It’s a special ‘Ryan’ only blog post, dedicated to new musical offerings from people with that name. Luckily we have two great examples handy.
Ed Ryan tells us the aim of his new record A Big Life “was to make a big, fun rock record!” Well he’s succeeded and then some. From the rollicking opener “Settle Down” with its rhythm guitar shots and 1980s J. Geils synth lines to a closer that reworks Solomon Burke’s “Everybody Needs Somebody To Love” into a rock and roll dance stomper, this record hits all the party marks. It’s like he’s taking us through all the many musical eras he’s lived through since the 1970s, adding his own distinctive Ryan-esque filter to everything. We go from what sound like 1970s guitars on “Take Away Everything” to a 1980s guitar vibe on “The Dreaming Moon.” “Wonder” is a lovely number that melds acoustic guitar and organ in a very 1970s Stonesy way. “Mary Anne” exudes what we used to call AOR (album-oriented rock) in the 1980s, where big crashing guitar chords and screaming solos ride a solid melody. Title track “A Big Life” also goes guitar-big but really delivers a subtle hook in the chorus. Then there’s the post-pub rock-styled “You Keep Me Up All Night” with its “I Knew the Bride (When She Used to Rock and Roll)” feel. But if I had to single out tracks for extensive radio play they would be “Lighthouse” and “Testify.” “Lighthouse” combines jangle guitar with a jaunty tune that skips merrily along while “Testify” just sounds like the single to me.
On his latest LP The Last Rock BandRyan Allen cooks up a concept album that explores the classic ‘Is rock dead?’ fixation of rock and roll players via a disjointed band biography. With song titles like “Start a Band,” “Like the Ramones,” and “The Last Rock and Roll Band” you can see where this is going, narrative-wise. And listening through the album it’s clear the lyrics here are smart. But concept albums really live or die by the music. Happily these tracks rock, in the very best way. As usual, the range of styles Allen pulls out is impressive. “The Last Rock Band” sounds like an edgy Bryan Adams, “Discovery” is laden with guitar windmills borrowed from The Who, while “Stop the Train” has a delicious reverby pop sound reminiscent of Fountains of Wayne. Going more for the 1970s “Second Act” has those big seventies Thin Lizzy guitars or you can enjoy something that sounds like Bowie meets Big Star on “We Have Returned.” “Bought a Computer” is that part of the story where the protagonist briefly abandons his guitar for technology but all I can hear here is some spot-on Chris Collingwood kind of lyrical phrasing. “Wrong Place Wrong Time” is just a great intense rocker. Saving the best for last Allen wraps the album with the obvious should-be hit single “Because I Have To,” a nonstop hook machine of a song. Rock may not dominate popular culture like it once did but Ryan Allen’s latest long-player proves it’s not quite on life support yet.
People named Ryan sometimes make great music. Like these guys. Press ‘Ryan’ as your hotlink choice to find out more.
Some performers really lean on the excitement part of music. They’re a barely containable blast of pure energy. You can tell they just can’t wait to get on stage, to roll tape, and let go. That’s today acts, though in very different ways.
The word I associate with The Blendours‘ creative force Trevor Trieber is ‘glee.’ He’s kinda like that foul-mouthed, badly-behaving distant cousin your parents worry about but you can’t wait to hang with. His work conjures up a pristine world of early 1960s song structures, melodies and harmony vocals, but slathered with obscenities and observational lyrics that wouldn’t make it on American Bandstand. But as Trevor might say, ‘Fuck it.’ There’s just too much fun going on here. Go On Vacation is the band’s fabulous, delightfully crude new EP. It’s only ten minutes long but manages to space it over seven songs. Trevor doesn’t linger or belabor the point but, hey, you can always hit replay. Some tracks race along, like the manic “Buzzkill” with great lead guitar runs and a clever juxtaposition of vocals. Others, like “Tell Me the Truth,” take their time, expertly mimicking that early 1960s feel of teenage emotional drama. Instrumentally the album is pretty spare, often just acoustic rhythm guitar carrying things with some electric lead guitar adornments. But Treiber somehow makes it sound pretty rock and roll on tracks like “I’ll Be the Guy.” And how many writers can slip a ‘sha na na na’ into a song so effortlessly? I love it in “Good to You.” Album closer “Goodbye Christine” even offers up some jazzy electric guitar shots. You can read this blog’s love letter to The Blendours back catalogue here. Go On Vacation is definitely keeping that love alive.
