Never underestimate the sidemen. Billy Sullivan has played with a host of great acts over the years. From local legends in Detroit, to various bands with other up-and-comers from the 1970s on, to the touring outfits of Gary Lewis and the Playboys, Herman’s Hermits, the Raspberries, and many, many others. Amidst all this activity, Sullivan has managed to squeeze out a few solo albums and a variety of singles, both original material and inspired covers. And they are freakin’ fabulous! Just open your ears to “I Go Crazy” with its mad ear-wormy ringing guitar and melodic hooks at every turn. This is power pop heaven. Or how about the spot-on Byrdsian jangle and harmonies coating “Everywhere I Go”? Magic! Both tracks appear on Sullivan’s woefully and undeservedly ignored 2001 album All American Popster. Yet Sullivan appears undiscouraged, continuing to release an occasional single or tribute album every few years. Personally I love his 2013 single “There’s a Fire” with its wall of guitars and seductive harmony vocals. Or more recently he’s got a killer cover of the Beau Brummels’ minor hit “Don’t Talk to Strangers” that definitely improves on the original.
Go CrazyEverywhere I GoThere’s a FireDon’t Talk to Strangers
In this internet age it’s never too late to make somebody a star. Do your part, click on the link, and complete your Billy Sullivan collection today!
Ok, today’s breaking news is overloaded like a Toyota pickup taking too much concrete from Home Depot. The problem is, there is just too much damn fine music out there that needs your attention. Here at Poprock Record we travel the highways and byways to find only the finest, fresh poprock and today’s crew is certainly some of the fine-i-est and fresh-i-est!
Let’s begin with Webbed Wing. Emerging from the ashes of the more grungy Superheaven, their new album Bike Ride to the Moon has a grinding guitar sound overladen with hooks that get stuck in your head. Like the uptempo opening cut “Bad For Me,” or the catchy harmonica-drenched “All Went Wrong,” or the more mellow, grooving “Tunnel Vision.” There’s a bit of Sugar Ray cranked to 11 here, with a touch of Weezer at times. But sometimes the record just cuts loose, alternating between punky abandon and industrial lo fi. But the poprock payoff comes with “Door Creaks Open,” a delightful more easy-going acoustic treat. A bit heavier than our usual fare at times but worth the detour!
Some describe Brett as a kind of dream pop but on their recent EP Perfect Patterns there’s more meat to the tunes and performance than that label might suggest. Sure “Nonchalant” and the title track (with its spot-on 1980s keyboards) are a tad dreamy but opening cut “Tenebaum” comes on in a rush like a great lost New Order track. And then “Bad Luck” kicks out some pretty sweet new wave rhythm guitar with totally up front vocals – definitely not dreamy. More Darwin Deez than Cocteau Twins. Or how about that should-be double A-sided single set of tracks, “Wisdom Tooth” and “Hard Feelings.” Ear worm much? I just kept hitting repeat. ‘Brett’ no longer just refers to some 1980s hockey player for me now. Brett is value-added poprock.
County Durham’s Martha have so many facets to their musical personality. Sometimes folky, sometimes punky, sometimes AM radio hit machine. Their third album is Love Keeps Kicking and it has so many gems it should be guarded by some guy in a ill-fitting suit. Opening track “Heart is Healing” is an onslaught of pop goodness with a vocal that makes it sound like indie version of Supertramp but one still cranking out hits. The acoustic rhythm guitar here is unstoppable! I could review every song here and tell you how great each one is (truly, there is not a single one I’d give up) but I’ll just focus on a few of the more outstanding compositions/performances. Like “Mini was a Preteen Arsonist”: the song is a perfect of melding of political sentiment with solid melodic hooks. Kinda like Spook School meets Chumbawumba. “Love Keeps Kicking” sounds like a winning hit single. Or is the melodic rock of “The Void” the hit? It certainly has that stadium fist pumping jump up and down quality. Ultimately Martha is big bag of talent, spilling over with vocal talent, tight musicianship and clever catchy material. And I haven’t even really dug into the back catalogue yet!
