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Blitzen Trapper, Brandi Ediss, Brett Newski, Brian Jay Cline, Bye Bye Blackbirds, Chris Church, Danny McDonald, Dave Kuchler, Dave Rave and the Governors, David Myles, David Woodard, Ed Woltil, El Goodo, Emperor Penguin, Esther Rose, Geoff Palmer and Lucy Ellis, Greg Pope, Gregory Pepper and his Problems, Hanemoon, Honeywagen, Honeywagon, Irene Pena, Lisa Mychols & Super 8, Lolas, Mo Troper, Mom, Mothboxer, Nicholas Altobelli, Nick Pipitone, Nick Piunti and the Complicated Men, Nite Sobs, Nuevos Hobbies, Papills, Peggy Sue, Peralta, Richard Turgeon, Searching for Sylvia, Steven Bradley, Steven Wright-Mark, Talk Show, The Amplifier Heads, The August Teens, The Click Beetles, The Feels, The Happy Fits, The Memories, The Rockyts, The Top Boost, The Vapour Trails, The Well Wishers, Tom Curless and the 46%
2020 was weird like no weirdness we’d experienced before. Thank goodness the music didn’t let us down. Paraphrasing some 1970s disk jockey, the should-be hits just kept on coming! My top 50 singles for 2020 covers the usual range of styles I jam into the poprock category, from Buddy Holly 1950s to Buck Owens country to various shades of jangle and new wave. I’m not saying these are the 50 best songs of the year, I’m saying these 50 had the hooks to keep me hitting repeat again and again. If Poprock Record were a radio station these tunes would have been in heavy rotation all this past year. The hyperlinks below will take you to the original post about each artist as they first appeared on the blog.
So let’s get to it, Poprock Record’s should-be hit singles for 2020:
1. Mo Troper “Your Boy”
2. Gregory Pepper and his Problems “Unsolved Mystery”
3. Dave Kuchler “Slave to Katy”
4. Emperor Penguin “You’ll Be the Death of Me”
5. Brian Jay Cline “Two Left Feet”
6. Hanemoon “Sunday Afternoon”
7. Danny McDonald “Cordyline”
8. Chris Church “Something’s Coming Fast”
9. Peralta “In Your Mind”
10. Steven Wright-Mark “Underground”
11. Brett Newski “Grow Your Garden”
12. Lolas “Wrecking Yard”
13. Peggy Sue “Motorcade”
14. Searching for Sylvia “SEMA (Sunday Evening Misery Attack)”
15. The Vapor Trails “Behind You”
16. The Well Wishers “We Grow Up”
17. The Top Boost “Tell Me That You’re Mine”
18. The Click Beetles “Don’t You Call My Name”
19. The Memories “Second Try”
20. The Bye Bye Blackbirds “Watch Them Chime”
21. Lisa Mycols and Super 8 “Honey Bee”
22. Nite Sobs “I Could Tell You”
23. Nick Pipitone “Hear Me Out Thienville”
24. David Myles “Loving You is Easy”
25. El Goodo “Home”
26. Steven Bradley “Pre-Emptive Strike”
27. The Happy Fits “No Instructions”
28. Greg Pope “Jump Back from the Light”
29. Mom “I Want You to Feel What I Feel”
30. The Amplifier Heads “Man on the Edge of a Ledge Contemplating a Jump”
31. Blitzen Trapper “Masonic Temple Microdose #1”
32. Dave Rave and the Governors “I Don’t Think So”
33. The Rockyts “Break My Heart Again”
34. The Feels “She’s Probably Not Thinking of Me”
35. Nuevos Hobbies “No Puedo Esperar”
36. David Woodard “Grand Scheme of Things”
37. Esther Rose “Keeps Me Running”
38. Talk Show “This Monologue”
39. Geoff Palmer and Lucy Ellis “Swim”
40. Irene Pena “Own Sweet Time”
41. Ed Woltil “When We Fall in Love”
42. Papills “What to Call It”
43. The August Teens “Crestfallen”
44. Richard Turgeon “Higher”
45. Nick Piunti and the Complicated Men “Bright Light”
46. Tom Curless and the 46% “Just Wanna Talk”
47. Brandi Ediss “Bees and Bees and Bees”
48. Mothboxer “Accelerator”
49. Honeywagen “For Love”
50. Nicholas Altobelli “Ghost”
So many great songs! So hard to make distinctions amongst them … But this year’s chart topper Mo Troper has got something really special going on with “Your Boy.” The track is a case study in should-be hit single construction and execution, from the opening guitar hooks to the silky smooth pop vocal to the exquisite synthesis of musical elements, like the plinky piano, the dash of distorted guitar here and there. The song is the earworm equivalent of a Dutch masters miniature painting. A very close second this year came from the boundlessly talented Canuck Gregory Pepper and his Problems with “Unsolved Mystery.” I can’t get enough of Pepper’s creative songwriting and unique approach to instrumentation. The song is a hook cocktail, a nonstop aural assault of vocal and instrumental melody. Former Soul Engines member Dave Kuchler slots into number 3 with an amazing comeback single, “Slave to Katy,” a song that ripples with Springsteen organ and hooky guitar leads. This is melodic heartland rock and roll at its best. Releasing an album and three EPs in 2020, Emperor Penguin definitely win the productivity award. But I’d have been happy if they’d just released one song, the Byrdsian “You’ll Be the Death of Me.” Rounding out the top 5 Brian Jay Cline “Two Left Feet” gives the harmonica a work out on a great driving poprock number. And I could go on about the remaining 45 should-be hits but for more on the rest of the list hit the hyperlinks for my original write-ups on each.
