Mike Browning has dug up a real gem of a minor hit from the 1960s to offer up as a cover. “Lost in Conversation” was originally recorded by Halifax, Nova Scotia band The Great Scots in 1965. Their story is a hilarious mix of lucky breaks and near misses, featuring tartan costumes and an apparent willingness to do anything to get attention. The band was originally known as The Beavers and all four members sported mohawk haircuts. This was 1962! Then as The Great Scots they donned kilts and working the Scottish Canadian angle mercilessly. Epic Records signed them to a record deal in 1965 but only put out a few singles, so quickly did fashions change in that era. Eventually, as sixties nostalgia created an audience for lost bands, two albums of material recorded by the band back in the day did get released. And it’s pretty good. You can check them out at their various internet real estate.
But back to Mike Browning’s new single. The original of “Lost In Conversation” comes off like a cross between Merseybeat and Paul Revere and the Raiders, jangly but with a muscular vocal. Browning’s version tweaks the jangle guitar, adding extra colour to the tone, while his vocal is more folk-rock innocent and slightly plaintive. It’s a winning formula, worthy of repeat plays. Now the question is, shall we expect more from Browning in this vein? Here’s hoping.
Mike’s more than just one cover song. You can dig into his back catalogue at his Bandcamp page.
Cold winter temperatures up here in the Great White North have my feet tapping for all the wrong reasons. Time to heat things up with singles so sizzling they’ll scorch the turntable.
There’s something very 1980s space-age soundtrack to the vibe on Ricky Rochelle’s new single “Imagine Being Eric.” It’s there in the background keyboard runs and arrangement of the vocals. Very 1983. Then we have Retro Metro music man Super 8, back with jangle chanteuse Lisa Mychols on a new song. “Pop Radio” celebrates the joy of finding a great song over the airwaves. Quaint though the sentiment may be, the track hits all the modern marks for sixties timelessness. Putting power pop maestro Kurt Baker together with Wyatt Funderburk was always going to make for ear-catching experience. Baker’s new release “Warm in the Winter” is hooks at every turn, all sleek and shiny pop laced with plenty of rock edge. And on point for this theme post. Moving into more dream pop territory Shapes Like People offer up a mellow bit of jangle that practically flows like water on “Ambition is Your Friend.” Just one of a number of atmospheric cuts from their new LP Ticking Haze. Belgium’s CMON CMON excel at a kind of wall of sound aural pop assault. “Turn Off the Lights” balances a solid rocking backing with a smooth vocal and pop melody.
London’s The Tubs come on like some surging poprock outfit on “Freak Mode” but when the lead vocal kicks in such perceptions are quickly derailed, conjuring instead a more English rural folk aura. But the combination somehow still works in a beautifully creative tension. Ok this next band got to me at the name level. I’ve spent my life quipping ‘he’s dead Jim’ at all sorts of inappropriate moments. So running across Aberdeenian Scot rock combo He’s Dead Jim I knew I had to cover them. “Swim to Oblivion” is just one of 14 winning swinging rock tracks from their recent LP Head Like a Toyshop. These guys are very much alive – no red shirts here. Boston’s The Fatal Flaw deliver the goods again with their new single “Baby Tooth.” It’s got a hint of pop punk, in the vocal delivery particularly. But the chorus steps on the hooks for all they’re worth. Meanwhile in Philadelphia The Tisburys are priming their audience for an album release sometime in April. In the interim you can get the flavour of what is to comie with the propulsive, highly melodious “Forever.” Mike Browning pulls a rarity off oldies radio for full-on folk rock coverage, The Ragmuffins’ 1967 single “Four Days of Rain.” With vocal support from daughter Jillian, the duo recreate a decidedly Brydsian ambience.
