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Poprock Record’s should-be hit singles for 2023

01 Monday Jan 2024

Posted by Dennis Pilon in Poprock Themepark

≈ 2 Comments

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Arthur Alexander, Benji Tranter, Bill Lloyd, Billy Tibbals, Buddie, Cal Rifkin, Canadian Invasion, Chris Church, Dan Kibler, Dave Kuchler, Dazy, Dignan Porch, Dropkick, Eyelids, Good Shade, Gosh Diggity, Hardwicke Circus, Hovvdy, Hurry, J. Matthews, Jean Caffeine, Juliana Hatfield, Justin Levinson, Kevin Bowe and the Okemah Prophets, Kurt Hagardorn, Miss Chain and the Broken Heels, Mo Troper, Moon Mates, Nite Sobs, Rachel Angel, Ransom and the Subset, Ratboys, Steve Marino, Strange Neighbors, Taking Meds, The Amplifier Heads, The Blusterfields, The Decibels, The Exbats, The Flashcubes, The Goa Express, The Jangles, The Kind Hills, The McCharmlys, The Midnight Callers, The Newds, The No Ones, The Parallax Project, The Rockyts, The Scarlet Goodbye, The Summertimes, The Talking Kind, The Tearaways, The Tubs, Thomas Charlie Pederson, Thomas Walsh, Tony Marsico, Turn Turn Turn, Worriers

2023 was another banner year for melodic rock and roll. Here at Poprock Record we could spotlight only a small portion of what was go on. Still, we kept busy, writing 58,000 words over 77 posts about literally hundreds of artists. And we liked them all – that’s why we wrote about them. But some tunes had real staying power for our team of singles inspectors. So today we single out 50 should-be hit singles from 2023, songs that deserve another listen and a shot at chart glory. Click on the hyperlinks to hear each song and read the original write ups.

Getting to the main event, here are Poprock Record’s top 50 should-be hit singles from 2023:

1. Strange Neighbors “Hotline Psychic”
2. Taking Meds “Memory Lane
3. The Decibels “Why Bother With Us”
4. Good Shade “When Will You See”
5. The Goa Express “Portrait”
6. Billy Tibbals “Onwards and Upwards”
7. Strange Neighbors “Whoa! Is Me”
8. Ransom and the Subset “Perfect Crime”
9. The Tubs “I Don’t Know How It Works”
10. Buddie “Class Warfare”
11. Dignan Porch “Electric Threads”
12. The Tearaways “Easier Done Than Said”
13. Chris Church “One More Change to Get Over You”
14. The McCharmlys “Love Me Too”
15. Eyelids “That I Can See You Better”
16. The No Ones “Phil Ochs is Dead”
17. Canadian Invasion “Catch a Falling Knife”
18. Thomas Charlie Pederson “Yesterdays and Silly Ways”
19. Kevin Bowe “Put Me Out of Your Misery”
20. The Summertimes “Inside”
21. Gosh Diggity “Blast Off”
22. The Midnight Callers “Girl On the Run”
23. Parallax Project “Mary Houdini”
24. Dan Kibler “Don’t Go for the Money”
25. The Kind Hills “Let Youth Take Over”
26. Cal Rifkin “Break My Heart”
27. Ratboys “Morning Zoo”
28. Hurry “Like I Loved You”
29. Thomas Walsh “A Good Day For Me”
30. The Newds “The Street Leads to the River”
31. Dave Kuchler “She’s Rather Be With Me”
32. Hardwicke Circus “Everyday I Find Luck”
33. Worriers “Trust My Gut”
34. Tony Marsico “Rocket Girl”
35. Jean Caffeine “I Don’t Want to Kill You Anymore”
36. The Exbats “Like It Like I Do”
37. Dazy “Forced Perspective”
38. Miss Chain and the Broken Heels “Storms”
39. Bill Lloyd “Keep the Place Clean”
40. Kurt Hagardorn “Tractor Beam”
41. Nite Sobs “Julie Ann”
42. Turn Turn Turn “Power”
43. The Rockyts “I Get High”
44. The Blusterfields “Fear of Depths”
45. Dropkick “Telephone”
46. The Scarlet Goodbye “Angel Dust”
47. The Amplifier Heads “When We Go Home Again”
48. Steve Marino “Satisfy You”
49. Justin Levinson “I Need Somebody Now”
50. Moon Mates “Not Today”