This year’s special mention award goes to Mondello for his wonderfully quirky one-off single “My Girl Goes By.” After taking 20 years putting together his debut album one year later there’s no sign of a sophomore slump with this follow up single. From the Tijuana horns to the unique guitar work to the way the hooky swinging chorus emerges out the discordant and offbeat body of the song, it’s magic. More? Yes please!
2020 has been devastating for artists that rely on live performances to make ends meet. Now more than ever it’s crucial that we all pull together to support music and the music-makers financially. Give what you can, buy directly from artists whenever you can, and share links for the music you discover with your friends and acquaintances.
No pandemic is gonna stop us twisting that radio dial to find out just what is out there music wise! Today’s featured acts take ‘moody’ and ‘strange’ in all sorts of melodic and unexpected directions.
All my favourite poprock artists are growing up. Here with another 30-something pre-midlife crisis album is Mo Troper and his wrenching pain and discomfort adds up to 34 minutes of sweet sweet listening pleasure for us on his latest, Natural Beauty. Similar to Gregory Pepper (whose recent I Know Why You Cry is another winning sonic rendering of 30-something issues), Troper is toting up his 20s shortcomings with a bevy of frank, focused, but still melodious tunes. And like Pepper, Troper’s latest may be his most mature, fully realized work to date. “I Eat” kicks things off and sets the tone for the album, with its serious theme and carefully manicured production. Natural Beauty is just full of wonderfully layered sounds, strikingly varied keyboard flourishes, and an often naked honesty on the vocals front. Then again, “Your Boy” is the other side of this record, a textbook poprock masterpiece, anchored by a brilliant La’s-like jangle guitar hook at the start which just keeps mutating across piano, electric guitar and a slew of melodic vocals. This song is the soundtrack to a 1960s montage sequence where the boy meets a girl and joins a band and then a host of happy stuff happens. More serious themes emerge on “Potential,” “Lucky Devils” and “Better Than Nothing” but still they remain perky, poppy numbers. Possible influences abound here, with perhaps a bit indie 10cc or McCartney-meets-Morrissey on “In Love With Everyone” or a McCartney/Shins combo on “Your New Friend,” while “Everything” really reminds me of Apples in Stereo’s “Seems So” period. Personal fave: the new wave-ish “Almost Full Control” with its hypnotic bass work. For me, Natural Beauty is heading straight to the ‘best of 2020’ list, a must-have-the-whole-album release.
Melbourne’s Danny McDonald is a veteran of the Aussie indie music scene, playing on over 70 different projects since the early oughts. But one listen to his latest EP Modern Architecture and you’re going to be wondering where has he been? How has a guy this talented kept such a low international profile? Right out the gate, McDonald grabs the listener full force on the supercharged power pop should-be hit single, “Cordyline,” with its Big Star hooks and Brydsian background vocals. Then things rumble-guitar along nicely on the touching, rootsy duet with Anna Burley, “The Suburb I Grew Up In.” The 58 seconds of “Judge Me for my Art, Not Where I Live” sounds a lot like a punked up treatment of a great lost Plimsouls track. “Commuters Lament” vibes just a little Jayhawks while “Keeping the Dogs at Bay” is in the same vein as Richard Turgeon’s stolid stripped-down rocked-up pop. My only complaint about Modern Architecture is that is all ends too soon!
Another winning act from Melbourne is Adam Madric’s latest project, Pure Moods. On their debut album, Upward Spirals, there’s a fleeting Teenage Fanclub vibe at times, but on the whole this record is marked by a distinct sound – the rhythm guitar. More than is typical, it’s up front in the mix, anchoring the sonic portrait of the band. I love what sounds like an envelope of sound, the jangle drone, that opens the record on “Tide” and remains on “Backwards World.” Things shift gears with the title track which grooves along with a very 1970s soft rock rhythm guitar – that is until the Kraftwerk keyboards kick in and the whole thing slides in a different direction. There’s a tempo uptick on “Sideways Glance” and the jaunty “Sparkle” and both tunes shine melodically. Pure Moods’ Upward Spirals makes for intriguing, ultimately enjoyable listening with catchy songs that ride the tension between their lively musical performance and Madric’s somewhat low key, alienated vocals.
Taking a spin through Strange Passage’s Shouldn’t Be Too Long makes you realize just how good all those Morrissey solo albums could have been if they’d just sounded like this. And these guys are not even from some dreary northern British former industrial town but they’ve nailed the jangle alienation of the Mopster and his guitar pals. Seriously though, the songs here bubble with Smithian fun, like the energetic “Cloying Melody” with its rush of guitars and R.E.M.-meets-The The vocals. From the opening cut, “Idle Time,” it’s clear this is a really strong outing song-wise. Frankly, I can’t find a single track I wouldn’t hit replay on. Ok, maybe “Shouldn’t Be Too Long” seems special for cranking the sparkle on the guitars or “Ode” for being so Paul Simon doing Morrissey. Despite the comparisons, Strange Passage are not some wannabe something else band. They work this sound into something quite their own and it’s a pleasure to hear.
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