After a long career in various rock and roll outfits Ed Ryan’s recent string of solo efforts has allowed us see the many, many sides to his musical personality. Albums Roadmap and Furious Mind both kicked off with screaming guitar solos but last year’s Even Time softened us up with a hooky keyboard effect on its opening cut. Then inside each release were songs cast in a range of styles spanning decades of melodic rock and roll influences. Now he’s back with another installment that both confirms and challenges our expectations. Don’t Follow Where They Lead is not just a timely caution given our recent political winds but another celebration of melody, in a variety of fun jaunty styles. First on my agenda are the straight ahead poprock gems. Album opener “Anytown” sets the tone with jangly guitars and hooky descending bass lines. Or there’s the choppy rhythm guitar and those distinctive early 1980s vocals driving “Biggest Fan.” Another fun poprock confection is “Maybe I’m Dreaming,” easily a missing deep cut from some cool 1979 guitar band. But the obvious should-be hit for me is the sneaky earworm, “Everyone Wonders.” I love how the song shifts intensity and attack, while offering striking changes in the structure and melody. Beyond the expected poppy rock and roll Ryan shakes things up tempo and style-wise on the mellow John Waite-ish title track or with the hepcat shuffle defining “Fish in the Sea.” Or listen to how the piano line weaving through the chorus of “Made Me” adds an extra allure to tune. I also like the guitar tension Ryan creates on “Why Doncha Do It,” only to serve up a glorious release in the chorus. The album also includes a few delightful slower numbers like “What’s True” and “So Far Away.” Altogether, Don’t Follow Where They Lead is another winner from Ed Ryan.
Who am I kidding? I’m clearly the excitable boy in this post scenario. There are just some acts I can’t wait to hear more from, like The Blendours and Ed Ryan. Check them out online and see they don’t raise your pulse just a little.
I know, you’re too busy to scour the racks for great singles. If only you could find some great albums to kick back with? Something to slip on the old record player and enjoy with a cool drink. Well here at Poprock Record we feel your pain. So we’ve assembled the crack team you see above to vet the very best LPs from throughout the year that was 2020. The kids may be a tad young for martinis but do not doubt their vinyl erudition and exquisite taste. From more than a hundred possibilities they’ve whittled things down to an essential 25 albums that you must possess to say you’ve really experienced the past twelve months of melodic music. Fill your K-Tel Record Selector with these super fantastic long players!
So, let’s get to it – Poprock Record’s 25 must-have LPs for 2020:
Gregory Pepper dominated my listening for 2020 with his outrageously good I Know Why You Cry. The album was his own specially curated re-recordings of tracks originally composed during his year long Song-of-the-Week extravaganza. There’s whimsy, there’s pathos, there’s references to Enya. It’s the kind of poprock that makes my heart burst, a never-fail mood improver. Coming up second this year was the kick-ass second album from The Happy Fits, What Could Be Better. Other than Pepper, I’m hard pressed to suggest anything. This whole album is a killer production that puts the cello at the centre of melodic rock and roll (where it belongs). Here are songs and performances that inspire descriptions like ‘thrilling’ and ‘exciting’. And then there’s the extreme hooky pleasantness of Nite Sobs throughout Do The Sob! An impressive head-bopping good time. And so on. All the records here really pay dividends via repeated listens so carve out some time to enjoy them. The great lost art of an album-long musical vision lives on with these 25 selections.