New York’s Strange Neighbors grabbed me early in 2023 with their killer 45 “Hotline Psychic” and never really let go. The lyrics are so spot on, the chorus is mesmerizing, while the instrumental break threatens to break out into Blondie’s “Rapture.” The band is so good they placed another tune in my top 10, the delightful jangler “Whoa! Is Me.” Then Taking Meds and Good Shade seemed like two sides of a very good coin with songs that featured surging insistent hooks that simply demanded replay. The Goa Express tipped toward punk but without sacrificing melodic depth. And The Decibels returned with the modern beat group sound they own. There’s variety in this list, proving genre is no barrier to delivering poprock hooks.

Moving on, here are Poprock Record’s most inventive covers from 2023:

1. Juliana Hatfield “Don’t Bring Me Down” (Electric Light Orchestra)
2. Mo Troper “Citgo Sign” (Jon Brion)
3. Arthur Alexander “It’s Not Love Anymore #2” (The Sorrows)
4. The Jangles “Here Without You” (The Byrds)
5. The Flashcubes “Have You Ever Been Torn Apart?” (The Spongetones)

Covers remained fertile ground for music veterans and indie new-comers alike this past year. Juliana Hatfield delivered a whole album of ELO songs, mixing things up with a nicely curated collection of chart hits and deep cuts. Mo Troper introduced a new generation to the genius of Jon Brion with his album tribute, Troper sings Brion. Arthur Alexander covers himself, sort of, with his ace reinvention of the Sorrows’ “It’s Not Love Anymore #2.” And both The Jangles and The Flashcubes covers really revive some great songs for the here and now.

Rounding out our lists, here are Poprock Record’s top 5 folk pop singles from 2023:

1. Rachel Angel “I Can’t Win”
2. Talking Kind “Trouble”
3. Hovdy “Jean”
4. Benji Tranter “Speed Camera”
5. J. Matthews “Wanderlust”

While most of our coverage is pretty poppy we do shift into the folk lane from time to time where the melodies are strong or I just have a particular interest.

Another year, another slew of great songs. Click on the links to remind yourself how good a year it really was and make sure to let the artists know what you think in cash and/or commentary.

Photo courtesy of Raymond Clarke Images on Flikr.

Breaking news: The Decibels, Dropkick, Ransom and the Subset, and Cliff Hillis

18 Tuesday Apr 2023

Posted by Dennis Pilon in Breaking News

≈ 2 Comments

Tags

Cliff Hillis, Dropkick, Ransom and the Subset, The Decibels

This iteration of breaking news marks the exciting return of a host of artists who seldom miss a beat. Definitely worthy of film at 11.

So where were we? Oh right, Sacramento’s reliable hook-meisters The Decibels were in the middle of recording a follow up to 2019’s smash LP Scene, Not Herd when a world-stopping pandemic hit, effectively pausing the tape machine. All was not lost however. Band member Brent Seaver did shift into solo gear, putting out a fabulous record entitled BS Stands For … But now the band have completed their interrupted sessions and the result – When Red Lights Flash – is everything you’ve been waiting for. Great songs, fab guitar tones, killer playing. Stylistically, it draws from both 1960s and 1980s poppy rock traditions. “Why Bother With Us” breaks things open with a skipping-in-the-sunshine bit of jangly guitar that seems to cross The Monkees with REM. “Enough” definitely revs the 1980s poprock engine a la the Paul Collins Beat. “There’s Just Something About You” has the happy-go-lucky early 1960s American pop sound, but with a bit more muscle. “Walk Away” vibes a crisp 1979 new wave sound while “In Remembrance” has a melodic arc that is reminiscent of an early 1960s song-writing style, but updated. And so goes the rest of the album, merrily shifting decades without ever seeming to jolt the listener. I love the almost early Go Go’s punky ferocity on “He Thinks He’s Right (But He’s Wrong),” particularly the sizzling lead guitar break, the Romantics-worthy chord changes and handclaps defining “We Don’t Need to Be Afraid,” and the Marshall Crenshaw-like “World Goes Around.”  Should-be hit single? I vote for “Looking Back.” I could totally hear The Smithereens covering this. If you’re looking for an album that hits the rock and roll melody pedal and never lets up, pick up a copy of When Red Lights Flash – it’s absolute listening pleasure.