The band Free Weed have produced what really should be the US public service theme song. “Government Employee” has mystery and cool New Order bass work and a freaky bit of psychedelic guitar work. Did I mention it’s cool? It really is. From the same record label, LA’s Gnar Tapes, The Memories lighten the mood with their chipper acoustic guitar strum and mellifluous single note keyboard work. The slightly sinister and otherworldly vocal offsets this lighthearted musical bed so effectively. Two decades on should-have-been power pop superstars The Mayflies USA are back with a brand new single and it is like they never left. “Calling the Bad Ones Home” expands the band’s sonic palate from Big Star to The Jayhawks and I’m liking it. If I can’t have a new album from Guster or Chris Collingwood then Gentle Hen will fit the bill. Actually let’s add them to that bill. Their new album is The Wrong Record and it’s all good but check out “It Only Takes a Couple Words” particularly. The vocal and guitar adornments sound so simple but they add incredible sonic depth to what is going on. Shifting to swinging London I like what The Open Flames are doing on their new song “Drop a Coin.” There is some very cool bass synth going on and a flurry of vocal ba ba ba ba ba’s adds charm to an already maximum charm ditty.
I’ve been wanting to write about the madly talented So Cow for ages. The band show so many stylistic faces to the world. Their latest single “Reputable Seer” seems like as good a place as to start. Check out the Beatles 64 guitar tone kicking things off before the sound moves in an Elephant 6 direction. Some very cool Apples in Stereo vibes happening here. Reliably melodic rocker Brad Marino has an album of rarities, remixed and unreleased stuff about to hit the e-shelves and from what is presently available online even attentive fans are going to find stuff they’ve never heard before. Like “Not Fooling Me” in my case. This is classic Marino hooky goodness, tied up with his oh so smooth vocals. Peter Green’s Soulbird project is like hitting the psychedelic mainline, with an extra pop punch. “Stay With Me Angel” has hooks working overtime but the vocal arrangement takes things to a new level. As if he’s not busy enough with his other bands Rural France and Teenage Tom Petties, now Tom Brown is fronting another nearly one-man band called Lone Striker. “Dunno” is a wonderfully languid bit of slow-groove pop, with what sounds like some sonorous horn work lifting the mood. Another exciting new release comes our way from guitar ambience expert Chris Church. “Sit Down” is dotted with sparkly guitars and a vocal that shifts from smoky smooth to urgently insistent.
Wrapping things on this shivery singles collection is a song so in keeping with our seasonal theme from everyone’s fave punk-pop productivity super-achievers Vista Blue. “I’m Going to be Warm This Winter” is pure adrenaline salted with plenty of pop hooks.
Brrr. It’s definitely a good day to stay inside, somewhere between the fire and the turntable.
Nothing fixes the mind on travel quite like winter. Particularly those last lingering months where you can feel the season ebb but not quite subside. But getting somewhere ‘not winter’ is an effort for those of us north of 40 degrees latitude. That’s why we’ve assembled some musical accompaniment for soon-to-be weary travellers.
Ottawa’s The Rockyts have evolved from an amazing 60s sound-alike beat group on their 2020 debut album to a sleek 1980s new wave machine with singles that have come out over the past year. “Without You” creeps into view with a Cars-like muted electric guitar and vocals, only to break out in the chorus with full band impact. Crowded House may not climb the singles charts like they did in their 1980s heyday but that doesn’t mean they can’t still craft a killer tune. Their new single “Oh Hi” has all the classic Neil Finn song markers. There’s lilting slow-build hooks around every corner and Finn’s ear for unusual instrumentation remains undiminished. Hard to find out much about Escape Artists except a Go Fund Me page from a Tennessee duo suggesting an album is on the way. So far I’ve found three singles – basically, a maxi-single. From those choices I think “Around the Block” is a delightful bit of Tom Petty name-checking poprock. ‘What would Tom Petty do?’ they ask with a driving sense of Petty-ish aplomb and his special mix of guitars and organ. The mysterious band 65MPH hail from Chatteris UK, a small market town near Cambridge. I can’t imagine that’s the speed limit there. Sonically, the band sound like they’ve been stamped from a Paul Weller-meets-Billy Bragg mould, and that’s no bad thing. Their recent single “Small Miracles” casts a plaintive vocal against a mostly solo guitar backdrop to good effect. I love the striking effect Spencer Segelov and Great Paintingsget on “The Contender.” The lead guitar line carries the tune but the overlapping vocals gives the tune lift, with a choir-like transcendence. Very 1980s American college radio.
