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Aaron Lee Tasjan, Aimee Mann, Billy Cowsill, Billy Sullivan, Bombadil, Brett Newski, Brian Jay Cline, Buddy Holly, Cheers Elephant, Chris Staples, Coach Hop, Cut Worms, Daisy, Daisy House, Daveit Ferris, Dropkick, Edward O'Connell, Elvis Costello, Essex Green, Et Tu Bruce, Eugene Edwards, Ex Cops, Ezra Furman, Family of the Year, Fire Town, Gerry Cinnamon, Golden Seals, Gregory Pepper, Hayden, Jenny and Johnny, Jeremy Fisher, Jeremy Messersmith, Juliana Hatfield, Linus of Hollywood, Marshall Crenshaw, Martha, Miniature Tigers, Mo Troper, Mondello, Nick Lowe, Nick Piunti, Overlord, Primary 5, Propeller, Ruler, Screen Test, Shadow Show, Sitcom Neighbor, Soul Engines, Space Dingus, Sunday Sun, Suzanne Vega, Tally Hall, Teddy Thompson, Telekinesis, The Beatles, The Blue Shadows, The Carousels, The Enlows, The Fruit Bats, The Lolas, The Maple State, The On and Ons, The Secret Sisters, The Sighs, The Top Boost, The Vapour Trails, The Well Wishers, The Young Veins, The Zombies, Wyatt Blair, Wyatt Funderburk
It’s been five years since I embarked on this mad journey: to write a music blog. I dithered over the decision to start one for a number of months. There’s nothing more pathetic than to start something with maximum fanfare and enthusiasm, only to have it flame out a half dozen posts later. The questions I had to ask myself were: (a) was there enough of ‘my kind’ of music to regularly post about, and (b) could I sustain the effort to get regular posts up on the blog? Well here’s the proof. In five years I’ve managed to produce 347 blogs posts. I’ve written more than 170,000 words about poprock tunes. And, most importantly, I’ve featured almost 1000 different artists. Guess the answers to (a) and (b) are both a resounding yes!
I think the biggest reason this blog thing has worked out for me is that it is such a great outlet for being creative and having fun with something that has always been pretty central to my life: music. I love doing all the mock serious regular features (e.g. Breaking news, Around the Dial, Should be a hit single) and coming up with goofy themes as a way to feature different artists (e.g. “Telephonic Poprock,” “Summer’s Coming,” and the Cover me! series. Sometimes I’ve pushed the posts in more serious directions (“Is That So Gay,” “Campaigning for Hooks,” and “Pandemic Poprock“) but only if the melodies and hooks were there in abundance. The blog has also allowed me to pay tribute to my musical heroes (Buddy Holly, The Beatles, The Zombies, Elvis Costello, Nick Lowe, Marshall Crenshaw, Suzanne Vega, Aimee Mann). But, as regular readers know, such luminaries mostly appear as reference points to better help people get of a sense of what all these new acts are doing.
If you’ve just tuned in, I’m not assigning the past five years of posts as homework. Instead, I offer today’s anniversary post as a retrospective of what’s been happening here. I reviewed all 347 posts to pick out some choice examples of the range of styles I can cram under the rubrik of ‘poprock’. It wasn’t easy! My first go round produced a list of 118 songs. When I converted that to a playlist I got the number down to 81 tracks. Ack! Still too many. So I’ve broken things down into themes. This is not a ‘greatest hits’ or ‘best of’ Poprock Record. I’ve left out a lot of acts I really love. It’s just a representative sample of what goes on here, to borrow some lingo from my day job. Click on the highlighted band names to go to the original posts on the blog.
Let’s start by recognizing that not all that appears here is new. The blog has allowed me to explore a huge number of acts I’ve missed over the years, particularly in the 1990s when my new day job (academe) took over my life. I can’t believe I somehow missed great bands like Fire Town and the Soul Engines with their incredible guitar hooks. The Sighs “Make You Cry” is a pretty perfect poprock single. I knew about Billy Cowsills’ Blue Northern but had never heard of his later group, the Blue Shadows. And Eugene Edwards’ sole solo release, My Favorite Revolution, is a must add for any melodic rock and roll fan.