I’ve long had a weak spot for The Skullers ever since they released that hypnotic single “Can We Do That Again” with its killer bass line and seductive vocals. 2018’s “I’m Your Man” was another winner, peppy, happy and swinging. Now they’ve returned with an EP Freight Trains & Party Games and it’s chock full of catchy tunes. Opener “Brooklyn Girls” has a lovely midtempo feel, lulling you like train ride through a rainy day. “Convenient” kicks things into a higher gear, rocking the poprock a bit more. The single is “She Denies the Things She Loves” and it has a nice Oasis vibe to my ears. A few listens confirms it’s ear worm infectious. The EP ends with probably my fave track, the more low key “Still Life” but I love the vocal and shuffle hooky beat. One day The Skullers will give us a whole album.
Croydon’s Nick Frater is back with a new long-player, Full Fathom Freight Train, and it’s right on time. Check out the fantastic artwork! And hey, the music’s pretty good too. This time out Nick embraces a full-on Paul McCartney and Wings beat group sound on tracks like “Oh Now Girl” and “Your Latest Break Up Song” Then there’s songs like “The Getaway” that exude an early 1980s poprock vibe or “What Does Good Look Like Baby” that is reminiscent of 10CC to me. Did I mention the cool train on the cover? This is one slick package that’s easy on the ears. And the 28IF on the album cover locomotive clearly harkens back to the Abbey Road cover.
How am I the last guy to this party? Ottawa, Ontario’s Golden Seals have announced their fifth and final album will be Something Isn’t Happening and I only just discovered them! Well this new record is quite an introduction. Opening track “Independence Day” gives you a sense of what they are about – a low level XTC vibe layered over some pretty creative songwriting. “Ball and Tether” is AM radio enjoyable bouncy pop. Meanwhile “Something Isn’t Happening” and “The Opposite End of the Country” both wade pretty deep into Wings territory. Look I could make comparisons all day long but some of what appears here is just some pretty original stuff. “Idiot Kid” has an unique approach and will hook you in the best poprock sort of way. And then there’s the Billy Joel cover. Ok, “Vienna” is guilty fave of mine and GS gives us lovely stripped down electric piano version. This David James Merritt guy is some kind of talented mess.
Project: Ghost Outfit is an indie super group bringing together experienced country sideman Adam Schoenfeld, poprock godfather Bill Lloyd, Cheap Trick bassist Tom Petersson, and graphic designer-cum-drummer Keith Brogdon. We love Bill Lloyd here at Poprock Record so anything he’s involved with is bound to be pretty good. Their self-titled EP/LP contains seven poppy, ear wormy Beatlesque tracks that really deliver on melody and hooks. Obviously “Somebody’s Heart” and “Hang On” have first call on potential singles. Though, personally, I love the understated approach of “Mess My Mind” where low key verses cut to choruses loaded with harmony vocals. Or there’s “Never Remember” that vibes “Things We Said Today” for me. I’m also keen on “Buying Time” which features some killer organ and great vocal interplay.
Hit play on Wyatt Blair’s latest release “(I’ll Keep) Searching for You” and you’ll notice the winning quality right away. First there’s the sibilant guitar reminiscent of all those early Pretenders singles. Then there’s an organ right off a mid-period Springsteen record. Finally, the record eases into a hooky groove that just doesn’t let go. It’s like it’s 1979 all over again. Blair’s previous releases mined the 1960s garage poprock sound to perfection on tracks like “Gotta Get Away” and “Won’t Back Down” (from 2018’s Inspirational Strawberries). “(I’ll Keep) Searching for You” is the third single in three months from an as-yet-unnamed future album project but, suffice to say, the material released so far advances his sound by a decade into the late 1970s/early 1980s. I can’t wait to see where he’s going next.
The autumn has brought a seasonal gust of new releases and they arrive just in time to compensate for the fading sunlight and sinking temperatures. There’s nothing like a good melodic hook to amp up the joy quotient of a grey day. Today’s turn around the dial brings back some old faves and new discoveries!
People write me. They tell me about their band and/or new single/album. And what is impressive is I nearly always end up writing about them. Eventually. Today I gather together a bunch of avid self-promoters whose songs you deserve to hear now.
Music veterans Screen Test put out some of their best music in 2018 with their Stones album-title riffing compilation Through the Past Brightly. Featuring both new and older unreleased tracks, the majority of the record is made up of the more recent material and it is IMHO some of their finest work. And that’s really saying something for guys who’ve been gigging and recording since the late 1970s with The Flashcubes, Screen Test, as solo artists, and with a host of other projects. Of the record’s new tunes I really like “Make Something Happen,” “Tomorrow is Another Day,” and particularly the single-worthy “Best Seller” with its hooky Mersey-jangle lead guitar. But the song that sings ‘hit’ to me without a doubt is “Notes from Trevor” with its killer build up and knock out earwormy chorus. Think of something filling the space between Pugwash and XTC and you’re in the zone. Or, as reader Fabian Byrne notes, very Smithereens! The band also have a great new tune worth checking out: “End of the Line.”