Crowded House – Oh HiEscape Artists – Around the Block
Ottawa’s (as in Canada folks) Robby Miller rides a fine line between good old boy rock and roller and smooth poppy rock. His recent single “Everything Is Nothing” combines a bit of both, with up front jangly guitars and a low key vocal carrying the melody. Reminds me a bit of some of the mellow hits from The Fixx. Last year mellow popsters The Kind Hills made my top 25 singles list with their uplifting song “Let Youth Take Over.” Now they’re back in a new guise as Seasonal Falls. Still mellow, but drawing from a different sonic palate this time out. The hush vocals and standout guitar tone on “Used To Be Fun” are both exquisite while the tune is amble-along-in-the-sunshine good. The Shop Window manage to combine 1980s indie guitar pop with a folkie vibe on “I Run.” The vocals hit me as a little bit Outfield while the guitar has a shimmer and ring reminiscent of The Silencers. Legendary Canadian band The Kings are primarily known for an FM radio staple (“Switching to Glide/This Beat Goes On”) that has been in near constant rotation since its release in 1980. And then, not much. They did have other great material but just couldn’t match that early success. Now if you’ve missing that signature Kings sound there’s good news – the band have a brand new album out called Longest Story Ever Told. It is uncanny how much it sounds like no time has passed at all. Check out “Always Off the Deep End” and see for yourself. Faraways are a completion story. Active in the 1990s they split early in the new millennium. But as Covid swept the planet all that down-time had former band members drifting back to their unfinished songs. The result is the aptly named EP Decades of Dormancy. The standout track for me is the psychedelic “Ruby Ring of Love” with its Sgt. Pepper droney vocals, sitars, and killer organ fills.
Faraways – Ruby Ring of Love
Since his standout solo debut album Class ActMike Browning has been drip releasing engaging new singles. “Just One Day” has a western Texas Buddy Holly groove. This song sounds so freshly pressed out of a 1961 rockabilly scene or Everly’s Cadence records release. More Texas can be found on Get Set Go’s fabulous LP Outworlder, particularly on the intoxicating single “Your Boy.” The song seems so early 1960s simple and endearing but an increasing sophistication emerges and intensifies as it plays on. Drunk Dial Records promise to get their artists loaded and then have them record an original tune and a cover. Gentleman Jesse’s original “Where Time Stands Still” has a wildness about it, maybe one drink over the line, but still maintaining its energetic focus. Another act drip releasing a load of interesting songs is Scoopski. “Nocturnally Yours” brings together heavy dollops of nerd rock a la Weezer and straight up FM radio rock bombast. And the results are a freakin’ fun, hummable good time. Slaughter Beach, Dog put out a fab new record last September entitled Crying, Laughing, Waving, Smiling but didn’t have room for one last song. “I’m In Love” is a country-ish soft rock Valentines tune of a different order. Catchy and disturbing at the same time.
Feel the insurgent drive of Softjaw’s recent single “Pleased With Me.” It’s got 1970s group singalong vocals, Keith Richard guitar licks, and strong party vibe. There’s a looseness that is so tightly performed here. By contrast, Kevin Nichols keeps striking a discordant tone throughout “Looking at the Ocean” butting up against melodic hooks that just won’t quit. One part grunge, another part Swervedriver. Sixties holdovers Tall Poppy Syndrome get 2024 started with a song that draws from multiple decades on “This Time Tomorrow.” There’s a touch of psychedelia of course but also mannered Moody Blues vocals, pumping organ shots, and insistently strong hooks throughout. Of a particular time but also seemingly timeless. The Stanford Family Band are a wonderful throwback to that early 1970s dreamy pop on “Love Me a Bit.” It was an era where piano moved up into the spotlight on AM radio singles and Beach Boys stopped having hits but influenced everybody and everything on the charts. This group have got a heavenly arsenal of background vocals riding a solid bed of piano chords. Luke of Ulysses carry on our Cars revival tour on their single “Car Trouble.” Though I also hear Nick Gilder coming through their clipped vocal style. And then there’s guitar god moment in the middle. This is a great synthesis of styles.