What?! Another Pepper selection topping the chart. Fear not dear reader, our completely unscientific selection process has not erred here. Hey, I just really like Pepper’s stuff. And he is crazy talented, as is obvious from this stylistically varied and pumped up collection of song snippets, 10 in all amounting to just 15 minutes of music. But what a ride. I mean, just check out the brilliant 17 second track, “Do Sports.” I want more! These other EPs are pretty special too and fabulous for those times when you can barely sit down and squeeze in a quick sherry.
And let’s not forget, Poprock Record’s best compilations for 2020:
2020 tried our patience but, glass half full, it did provide a bit of downtime. That allowed for a lot more album listening than normal and what a treat that turned out to be. And given the impact of 2020 on live music, artists need albums sales more than ever. So let the rewards flow freely from your e-wallet to theirs.
With records that are all hot off the digital presses, this is definitely a timely episode of breaking news. And the anticipation is high for these five artists because they regularly hit it out of the poprock park. Have they done it again? Spoiler – get ready for some jangling good times.
Scottish jangle stalwarts The Vapour Trails wrap their new album Golden Sunshine in sixties pop psychedelia and the results are out of this world. The opening title track rides that fine line between melodic tripping and more free-form musical extemporization. The sound is a new sonic frontier for the band, melding sixties influences with 1980s reinventions of those themes from bands like The Stone Roses and even mid-period Grapes of Wrath. This carries on with “Dr. Barnes” which offers up a hooky sitar-like rumination on the traditional psychedelic sound. But the band doesn’t push the theme too far, returning to more familiar jangle pop on “Lonely Man” and “Why Wonder Why?” Then there’s the magnificent “Behind You” with its stunning “Day Tripper” like lead line. Nobody throws down 1965 lead guitar work quite like this band – I mean, just wait for the sprightly lead guitar instrumental break – heaven! This song alone is worth the price of admission. Other ear candy moments include acoustic guitar-driven “This May Be the Time,” with its distinctive drum feel and lovely harmonies, and beautiful, understated “Seabird.” With The Vapour Trails you might come for the jangle but you’ll stay because they offer so much more. This is a band that has yet to reach its musical summit and I’m loving the ride.
You only need to hear about ten seconds of the guitar hook kicking off album opener “Upper Hand” to know you are in for something special with Nick Piunti and the Complicated Men’s new record. Piunti’s been at this a long time and he knows where he fits into the power pop pantheon so Downtime delivers the taut melodic rockers we’ve come to expect. Needle-dropping this record, I sometimes hear the Beatles or early period Bryan Adams, Mike Viola, or the under-appreciated Odds. But really this record has a timeless, classic poprock sound all its own. All the songs on this release are pretty strong but click on “Bright Light” for a masterclass in melody-drenched rock and roll, featuring some heavenly background vocals. As for the rest, well how do you pick out highlights when everything is so good? You won’t go wrong with the Bryan Adam-ish “Every High” and “Never Belong to Me” while “Contract” has a great blast of guitar driving it along and a very Odds-like chorus. My personal fave is the Squeeze-meets-Tom Petty “Gonna Be Good” with its hypnotic occasional keyboard backdrop. And just to show he can slow things down, “Good Intentions” offers up a lovely acoustic guitar and piano number. All the hip indie bloggers are talking up Downtime. Don’t be left out.
With a career like Bill Lloyd’s you might expect him to kick back and take it easy. He’s played with so many cool artists, put out a great body of work as one-half of Foster and Lloyd, and has countless killer solo albums to his name. But Lloyd’s got more music to share and the message from his new Don’t Kill the Messenger is definitely positive. Why? It’s the songwriting. Lloyd keeps churning out listenable tunes, delivered in his comfortable poprock style. Put your ear next to “I’ll Take It From Here,” particularly when Lloyd leans on ‘Amanda’ in the chorus, and tell you me you haven’t caught something you can’t get out of your head. Similar hooks can be found in songs like “Not This Time ‘Round” and “Sorry, But I’ve Got to Take This.” I did do a double-take on a few tracks, mistaking them for cuts from some new Marshall Crenshaw album (like “Don’t Kill the Messenger,” “Undone,” and “The Girls of Sylvan Park”). At other times, the songs reminded me a little of Ben Vaughn (“I’ve Had Enough of Your Love”) or some good old pub rock (e.g. “Kake’ n’ 8 it” and “You Got Me”). And Lloyd cooked up a few surprises, like the Talking Heads-ish “Etch-A-Sketch” and the breezy, instant standard “Kiss of the Summer Wind.” So you don’t need to hesitate over this album. Paraphrasing Merle Travis, a record from Bill Lloyd is like money in the bank – guaranteed!