There have been acts that appeared again and again on the blog, my ‘old reliables’ as I might call them. These are performers I can pretty much carve out space in the queue for whenever I hear a new release is on the way. Gregory Pepper is probably my most covered artist. I love his quirky, always hooky, sometimes touching efforts. Ezra Furman was another great find who has an unerring knack of placing a memorable hook at the centre of whatever he’s doing, whether it’s retro 1950s pop or a punkish political ode. I discovered Jeremy Fisher long before the blog but I’ve used it to feature his work, old and new. He’s like a new wave Paul Simon with great videos. Edward O’Connell only has two albums, but they are reliably good. We really need a third. Mo Troper always delivers something wonderfully weird but still melodic and ‘can’t get it out of your head’ good. Finally, Jeremy Messersmith’s records regularly encompass big vision but he doles it out in memorable should-be hit singles.
In my world of poprock, while any instrument goes, the electric guitar is arguably pretty central. Some bands really know how to ride a guitar-driven song right into your head. Jeff Shelton’s Well Wishers excel at putting the guitar up front. “Feeling Fine” is practically a ‘how to’ example of killer guitar-dominant poprock. The David James Situation and The Format are no slouches either. Jangle is a related field of guitar poprock and takes a number of forms, from the 1960s-inflected Byrds sound of The Vapour Trails to the more jaunty bubblegum feel of The Lolas “We’re Going Down to the Boathouse.” Jangle also usually features pretty addictive harmony vocals, showcased below in Propeller’s “Summer Arrives.”
As the original and defining decade of poprock (in my view), the 1960s sound continues to be mined by new artists. Daisy House have few rivals in nailing the late 1960s California poprock vibe, sounding like time travelers from San Francisco’s 1968 club scene. Space Dingus have got The Monkees feel down. Both Shadow Show and The On and Ons gives us that rockier pop sound of the mid 1960s, with the latter delivering killer lead guitar hooks. By contrast, both Cut Worms and The Young Veins offer a candy-coated pop sound more akin to The Cyrkle and Simon and Garfunkel.
I’m a sucker for shivery harmony vocals so they’ve been featured regularly on the blog. One of Jenny Lewis’ side projects is the one-off album from Jenny and Johnny, I’m Having Fun Now. Aptly named, the record gently rocks and delivers amazing vocals. The Secret Sisters offer up a punchy tune where the harmony vocals seal the hooky deal. The Carousels “Call Along the Coast” has a big sound the rides a wave of harmony vocalizing and Beatlesque guitar work. Meanwhile Scotland’s Dropkick corner the market on delightful lilting songcraft on “Dog and Cat.” The blog sometimes shades into retro country and folk territory. Bomabil are an eccentric outfit who stretch our sense of song but never drop the melody. The Top Boost are pretty new wave but on “Tell Me That You’re Mine” they’re channeling Bakersfield via the Beatles 65. The Fruit Bats put the banjo upfront in “Humbug Mountain,” where it belongs. Gerry Cinnamon is like Scotland’s Billy Bragg and he shows what you can do with just an acoustic guitar and a Springsteen harmonica.
I’m proud to say that the blog has sometimes strayed off the beaten path of conventional poprock into more eccentric territory with bands that are smart and quirky and not afraid to lodge a hook in a more complex setting. Tally Hall pretty much define this approach. So ‘out there’ but still so good melodically. Chris Staples and Hayden offer up more low key, moody tunes but they still have a strong melodic grab. Overlord take clever to a new level, like a grad school version of They Might Be Giants. Coach Hop is just funny and hooky with his unabashed ode to liking Taylor Swift.