Tall Poppy Syndrome – This Time Tomorrow
Wrapping up our 21 song support playlist for weary travellers is something I can’t quite put my finger on. Described as a mysterious Norwegian duo, Ivar and Tommy Go To Hollywood certainly get top marks for an inventive name. But what they represent musically on “Bore Me to the Moon” is less clear. Things start off very English guitar band or Front Bottoms but listen to what comes up in the background. The band put together a veritable tapestry of vocal interplay that buffets the indie rock guitar drone and deadpan vocal that is fronting the tune. I don’t know what it is but I like it.
You can get on the bus Gus and needle-drop your way through this audio travelogue. I don’t know where you’re going but I think you’ll enjoy getting there more with miles of melody to choose from.
In the realm of perfect poprock songs there are few rivals for Tommy Tutone’s “867-5309.” The opening lead guitar hook reels you in, the slashing guitar chords send you straight to the dance floor, that dynamic bridge takes it all up a notch … It’s a song that literally never hits a wrong note. Its secret is the tension it manages to create at every turn, with multiple guitar lines and vocals pulling in different directions – then resolving – then pulling apart again. In terms of performance the guitar work is simple and straightforward but oh so addictive while the vocals are heartland rock and roll at its best. Undoubtedly this song ranks in my top 20 all-time great poprock singles. Indeed, it’s so good it unfairly cast everything else the band ever did in shadow. They were even reduced to reworking it into a Christmas song 28 years later.
Given the songs obvious strengths, the lack of cover versions in the first two decades after it was released might seem surprising. But then again, maybe not. Frankly, I imagine it was hard for bands to think how the song might be done differently, so iconic were the song’s signature riffs and arrangement. Early on, only punk and heavy metal bands dared to mess with it, with results that predictably tended to quash the tune’s hooks and more subtle melodic charms. As more conventional rock and roll covers emerged in the new millennium they didn’t stray far from the original Tutone formula, perhaps changing up the instrumentation or vocals only slightly. Case in point: Mark Allen and Company. This 2007 version is pretty Tutone, limiting its innovations to the vocal delivery, power chord and the lead guitar tones. It’s credited Mark Allen & Company & Tommy Tutone but what went down here is hard to get any info on. On 2008’s Rollerball Candy The Chevelles stretch the song’s lead guitar line intro and amp up the bar chords but swap the Americana vocals for a more new wave sound. In the same year The Outliers decided to slow the tune down, adding a special allure to the vocals and giving the melody a more Johnny Rivers feel. Or, for something more different, Pamploma Spain’s Innerve switch to a more acoustic but still rocking sound on their 2011 version.
Mark Allen and CompanyThe ChevellesThe Outliers
It would take the dawning of a new century to shake off established practice when it came Jenny. Just ahead of the curve a cappella group Amazin’ Blue offered up a rich cacophony of voices to populate the song. They’re not alone – I found five other a cappella versions – but their take is definitely the most dynamic. Lisa Breslin gave the song an understated, hushed performance but felt the need to point out she was not into women, she just liked the tune. Really? Where’s the mystery? Contrast this with Mark Weigle’s brave remake “867-5309 Jimmy” from 2003. Yes, he’s singing about a guy and he’s not bothered, and he takes creative chances with the arrangement that really pay off: an acoustic guitar lead line, some inventive rhythm guitar work, and some hilarious spoken-word telephone messages. Weigle’s album Different and the Same has some other surprises too, like a cover of Pete Townshend’s sexuality-ambiguous “And I Moved” from Empty Glass and a rewrite of the Jackson Five’s “ABC” as a critique of a controversial AIDS drug in “AZT.” And then there’s the banjolicious romp that appears on the Pickin’ OnSeries 2008’s collection Pickin’ and Singin’ the Biggest Hits of the 1980’s, Volume 1. Seriously, solid banjo propulsion and a fiddle solo break is clearly what this song needed all along.
Mark WeiglePickin’ On
As we turn to more recent covers the range goes from the exquisite and carefully crafted to inspired DIY love. Kurt Lanham is amazing musician and his mostly acoustic guitar instrumental version is a form of audio art, the arrangement is so precise and delicate, vibing a bit of Kenny Burrell guitar tone and low key Latin feel. By contrast, what Flopsweat lacks in musical precision he makes up for in DIY enthusiasm and intensity, his vocals and guitar work exude such love for the tune the listener can’t help but be drawn in, captivated. But my most favourite recent version is Mike Browning‘s from his 2021 album Class Act. Clear, sharp, haunting in parts, Browning strips things down to essentials, reminding us again just why we love this song so much.