Richard Turgeon kicks off his new album Sea Change with some ominous chords ringing out over “Never Leaving California,” perfectly capturing the enduring sense of dread that defines out times. The song’s chilling POV is the rumination of a mythical Charles Manson follower, drawn into the myth and mayhem of a particular moment of time for the Golden State. From there Turgeon grinds out his distinctive Matthew Sweet-meets-grunge sound on winning, timely tracks like “Still Not Ready to Die” and “Running for Your Life.” Sea Change confirms Turgeon as a veritable hook machine as the songs here are all just brimming with catchy melodies. I mean, check out the ear worm choruses of “Car Crash” and “Cull the Herd” for a quick confirmation. And then there’s the real treat, the bliss-inducing, obvious should-be hit single “Higher” – power pop perfection! This record also features a few nice departures from the usual, like the Weezer-vibing “Jolene,” the low-key dreamy “Sunset,” and the Crosby, Stills, Nash and Young-like vocalizing on the “The Journey,” with its cool sparse finger-picking opener. This record just confirms why Turgeon keeps showing up on so many ‘best of’ lists each year.
On Even TimeEd Ryan returns to his roots, re-recording some tunes from previous bands The Rudies and Jupiter Jets, as well some new material. Having noted that, opening and title track “Even Time” marks a bit of a departure for the normally guitar-oriented Ryan with a reliance on keyboards to anchor the tune that adds just a bit of dramatic tension. There’s also some refreshing naked acoustic guitar here on “I’ve Got the Smile” and the rollicking “I Want to Go.” But worry not, power pop Ed is here full force on should-be singles like “Say What You Will” and “Let It Out,” with some catchy neo-1950s background vocals elevating “Never Lied to You.” “Here and Now” kicks off with a blast of Springsteen-like energy before settling into a solid rocker. I really like the nice change of pace with the piano-based “Everywhere,” a delightful tune with shades of Styx in places (and that’s not a bad thing, in this case). Ryan then wraps things up with a return to tradition on “Make It Through the Night,” a track that really captures the classic power pop sound of late 1970s sound, complete with punchy chorus. All in all, Even Time marks a welcome return to the studio for this music veteran.
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 Altobellipicks 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.
Sometimes you run across a band’s new song and then discover a whole fabulous back catalogue of musical adventures. Just seems greedy to keep that hook-filled past under wraps. So today we celebrate the present and the past musical accomplishments of this crew of poprockers.
Ok, truth be told I didn’t actually run across any brand new material for Ed Ryan. It’s just that I realized he had been in the ‘should write about’ pile for too long. Ryan goes way back – to the 1970s and 1980s with various power pop bands. That must be why his two recent solo records sound so accomplished. From the blistering guitar opening of “Everything is Going to be Alright” to the achingly sweet vocal on “Heartbreak in Disguise” you know you’re in good hands on 2016’s Roadmap. This is an eminently playable record, and you don’t even have to turn it over! I’m particularly fond of the mid-1960s British beat group vibe all over “Bridges are Burning” and the way a basic rock and roll sensibility is art-rocked up on “Elvis’s World,” with its wonderfully kooky instrumental break. Then 2017’s Furious Mind is even more blistering out of the gate with “You’re My Kind of Fun,” and even more achingly sweet on “Lullaby.” If there’s a difference, I get the sense that Ryan really pushed up the Beatles’ crossfader on these recordings. “Here I Am” has some lovely late-period Beatles’ touches on the instrumentation, while “Drifting” has such an early period Beatles song structure, particularly in the verses. Other highlights for me would include “Rocket Ship,” which sounds very Ramones-fun to me, while “So Hard to Know” offers a nice acoustic country-ish turn. But my fave is the melodic rocker “Can’t Drag Me Down.” Can’t wait to see what Ryan comes up with for 2018!