After the 1960s the new wave era is the renaissance of poprock for me with its combination of hooky guitars, harmony vocals, and melody-driven rock and roll. Screen Test capture this ambience perfectly on “Notes from Trevor” with a chorus that really delivers. The Enlows drive the guitar hook right into your head on the dance-madness single “Without Your Love.” Billy Sullivan epitomizes the reinvention of 1960s elements that occurred in the 1980s, well embodied in “Everywhere I Go.” Another strong theme in the blog has been the “I Get Mail” feature, populated largely by DIY songsters who write me about their garage or basement recorded releases. It is inspiring to hear from so many people doing their thing and getting it out there, especially when it is generally really good. Daveit Ferris is a DIY workaholic with an amazing range of song and recording styles. “Immeasurable” is a good illustration of his genius, with a banjo-driven chorus that always makes me smile. Mondello is practically the classic indie artist movie script, struggling to get an album out after 20 years. But then his follow up single, “My Girl Goes By,” is gold!
I want to leave you with a two-four of should-be hits from Poprock Record. These songs are all quality cuts, grade A poprock with melodies and harmonies and hooks to spare. Some of these songs leave me panting, they’re so good. I kicked off the blog back in 2015 with Family of Year and I still think “Make You Mine” is a textbook should-be AM radio hit. Sunday Sun channel The Beatles through a 1980s song filter, in the very best way. Sitcom Neighbor’s “Tourist Attraction” is a delightful earworm affliction. Wyatt Blair has somehow boiled down the essential formula of a 1960s-influenced poprock hit. Wyatt Funderburk understands how to assemble the perfect melody-driven single. And so on. Get your clicking finger warmed up and you’ll be introduced to the essence of Poprock Record in 24 melodious increments.
One thing I didn’t anticipate was all the great people I’d come in contact with writing a music blog. Thanks to all the bands, record labels, and readers who have responded so positively to what I’ve been doing here. A special thanks to Best Indie Songs, Tim at Powerpopulist and Don at I Don’t Hear a Single for their advice over the years and to my friends Rob at Swizzle and Dale at The View from Here for encouraging me to do this.
This post features pics from my poprock-postered 1985-7 apartment in Vancouver’s West End. Just $285 a month, all inclusive. No wonder I could buy so many records.
Mondello was a break-out indie darling in 2019 with a story of musical struggle straight out of rock and roll central casting. Boy works for 20 years on an album of songs (Hello, All You Happy People) that finally sees the light of day and finds an appreciative audience amongst those who value slightly eccentric DIY-plus power pop. What a happy ending! Well, now he’s back with a new single and it’s a killer. Get ready for a slightly more polished AM radio-friendly Mondello on this outing, which features a horn section, anthemic chorus, and excerpts from a 1960s surrealist Italian sex movie for a video. Seriously, the execution of this single is nothing short of masterful, reminiscent of that very British reinvention of the sixties that occurred in the 1980s with Elvis Costello and Wreckless Eric, among others. Give this baby a few listens and see if you don’t agree it’s earworm central. “My Girl Goes By” definitely confirms Mondello is no one-indie-hit wonder.
Poor Myrtle. She’s only got Muzak® to keep her company through the long shift at work. If only she had access to this great new list of must-have LPs from 2019, helpfully assembled by Poprock Record, she might actually close that Henderson account and get off early. The lesson? You can take an oldies fixation too far. You don’t have to live in the past to love that retro sound. This year’s best-of round up of LPs from 2019 is definitive proof that everything old can be new again!