Kurt Lanham
Well there you have it, eleven creative covers of a certified poprock classic. And yet I can’t help but feel there’s plenty room on the “867-5309 Jenny” cover-train for more. Personally, I’d love to hear the likes of Tim Finn, Pictish Trail, The Martial Arts, Richard Turgeon, and host of other artists I’ve featured on this blog take a crack at this tune. Perhaps there’ll be a part two?
Top graphic courtesy Kurt Lanham’s 45 design for his single “867-5309 Jenny.”
In our social media-saturated universe it seems that your 15 minutes of fame has been reduced to just 15 seconds. Who going to give up the time to listen to a whole album, let alone gaze longingly at the cover (like we used to do) while it plays? That means today’s albums have really got to have something special going on, like great tunes, engaging styles, and hooks that seem to improve with repeated listenings. Those are the standards we applied to the 2021 album releases we encountered this past year, resulting in a list of 25 must-have LPs we think you should get to know. But wait, that’s not all. We’ve also helpfully culled the racks for top EPs, covers albums, and long lost albums that finally saw the light of day in 2021. Forget the Columbia House Record Club, we’ve got all the long-players you need and then some. Hyperlinks take you to the original review.
So let’s get the show rolling with Poprock Record’s 25 must-have LPs for 2021:
Putting James Henry as my number 1 album choice for 2021 might surprise a few blog watchers but frankly I don’t know why Pluck isn’t topping all the indie charts. Maybe it’s the subdued cover art or perhaps the album just falls between the genre cracks, I don’t know. But if you love those highly listenable 1980s Squeeze or Crowded House albums, this guy is for you. Each song should be stamped ‘earworm warning’ as a positive public health measure. Take it from me, Pluck is a relentless hook machine. 5 stars for sure. Other choices – Brent Seavers, The Brothers Steve, Lolas, Chris Church – are perhaps more predictable. Hey, they’ve delivered before and here they deliver again. Genre-wise, Lane Steinberg and Fishboy undoubtedly raise boundary issues but damn they are fine albums with subtly hooky tunes. And the rest? Well they’re all defined by content that is mucho killer, nada filler.
Can’t spare the time for a full album experience? These extended play releases will meet your need for more than a single but not quite a long-player. But fair warning, these concentrated blasts of melodic goodness may leave you wanting for more. They’re that good.
Then, there’s Poprock Record’s top five covers albums for 2021:
The pandemic moved just about everyone to put out an album of covers. But they’re actually pretty hard to nail, ranging in quality from elevated karoke to the unrecognizable. The trick is to rework the unique creative spark in the song, making it both recognizable and different at the same time. Turgeon’s a master of song reinvention, taking up tunes others wouldn’t dare to try (from the likes of The Monkees, The Mamas and Papas, and the Bryds, among others) and succeeding. Browning applies his own distinctive poprock chops to material from the sixties to the eighties that lets you fall for the classics all over again. Ditto 3, 4, and 5 – they love the songs and it shows.
And finally, Poprock Record’s 5 best long lost albums of 2021:
The idea that a band could put all the work into writing, playing and recording an album and then not have it released almost seems like a crime in my book. Numbers 4 and 5 had their work ‘misplaced,’ only to accidently resurface recently and get released. Numbers 2 and 3 were indie artists whose various DIY and professional recordings never got gathered together for a proper release, until the rise of recent niche music markets made it viable. And number 1 is a remarkable story of a band that wouldn’t let their record company/producer’s mangled version of their album stand. So instead they rerecorded it, this time getting it right. That the Sorrows could make their rerecording of Love Too Late sound so 1981 is a testament to their talent and sheer doggedness.
Ok, one last category, Poprock Record’s best ‘best of’ album of 2021:
Sometimes greatest hits collections really hit the mark. The Best of Dropkick is one of them. It’s a comprehensive overview of this great band’s career, packaged with attractive artwork, and at a very nice price.
