Tags
Chris Lund, Christmas music, Fur Trader, Glenn Robinson, Holiday music, Imperial April, John Hopkins, Kirby Krackle, Lisa Mychols, Make Like Monkeys, Mark Crozier, Movie Movie, Music City, Simon Love, The Cords, The Decibels, The Easy Button, The Guitars, The Jeanines, The Parallax Project, The Successful Failures, theCatherines, U.S. Highball
If you’re strolling the mall or tuning into an AM radio playlist I’m just going to say it. No. You’re not hearing what I’m hearing. Of course, that’s why you’re here. To get the lowdown on the catchiest, poppiest, hookiest festive music fare available. Here are nearly two dozen holiday-infused melodic wonders to liven up your celebrations, whatever they may be.
Simon Love nails it. It seems like we’ve barely said ‘happy new year’ before the Santa ritual begins anew. “It’s Christmas All Over Again” gives us the bells and a ‘look on the bright side’ sentiment, all wrapped up in a Costello-ish taut melody. Next up it’s practically our holiday house band, Make Like Monkeys. As expected they’ve got yet another seasonal LP Make Like Christmas and just a sample of opening cut “Fa La La It’s Time for Christmas” will let you know it’s gonna be another special collection. Chris Lund strikes a more bittersweet chord on “Christmas Time” with its Lennonesque holiday atmosphere. It’s seasonally sombre with just a bit of uplift where it’s needed most. Then there’s Movie Movie’s distinctive, echoing lead guitar line strung like colourful Christmas lights throughout their call to enjoy the season on “Another Holiday.” Party like it’s 2099 indeed. For a bit of pop punk holiday spirit there’s Glenn Robinson’s “Jesus Christ (Can You Believe That It’s Christmas).” It’s rough and not quite ready for polite company but that’s what makes it so special. One of my new fave bands from 2025 give their Greenock, Scotland best to the season on “Favourite Time.” I know I’ve compared The Cords to The Primitives a lot but, come on, it’s pretty Coventry adjacent in the very best of ways.
And then there’s the people in our Christmas neighbourhood, the boys, the girls, and that dude having his birthday amidst it all. The Easy Button give us a story about a “Christmas Girl” who has got the holiday event down, with plenty of reverby guitar and a Difford/Tilbrook song style. By contrast the Spongetones give their “Christmas Boy” a touch of the old fashioned carol. Sort of folky with a twisty tune to suit. Of course, it can’t be Christmas without an appearance from a certain historical baby and we’ve got that covered with The Bret Tobias Set and their seasonal 45 “For Christ’s Sake.” The track’s got a swaying, singalong quality with some nice vocal help from Krista Umile.
On the presents front, we’ve got plenty of holiday-driven needs getting musical expression. I love the demented stoner consumerism of The Memories “Santa Bring Me Some Toys.” It’s just so hilariously dead serious and over the top. The Decibels hit more traditional ‘I want my baby on Xmas’ themes with their “Christmas Wish,” awash in plenty of jangly guitars. Parallax Project take up a related classic theme, the better man talking up the gal with the cheating boyfriend, on their equally jangling “All I Want for Christmas (is a Chance).” And to wrap up this presents focus, U.S. Highball take on the Fab Four novelty number “I Want a Beatle for Xmas” and manage to add sonic depth to what was a pretty throwaway exploitation number. Well done boys!
There’s also room here for some traditional holiday music fare, zhuzhed up poprock style naturally. Fur Trader gives “Silver Bells” a shoegazey glaze, with a children’s chorus to add some sparkle. theCatherines add some Cars-worthy guitar and a lovely duo vocal to “Let It Snow.” Then “Sleigh Ride” gets a full-on guitar workout from an aptly-named band that keeps the electric lead lines popping all over the tune. It’s just what one would expect from a group with a moniker like The Guitars. The Jeanines take Yoko Ono’s “Listen, The Snow is Falling” and turn out a masterful folky, poppy performance. Sounds pretty traditional to me.
A lot of holiday songs focus on matters of time. Dublin’s Music City give us a Spector-worthy mediation on that rush to get home in time on their “Only Home for Christmas” with plenty of cool vocal oohs and ahhs. The Successful Failures conjure that child-only panic that comes with trying to fall asleep on Christmas Eve so you can enjoy “Christmas Morning (Yellow Canary).” With plenty of crashing guitar chords to soothe you to sleep. Not done with this one and Mark Crozier is already on about “Next Christmas,” though it’s the snow he’s forecasting a year hence. Love the squealy keyboard solo mid-song.
If there’s something this ole world needs it’s a bit more love, joy and jollity. And maybe a bit more faith in the kind of society good people can create together if we really try. John Hopkins offers up lovely old fashioned sentiments on “Jolly Old Nicholas” very much in a timeless but traditional form. Top pop songstress Lisa Mychols dials up the holiday good feeling on her irrepressibly hooky “Joy Is In the Giving.” Christchurch’s Imperial April ring out a big bell sound on their Christmas ode “I Love This Time of Year.” I could hear Blondie covering this. Wrapping up our holiday tour of duty through all the merry music I could scrape together this season we have Kirby Krackle and “I Believe in Christmas.” It’s poppy and moving and very much about the magic that can be this season.
Merry ho ho dear Poprock Record readers. I hope you get to enjoy peace, togetherness and some great music in whatever way you celebrate this time of year.
Photo courtesy Thomas Hawk Flikr collection.
What were the biggest hits that weren’t in 2017? Who were the biggest should-be stars? In our alternate universe here at Poprock Record, these guys were all over the charts, the chat shows, the scandal sheets, as well as memed all over Facebook, Snapchatted by the kids, and Instragrammed into oblivion. Jesus, they were so popular you are well and truly sick of them by now. But sadly for our poprock heroes, the universe is not just ours to define. In the world beyond our little blog, they could all use another plug.
