen” doesn’t hide its winning hooky chorus. But the hands down winner here for me is “The Great Unknown.” I really like its slow burn approach, with a melodic kick that sneaks up on the listener in a shout-out-loud chorus. And Grouplove make it look so easy. This is one for your summer soundtrack, when the convertible top’s down and you want to look cool.
With just ten million people, Sweden definitely punches above its weight in international popular culture. I mean, sometimes it seems like every second person there must be a 
First up: 
Next, a band created to provide a soundtrack to a book about a fictional 1965 band. In 1995 one half of Swedish duo Roxette agreed to put together a group and songs for Swedish author Mats Olsson’s 1995 novel The Lonely Boys. The results are 1965 fabulous! Per Gessle and his ragtag band of veterans from the Swedish music scene essentially become 
With sunshine and a hint of spring heat in the air, people are starting to think about summer. And just what is summer going to be like with face masks and gloves and social distancing? It’s going to look like a very polite zombie apocalypse, that’s what. Acerbic Toronto-based pop artist Rob Elliott colourfully captures our likely regimented future in the above graphic (check out his hilarious, biting 
The thing about news is that it’s always coming from some point of view. You think corporations own media empires and don’t influence what they produce? But that doesn’t mean everything is fake. You have to ask questions about where your news is coming from and what it is saying. For instance, this station is obviously biased towards covering melodic rock and roll. Sorry death metal fans! But today’s headline acts are loaded up with hooks – that’s a fact!
Digging through my vinyl collection I came upon a 1974 Deram/London (Decca in the UK) Records release entitled Hard Up Heroes, a compilation focused mostly on lesser known tracks from British artists from the ‘beat’ era (roughly 1963 to 1967). It’s got some cool stuff on it but the real find was a track called “So Much in Love” recorded by The Mighty Avengers. What a tune! So subtle in its earwormy effects. Now imagine my surprise to discover it was a Jagger/Richards cast off from a period when they were trying to mimic the Beatles’ songwriting largesse by giving away their excess material to other artists. And what makes the story even more intriguing is just how many acts tried to make this a hit – unsuccessfully! Most of the versions came out in the mid-1960s period, with a few in the 1970s, one in the 1990s, and then one last version in 2018. And, of course, there may be other versions I’ve yet to find. I won’t feature them all here, just the ones that take the song in slightly different directions.
What’s not to like about compilation albums? They’re like a load of presents crammed onto one or two pieces of vinyl, or they’re akin to a kind of melody buffet tempting to you to gorge on each one. This post runs the gamut of definitive compendiums on a theme (XTC) to compilations based on style (sunshine psychpop) to diverse collections serving other purposes altogether (the Wild Honey and Lame-O collections). Let’s dig in!
It’s hard to believe how much Graham Gouldman has given us. Back in the 1960s he wrote such iconic hits as “For Your Love” for the Yardbirds and “Bus Stop” for The Hollies and a host of other great songs. Then in the 1970s he was one of the four talented guys that made up 10cc, contributing to hits like “I’m Not in Love” and “The Things We Do For Love.” I remember being so blown away by “For Your Love” when first heard it on Vancouver FM radio station CFMI’s annual ‘BC 500’ marathon of the top rock and roll songs in 1980 that I immediately hopped a bus to Kootenay Loop to visit a used record shop that specialized in re-issued oldies 45s. I’d barely gotten home with the single when CFMI played “Heart Full of Soul” and I was back on the bus! Over the decades Gouldman has accumulated an impressive catalogue of material, covered expertly by himself and others.
I have an unerring knack of discovering artists or bands at the very point their career is about to implode, call it quits, or forget how to write songs. So it was with The Jam. Living in my parents’ basement in godforsaken North Burnaby I somehow got wind of “A Town Called Malice” in grade 11 and I was hooked. I was an instant Jam-o-phile! The band’s tight Who-meets-Beatles sort-of new wave sound was right up my alley. From then I only got to enjoy the two extended singles (“The Bitterest Pill” and “Beat Surrender”) before they disbanded in 1982. Sure, I signed on to The Style Council and their first few records were nice but it just wasn’t the same. Not even close. But after the Style Council split I thought perhaps Weller would get back to some Jam-like stuff as a solo artist. For the most part I’m still waiting.