Well we stretched the 25 album limit but it really was the only way to be fair to all these super LPs and EPs. I think this post demonstrates that while classic era of the album may be over, there’s still lots of tremendous long-playing records out there. If you love them, support them, whether its live or Memorex.
Lego records graphic courtesy art/design student _Regn.
Welcome to our sixth annual collection of should-be hit singles gathered from the artists, albums and tunes featured on Poprock Record in the previous year. You’d think after five tries I would have come up with some kind of rock solid science to make these choices. But, no. Still winging it, going with whatever takes my fancy. I mean, I think you’ll see a pattern: catchy guitar hooks, soaring melodies, earwormy compositions, all accomplished in three minutes or less usually. Putting this list together was particularly challenging this year – positively spoilt for choices! My initial list of possible songs had over 200 selections. 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 top 50 should-be hit singles for 2021:
This year’s list privileges strong, strong hooks. I’m talking the jangleliscious guitar work from the ever reliable Boys With The Perpetual Nervousness on “I Don’t Mind,” the relentless driving guitar riffs animating White Fang’s “Never Give Up,” or the delicious 1960s roll out kicking off The Vapour Trails’ “That’ll Do It.” Or the pumping, plinky piano and organ cocktail that undergirds James Holt’s killer single “Mystery Girl.” Then there’s the more traditional poprock Brent Seavers, springing the earworm in the chorus of “More Than a Friend.” Still, there’s room for variety on this list, from the tender acoustic Aaron Lee Tasjan ballad “Another Lonely Day,” to the Beach Boys homage in Daisy House’s “Last Wave Home,” to a folk rock duet from Steve Stoeckel and Irene Pena on “Why,” to the striking sonic heartbreak embodied in Richard X. Heyman’s touching “Ransom.”
Truly, this list is just a bit a fun, one more chance for me to shine a light on the artists whose work had me hitting replay in 2021. But I’m sure you might make different choices. Feel free to tell me all about them! Either way, don’t forget to find some way – buying music, attending live shows (when it’s safe!), or taking up those opportunities to interact with them online – to support their bottom line. They may not only be in it for the money, but money does allow them to stay in it.
If you need a dose of musical smiles and sunshine, dial up the good times vibe all over the recent Mike Browning releases. A self-admitted musical late bloomer, these recordings are actually brimming with a kind of youthful excitement and joy. Get started with “We’re Hanging Out” which opens Browning’s 2020 debut EP Never Too Late with a splash of that 1960s breezy sunshine pop, one part Buddy Holly, another part Beach Boys. Then “I Can See Nothing But You” combines some lovely jangle with a bit of late 1960s folk rock. “Hide and Seek” is bit more neo-1950s, in that way mid-1960s beach group would do it. Meanwhile “Watching the Lines on the Road” feels so Monkees, leaning particularly toward Nesmith’s influence. Browning followed up this EP with a slick sounding single in early 2021, “Another Bite of the Apple,” a nice poppy number with a great hooky lead guitar break. This is feel good music of the very best kind.
On his most recent release Class Act Browning takes aim at covering hits ranging from the 1960s through to the 1980s, classics like the Beach Boys’ “Do It Again,” the Byrds’ “My Back Pages,” and the Beatles “Norwegian Wood,” What a challenge! But Browning somehow manages to pull it off with solid musicianship and an endearing vocal style. My own personal fave is his somewhat muted take on “Jenny 867-5309” where he manages to capture the song’s energy and excitement while reining its rock excesses. Or there’s the chipper fun cover of The Reflections 1964 hit “(Just Like) Romeo and Juliet, or a super take on the obscure regional US hit “The Little Black Egg.” And so on through 12 tracks in total, covering artists as varied as XTC, the Kinks, Bob Dylan, the Spencer Davis Group, and more. Taken together, the feel of this record is like some kind of fabulous party for a multi-generational group to really enjoy. I, for one, would love to hear Browning’s band do these covers live.
With these recordings Mike Browning demonstrates it’s never too late to take up your musical dreams. And he’s now promising us more is on the way. Keep up with Mike at his website, Bandcamp and Facebook pages.
Poprock Record 