Daisy House dominated my playlist this year, both their current record and their back catalogue. They channel the 1960s but never let it wholly define them. They have two amazing singers and one fabulously talented songwriter. They deserve all the accolades the internet can hand out. If this were 1970 they’d probably be headlining The Flip Wilson Show tonight. The Rallies were an accidental discovery that turned into an obsession. Their whole album is great but “Don’t Give Up” makes my heart twinge every time. Aimee Mann and Fastball ably demonstrated this year that veterans can still turn out fantastic, career-defining albums. And I got to see both of them live! Los Straightjackets did Nick Lowe proud, producing a phenomenal tribute to his body of work. “Rollers Show” was my go-to summertime happy tune.
I won’t review every selection from the two-four, but I will say that I think the mix of poprock I feature on the blog is evident here. There’s fast and slow, country and rock, guitars and keyboards, etc. And then there’s always the hooks. Case in point: check out the 42 second mark on Greg Kihn’s “The Life I Got.” If you don’t feel the excitement he creates with some classic poprock guitar arpeggiation and the subtle vocal hook you’re kinda missing what we’re doing here. Here’s hoping 2018 is as hit single worthy as this past year has been!
I am going to sneak in an honourable mention for what I consider the compilation of year: 
Talent is breaking out all over and it is relentlessly resynthesizing decades of poprock influences in these contributions, from slacker pop to repurposed 1960s-influenced singles to rehabilitated punk-infused melodies and rock and roll.
Variously described as ‘lesbian garage rock’ or ‘Sackville stoner chicks,’ East Coast-cum-Windsor, Ontario duo Partner actually defy easy categorization. Early songs like “Personal Weekend” and “Hot Knives” were rough, often hilarious, and definitely garage-y. So knock me down when I got wind of their just-released, super slick new record, In Search of Lost Time. This thing is a monster of exquisite playing, deft hooks, and whip-smart wordplay. I don’t even want to select a couple of songs to feature, it’s just too painful trying to choose! “Everybody Knows” is the first single, an obvious choice, and it’s a winner, chock full of great imagery of clueless stoners shopping their brains out in an oh-so straight world. But that would be obvious, wouldn’t it? I prefer to go with the songs that really highlight the duo’s musical subtlety and hooks. Like “Gross Secret,” a mellow number with a nice slow-burn guitar solo. “Angels from Ontario” sounds a bit like a certain kind of off Broadway musical number, before it takes off mid-tune. “Play the Field” and “Creature in the Sun” both have swell melodies while “Remember This” features a knock out guitar solo. There is something decidedly nineties about the overall sound, very Weezer in places, but the vocal blend of the two singers is totally unique. This whole record really is something special.
After featuring the Lund Bros. amazing back catalogue in August, imagine my delight to discover a new solo recording from chief songwriter and vocalist Chris Lund. Great Event Syndrome is self-produced and home-recorded, though you’d never know it from the Abbey Road-like production values. Content-wise the record is maximum ear candy with Lund slipping in all sorts of nods and winks to that classic mid-1960s British Invasion rock and roll sound. It’s all on display on the single-worthy “Tell Me,” from the chunky guitar hooks, to vocals that shift from sounding very Cheap Trick-Robin Zander early on, to something like Rush’s Geddy Lee in a mellow mood, to ever-so-Beatles on the stretched out ‘tonight-t-t-t’ in the chorus. Love the wobbly synth that crops up all over the tune. “What’s Her Name” is another highlight for me, showcasing Lund’s careful attention to vocal arrangements. Though the knee-jerk critics’ reaction is to connect Lund’s style with the Beatles (and on songwriting that is definitely true), vocally he reminds me a lot of Alan Clarke of the Hollies and the harmonies associated with that band. Also check out “The Juice,” where nice acoustic guitar picking combines with some 1960s American west coast vocal stylings to belie the song’s serious subject matter. And this just scratches the surface of this great album.Tell MeWhat’s Her Name?The Juice
The Safes follow a familiar trajectory in band development, from raucus rock and roll origins to a more refined sound as we get closer to the present. “Deception” from 2006’s Well Well Well showcases the fun, almost live feel of their early work. But fast forward to the 2013-16 period and the sound has shifted to more melody and harmony on tracks like “Live Life Like You Want to Live” with its almost plaintive single note piano solo. The basic elements are actually all still there, they’ve just been rejigged in importance, as can be seen from the great rock and roll guitar intro to “I Would Love You,” which also features a distinctive keyboard solo, this time on organ. Which brings us to the present and The Safes’ fabulous new record Tasty Waves. Sounding like a more punky version of Apples in Stereo, the band aces the first single and opening track “Hometown” with its chiming guitar and swinging hookiness. Here comes a serious ear worm infection! The whole album is pretty strong, though I’d single out “Streets and Sanitation” for special mention with its insistent strummy-ness, rumbly lead line and nice horn motifs.
Take some of the 1960s more melodic rock and roll and combine that with a 1990s punk esthetic and you might have Together PANGEA. 2014’s Badilac reinterpreted the Yardbirds’ pop sensibilities as if they were a garage rock act and the results were amazing on the title track and songs like “Offer” and “No Way Out.” Now they’re back with Bulls and Roosters and the creative reinvention of the 1960s continues, this time brilliantly mining Memphis soul on their swinging “Money On It,” though the ragged vocals stamps the tune as suitably garaged-up. Or things seem familiar with the in-your-face punky style on “Better Find Out” until the chorus explodes melodically like a Young Rascals’ single on speed. Run don’t walk to get tickets to these guys. Your dancing shoes will thank you.
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