I really like the variety covered in this list. There’s everything from jangle (4, 11, 15, 25) and country (12) and Dylanesque stylings (21), to keyboard contemporary (8) and acerbic social commentary (10, 23) and straight-up Beatlesque poprock (17, 19). And there’s a lot of sweetness, like Mondello’s impressive 20 year labour of love (18). My number one album, Bombadil’s Beautiful Country, embodies this commitment to diversity. It’s got an overall indie-folk vibe but the songwriting and playing are so sophisticated that somehow the label fails to capture all of what’s going on. Believe me, it’s a 37 minute journey through a myriad of lyrical and musical delights. Close behind at #2 Matthew Milia’s Alone at St. Hugo represents an amazing synthesis of melodic rock influences, from the Beatles (obviously) to the more mellow Fountains of Wayne moments. It’s an tone setter – put it on and drift away! At #3 was #1. Confused? #1 was the name of the debut album from the power pop veterans behind The Brothers Steve and it did not disappoint. The record is like a veritable hit machine. I can only imagine that this was what it was like to get your hands on a new Beatles record in the 1960s: immediately engaging, inventive yet relatable, and with nary a bum track. And I could go on about every entry on this list … but instead just click on the links to go my original posts about the bands and you can judge them for yourself.
It’s a mix of styles on this turn around the dial as we travel from Thailand to California up to Seattle and over to Little Rock, Arkansas. But it is worth the trip!
While the band may hail from Nashville, Escondido clearly embody the southwest vibe of the California town that is their namesake. From the rumbly Morricone guitars to the occasional splash of Tijuana Brass horns, the songs all have that indie-country crossover charm of First Aid Kit, Neko Case and even Rilo Kiley’s Jenny Lewis. The songwriting is particularly strong on the band’s most recent longplayer, Warning Bells. “Bullet” has a great electric guitar opener and nicely shifts between languid country to a swinging chorus. “Crush On Her” takes up the tempo, adding a mid-1970s Fleetwood Mac ambience to the mix. “Roam” cranks up the horns but with the pedal steel and paired vocals it ends up sounding like a great lost Nancy Sinatra single. But the album’s highlight is undoubtedly the low key but moving “You’re Not Like Anyone Else.” This one is destined for countless cover versions and it deserves the attention. If you like Warning Bells, check out Escondido’s back catalogue – it’s pretty special too.
Effluxion, the new album from Seattle’s Telekinesis, builds on a distinctive indie poprock sound honed on four previous releases, with an extra shot of 1960s swagger on tracks like “Like Nothing” with its killer ‘whoa-oh’s and the hooky “Running Like a River.” “Suburban Streetlight Drunk” hits the keyboards heavy with a vocal that is oh so Shins, in a very good way. At other times, like on the track “A Place in the Sun,” the similarities in vibe with Ruler, another great Seattle poprock outfit, seem pronounced. Overall, this is a super album, one that develops while continuing to deliver on the great songwriting promise showcased on 2009’s self titled Telekinesis!, particularly the flawless pop craft of a song like “All of a Sudden.” Effluxion is a solid repeat-play release.
Secret Friend is the musical project of Thailand-based producer Steven Fox, one where he brings together a host of musical friends to help him perform his songs. His latest effort has Roger Manning Jr. (formerly of Jellyfish) and Linus of Hollywood playing with vocals by Christopher Given Harris. The resulting single – “Power” – is a fabulous slab of ELO-inspired pop goodness. From the crunching guitar and keyboard stab opening to the candy-coated, silky smoothness of vocals, you know this is going to be something good. And it is, recalling a distinctly 1980s poprock radio golden age of hooky singles.
From Little Rock, Arkansas comes Mondello with Hello, All You Happy People, an album that is the product of a twenty-year odyssey of songwriting and procrastination. The record has a melodic, sometimes discordant, DIY poprock charm. Though some tracks do have a polished sheen, like the obvious single, “Not For Lack of Trying” and the hooky “Heather Martin.” Vocally Mondello sounds like a rockier Tim Finn at times, as on “You Do You” and “Not About to Let You Know.” Other highlights for me include the indie poppy flavour of “Around in Circles,” the slightly harsher hooks on “Stack of Bibles,” and the breezy throwback groove defining “Don’t Say Anything About My Baby” (not the Cookies song!). Better late than never on this release, an LP of solid material and fun graphics/artwork.
Poprock Record 