I’m always geared up for some great singles. I’m not the kind to insist on a whole album of hits. That can be so greedy. So let’s roll out some should-be hit single poprock radio fodder.
Let me say right at the outset that Ryan Hamilton and the Harlequin Ghosts’ new album This is the Sound is an all-round good time, filled with great tunes. It’s what we’d expect from a guy whose talents have ranged from his killer sunshine-blast solo album Hell of a Day to super outings with Bowling for Soup’s Jaret Reddick in People on Vacation. But there is something particular about “Feeling Like Falling in Love” on his latest album that really grabs me. Maybe it’s guitar hook that loops throughout the song or the effortless tenor of Ryan’s vocals but the song sticks with me. Or maybe you’re looking for something more old school new wave? Got just the release here with the latest single from The Empty Hearts. Described by some as a ‘garage rock supergroup’ I’d probably characterize them as a bit more smooth than that. Their latest “Coat Tailer” offers up the polished sheen of Romantics-style guitars with some cool Rubber Soul-ish background vocals. B-side “Run and Hide” is no slouch either with its mellow jangle and slight country vibe. Can’t wait for the full album follow up to these teasers.The Empty Hearts – Coat Tailer
Ezra Furman is undeniably one of most exciting artists to emerge over the past decade. Fabulously original, combining a punk-like sentiment with a solid mastery of 1950s and 1960s songwriting styles. He’s like a gender-fluid John Lennon – angry, tuneful, with a whole lot of something to say. His latest record 12 Nudes cranks the punk and snarl on most cuts but “In America” rides its wondrous ragged delivery over some killer hooks. I’d vote for this guy. Carrying on in a punky vein, Cleveland’s Signals Midwest take their sound in a more melodic direction with their latest EP Pin, particularly on the first single, “Your New Old Apartment.” The song goes in a number of directions with surprising musical adornments and ace vocal support from Sincere Engineer (aka Deanna Belos). Love the echo-y background vocal ‘oh oh ohs’ that show up late!
Don’t get me started on superhero movies. Sometimes it seems like Hollywood makes little else. But songs about superheroes can be great. That’s probably because songwriters can’t simply rely on a green screen or endless explosive pyrotechnics. So let’s let it rip with these superhero song stylings!
Have you met Bombadil? Given the band formed in 2006 and has released 7 albums and 2 EPs, it’s definitely possible. But given our present state of low impact indie self-promotion it’s entirely likely you haven’t. Well, get ready for a sonic treat. One where every instrument aims to create a carefully crafted moment. Where the songs are intellectually engaging, though not in some hipster elitist sort of way but in a thoughtful everyday relatable way (e.g. “Perfect”). Where no instrument break is wasted but each is like a perfectly tended garden of sounds, both colourful and creative. Possible musical comparisons abound, from the quirky musicality of They Might Be Giants and Tally Hall to the wordy yet poetic lyrics of The Shins and the Magnetic Fields. Longtime band member Daniel Michalak once described the band’s influences as ‘Ernest Hemingway, Ronald Dahl, or Shel Silverstein’ as well as ‘science/math and computer programming’. One reviewer called the band, ‘obtuse but melodic indie folk pop with a flair for the fantastic,’ while another suggested Bombadil were like a ‘less drunk Pogues.’ Longtime drummer James Phillips described their sound as simply ‘pop-rock.’ That sounds about right to me.
Throughout my life, Nick Lowe has been poprock constant. No matter what was going on, the arrival of a new Nick album was always an occasion. I probably first heard him as most other people did when “Cruel to be Kind” hit the radio in 1979, and Rockpile’s “Teacher Teacher” cemented my love of his style a year later. And what’s not to like? I had grown up consuming my parents’ record collection – Chuck Berry, Hank Williams, the Everly Brothers, Buddy Holly, the Beatles, etc. – and Nick was like a new wave synthesis of all those influences! Over the past four decades he’s grown as an artist, shifting his songwriting style and performance, but somehow managed to stay true to these roots. Currently on tour with retro rocking Los Straightjackets, Lowe continues to release great songs.
