Tags
2 Wheeled Tricycle, Gentle Hen, hHead, John K. Samson, John McMullan, Rogue Wave, Starky, The Incredible Casuals, Timmy Sean
School is a perennial theme of rock and roll that, on the whole, doesn’t fare too well. Sure, the Beach Boys have that cheery “Be True to Your School” vibe going but they’re an outlier. More typically school appears as a burden, as something to escape from, preferably as soon as possible. The traditional sentiments were ably established in Chuck Berry’s classic “School Days” back in 1957. More recently Australian indie poprockers Starky summed things up with “Theme from High School” from their 2004 debut LP Mirror, Signal, Manoeuvre.
Ok, so high school sucks. What about higher education? Is there musical love for technical college or university? Our mix of tunes offers a range of views, as is only appropriate for academe. Rogue Wave conjure up the uncertainty that is the uni experience for many on “College” from 2013’s Nightingale Floors. Things are less cerebral for 2 Wheeled Tricycle’s “College.” Here the issue is more about whether to go or not to, egged on by some nice edgy synth riffs. Gentle Hen vibe some Hayden on “College Town,” a song with a sunny, good times feel and just a hint of darkness. Timmy Sean spares a moment during his concept album A Tale From the Other Side for his protagonist to reflect on “The College Year” and how decisions taken then impact what comes later, delivered with Sean’s larger than life theatrical pop hooks. The Incredible Casuals are all about the party experience. On “College Girls” the band execute their unerring rock and roll chops with shimmery guitars and some seriously melodic humming.
Advancing up the academic ladder, Toronto’s hHead bash out a great melodic rock and roll tribute to higher education on “University.” A more indie Grapes of Wrath or Northern Pikes is what I hear here. Former The Trend songwriter John McMullan has put out a few great solo tunes, like his tell-all expose of legal education on “Law School.” I love the Springsteen organ and the hooky guitar lines all over this song. And McMullan actually did become a lawyer. Winnipeg music veteran John K. Samson knows academe as well as the music biz and captures every grad student’s dilemma on “When I Write My Masters’ Thesis.” Then he updated his musical academic CV in 2016 with “Postdoc Blues.” I guess he got that MA thesis written after all.
Forget enrolling in some school of rock, you can learn about great music just about anywhere. Like here. Right on this blog. Just scroll back through the posts for your own do-it-yourself degree in poprock.
2018 was a freakin’ fantastic year for poprock! How do I know? Every year-end I put together a playlist of tunes released that year. In 2016 it consisted of 58 songs clocking in at just over 3 hours. By 2017 that list expanded to 98 songs running over 5 hours. This year the list exploded to 175 songs going on for over 9 hours! My list of should-be hit singles had to expand to a top 50 just to accommodate all this talent. Hit the links below to find each artist as featured in my original blog post this past year or to go to their bandcamp or Facebook page if I didn’t write them up.
Time it was that the choice of an album’s single was both a serious artistic and financial decision. Putting out a single meant committing considerable resources to pressing them up and distributing them to radio stations, reviewers, and nightclubs. Today every cut on an album could theoretically be the single, depending on listener downloads and streams. But artists and record companies do still sometimes make a fuss about ‘the single’ as a way of drawing attention to a soon-to-be-released album. Or just as a way of maintaining interest in the product after its initial drop. For me, the single should be an album’s most potent hook vehicle, the song that will have listeners searching out the record for more. And it’s a way for me to highlight some great songs on the blog that just don’t fit anywhere else!
Michael Penn launched into the charts in 1989 with his debut album March, largely on the strength of a break out single – “No Myth” – which got to 13 on the Billboard Hot 100. But three albums later it was pretty clear that his chart success was a bit of a blip, despite turning out consistently strong material. Still, in 2005, after a five year break, he released the stunning Mr. Hollywood Jr., 1947, an amazing concept album chock full of striking would-be hit singles: “Walter Reed,” “On Automatic,” “A Bad Sign,” and many others. Still, no chart love. So he walked away, shifting his considerable creative talents to television and movie soundtracks. I rue the day somebody lunched him into this decision. Luckily, the occasional single still emerges from time to time, like “Anchors Aweigh” from volume three of his soundtrack work of the HBO show Girls. Deceptively simple sounding, resting on a basic acoustic guitar backing track, Penn adds impressive depth and hooks with his vocals and the occasional instrumental flourish.Girls
Speaking of Penn, his spouse has had a very different response to chart indifference. Sure, Aimee Mann has done some soundtrack work too, most notably Magnolia in 1999. But she’s also kept up her solo work and a host of other creative partnerships. Mann is unique in not only consistently writing great songs, but she has developed her own distinctive songwriting style, something that few performers – the Beatles, Elton John, Elvis Costello – have really managed to do. “Can’t You Tell” is an original song Mann created for the anti-Trump political project, 30 Days, 30 Songs, narrated from the perspective of Trump himself, basically saying ‘come on folks, you know I don’t really want this job, it’s just my ego at work here …’ The song is not a charity knock off – that is not the way Mann does things. Instead, “Can’t You Tell” is a solid single, the mark of Mann’s talent that she can just give away such strong material for a one-off project like this.Can’t You Tell
Gentle Hen is the brainchild of Henning Ohlenbusch, seemingly the hardest working man in show business this side of Northhampton, Massachusetts. He is one of those guys who is part of half a dozen bands and collaborates with a half dozen more, while still getting out some solo stuff on the sly. The Bells on the Boats of the Bay is the debut album from his old band but now under a new name and everything seems to falling into place: fabulous design on the artwork, stellar songwriting, and a great sound. There are a whole lotta influences going on here: chiming guitars, Ben Vaughn-esque vocal stylings on some numbers, and hooks, hooks, hooks. “I Don’t Know Anyone Else But” is a strong single featuring a late 1960s British poprock guitar line opening out to lilting melody that shifts tempo to great effect in the chorus.
Poprock Record 