Brad Peterson has described his style as ‘garden shed rock and roll.’ Well he has some pretty complex and impressive results coming out his backwoods Chicago DIY garden recording studio. I mean, I love DIY but it usually sounds a bit more rudimentary than the polished stuff Peterson is offering up. Case in point: his new record Ellipsis sounds like any number of major label indie offerings with songs like “What the Heart Will Allow” and “Unbroken.” But it’s the more poprock hooks that really get me. I’m currently addicted to the ear worm stamped “Clap Your Hands.” This one is so simple but still simply irresistible. “Far Off Places” and “Just In Time” also showcase Peterson’s melodic chops while “See You on the Other Side” exudes a Springsteen-esque weariness, complete with aching harmonica solo. It always feels good to feel this bad. And if you like this, there’s more in the back catalogue. 2009’s TheDuctape Album has a song that is so Steve Miller I could have easily mistaken “More” for the master, though the Beatlesque bridge might have given the game away. And then there’s “Beat Myself Up” from 2006’s The Red Album, a pretty special single featuring some subtle Everly Brothers’ hooks and harmonies.
Joe Adragna’s work with The Junior League is an exquisite composite of 1960s to 1980s poprock motifs. His recordings are full of hidden treasures, subtle homages to all sorts of great artists and recordings. His new album Eventually is Now showcases this nicely with its opening track, “Teenage Bigstar,” which delivers just what the name implies. Or dig the very subtle Mamas and Papas background vocals on the album’s single, the infectious “I Only Want to Begin Again.” Another radio-friendly, hook-filled single would be the country-rock-ish “Someday.” But the whole record is a pleaser. Digging into the band’s catalogue there are just so many great songs to highlight. The debut, Catchy, from 2006, is loaded with should be hits: “The Beautiful Room is Empty,” “Hear My Voice,” and the hooky tour de force “I Don’t Believe in Love.” Or the melodic rootsy feel of “Keep it Home” from 2013’s You Should Be Happy, which also features the heartbreaking duet, “I Don’t Think I’m Kidding This Time.” “Also Rans” from 2015’s Also Rans has a sweet country rocking feel. And this just scratches the surface of this band’s great back catalogue.
I get mail! Jeff Litman wrote last week to let me know about his new record Crowded Hour so I gave it a listen. “Only You” grabbed me as the obvious single, with its 1980s melodic torch rocker vocals and sweet lead guitar lines. I also really liked “Disappear,” a nice spare acoustic ballad. Wasn’t long before I was digging through Litman’s past recordings – holy cow! Some great stuff on all his previous releases. “Primetime” from 2015’s Primetime has a very early Elvis Costello sheen. 2012’s Outside has a host of poprock shades, bit of John Hiatt on “Don’t Do That,” Tom Petty on “Don’t Want to Talk About It,” and more touching acoustic balladry with “What Hasn’t Happened Yet.” Litman’s 2009 debut Postscript sounds very Michael Penn to me, particularly on tracks like “Anna” and “Everything You’re Not.” But then things break out in a cool late 1970s rock mode with “Detroit Lawyer” and “Knock Me Down.”
Unlike days of yore, where old recordings would end up in a cut out bin somewhere, seemingly lost forever until suddenly discovered years later (and sporting a huge ‘rarities’ price tag!), old stock never goes bad today. You can easily take stock of Ed Ryan, Brad Peterson, The Junior League and Jeff Litman right now, courtesy the good people at Bandcamp. Ahem … yes, right now.