Discovering Lowe in 1979, I had to play catch up with his earlier career releases. “I Can See Her Face” from Kippington Lodge was Lowe first songwriting credit in 1969 and arguably that band’s best tune. From there Lowe wrote most of Brinsley Schwarz’s material over the course of six official album releases (seven if you include the long unreleased It’s All Over Now) from the early to mid-1970s and he would recycle some of that material later as a solo artist, most famously “Cruel to be Kind” and “What’s So Funny About Peace, Love and Understanding.” There’s some strong material on those records but “The Ugly Things” (from 1974’s New Favourites, later covered by Elvis Costello) really stands out for me as reaching the Nick Lowe solo-era standards for melody and hooks. Solo material started emerging in 1977 with the EP Bowi and various one-off singles (like the faux Bay City Rollers tributes or the label-ripping “I Love My Label”). Lowe’s first solo album, Pure Pop for Now People (or Jesus of Cool in the UK) contained a host of great songs (“Marie Provost,” “So It Goes,” “I Love the Sound the Breaking Glass”) but I think “Tonight” really captures Lowe’s talent for tuneful, ballady material.Brinsley Schwarz – Ugly ThingsNick Lowe – Tonight
1979’s Labour of Lust would be Lowe’s breakout album, featuring his only American top 20 hit, “Cruel to be Kind.” But the album has real depth songwriting-wise with great rockers like “Switchboard Susan” and tender ballads like “You Make Me.” Personally, I was always drawn to the crashing intensity of “American Squirm” and the pop jauntiness of “Without Love.” Next up was Rockpile’s Seconds of Pleasure, where only six of the twelve tunes were penned by Lowe and that didn’t include the charting single, “Teacher Teacher.” Of the six, the sparkling jangle of “Now and Always” only slightly edges out “When I Write the Book” as the best Lowe tune on the album. By 1982 Lowe was back to being a solo artist but Nick the Knife failed to produce a charting single. Still, I love acoustic guitar-anchored “My Heart Hurts” and the wistful “Raining Raining.” 1983’s The Abominable Showman (despite its dad-joke worthy title) was a strong album, featuring a great organ-heavy Paul Carrack duet on “Wishing You Were Here.” But for me, “Raging Eyes” was the obvious single, while “Mess Around with Love” (Lowe’s reworking of his earlier Brinsley cut “We Can Mess Around”) was another highlight.
In 1984 Nick was an early adopter of the roots sound on his Nick Lowe and his Cowboy Outfit, a record that also contained a should-be hit single, “Half a Boy and Half a Man.” But I was more drawn to the poprock gems “Love Like a Glove” and “God’s Gift to Women.” 1985’s The Rose of England contained Lowe’s most naked attempt to get back on the charts with his own version “I Knew the Bride (When She Used to Rock and Roll),” a song previously popularized by his old pal Dave Edmunds on his 1977 album Get It. It proved to be a very minor hit that tended to overshadow just how strong the album was, particularly it’s folk-poppy title track and the inspired John Hiatt cover, “She Don’t Love Nobody.” Nick’s next two albums witnessed him struggling to find his place in the then contemporary music scene. Both 1988’s Pinker and Prouder than Previous and 1990’s Party of One had plenty to please Lowe fans but no hit singles that might expand that base of support. Still, for hooks, I’d single out “Wishing Well” from the former and “Who was That Man?” and “All Men Are Liars” from the latter.
In 1992 Lowe took another stab at joining a band, this time Little Village with John Hiatt, Ry Cooder and Jim Keltner. With such an all-star line-up, excitement about the project was palpable, but the response to their sole album was lukewarm. Personally, I think Lowe’s turn on vocals is one of the record’s highlights on “Take Another Look.” Then Lowe shifted gears again, taking his albums into darker, more serious moods, with the release of The Impossible Bird (1994), Dig My Mood (1998), and The Convincer (2001). Here Lowe deliberately sought to reinvent himself as more introspective, mature artist, and the overwhelming critical response has been that he succeeded. Still, every album has a few more poppy numbers, like the uptempo “I Live on a Battlefield” or the more subtle earwormy “Indian Queens.” At My Age (2007) and That Old Magic (2011) lightened the mood somewhat, with the latter producing a particularly impressive range of material with songs like “Sensitive Man” and “Somebody Cares for Me.”
Poprock Record 