Andrew Taylor must be one of those guys always scribbling down new song ideas on napkins or humming into his phone. Still, between recent releases as a solo artist, with Andrew Taylor and the Harmonizers, and The Boys With The Perpetual Nervousness, it’s hard to believe there could there be anything left for a new Dropkick record. But there is. Welcome Dropkick album #14, The Wireless Revolution. “Don’t Give Yourself Away” kicks things off like a coy suitor, somewhat tentative at first before easing into a comfortable familiarity. Then there’s “Telephone,” in many ways an exemplar of the band’s signature sound – so Teenage Fanclub but with Dropkick’s own original stamp. “Unwind” gives us gentle pop driven by ever so pleasant jangly guitars. Bringing out the band’s more country hues Alan Shields takes over both song-writing and lead singing duties on “The Other Side” in a very Jayhawks vein. I love the lead guitar runs and light keyboard touches that swathe “It Could Finally Happen.” I hear echoes of Neil Finn and his work with Crowded House throughout this song. Another guitar-charged pop beauty of a should-be single is “Ahead of My Time,” almost a Teenage Fanclub meets the Beatles mash. “Wouldn’t Know Why” also really delivers in the supremely pleasant pop tune department. Churning, chimey guitars – check. Lighter than air harmony vocals – check. Hitting replay again – check. Don’t let the title fool you, The Wireless Revolution delivers another jangle tour de force in the grand Dropkick tradition.

A month back we called Ransom and the Subset’s new single “Perfect Crime” ‘textured pop goodness’ and that judgement still stands. In fact, it can be extended to the whole of the band’s fabulous new album Perfect Crimes. These guys really know how put together a slick pop sound without sacrificing originality or nuance. Second single “Sara Kandi” showcases these strengths. It’s got a 1982 Alan Parsons Project clever sheen to it. Still, putting a name to the overall sound that defines this album is challenging. “Left Her at the Shinkansen” floats in an almost yacht rock vibe, punctuated by subtle lead guitar and pedal steel work plus a killer hook in the chorus. Stay with me here but I actually hear a lot of Rupert Holmes’ soft rock magnum opus Partners in Crime on this tune. Or perhaps the sound is more akin to the smooth poprock of Hall and Oates in their Private Eyes/H2O prime. I really do feel the pull of H&O on tracks like “Meet You Again” and “One Last Thing (Leaving).” Or check out the manicured pop precision on “Time in a Tunnel,” each element and instrument is so carefully conducted into the mix. Not that the band fails to turn up the rock from time to time. “Don’t Remember What Was Her Name,” “Should Have Said Nothing At All,” and “Fast Car” all ace that early 1980s poprock style. With Perfect Crimes Ransom and the Subset prove that perfectly polished pop songs are a thing of beauty.

On Be The Now Cliff Hillis marshals his considerable song-writing and performance talents to create a veritable poprock confectionary, something for all 1970s-inflected melodic tastes. There’s straight-up seventies AM radio soft rock (“Wanna Feel Good”) with a folkie chaser or some ELO-infused popcraft (“Motel Parking Lot”) introduced by a dose of Bacharach/Costello strings. At other points Hillis appears to be channeling Adam Schlesinger in both movie/TV (“Take Me As I Am”) and band modes (“Good Morning and Good Night”). I could really imagine Mike Viola belting out the latter tune. He even throws in some classic 1970s goof country on “Spring Forward” as well as a touching and fun tribute to folkie protest singer Dan Bern (with Bern echoing the sentiments to Hillis in a duet). But let’s get serious here – where is the hit single? Hillis rarely denies us some piece of dynamic should-be chart magic on his releases. The mellow FOW-ish “Just Drive” could be it. The sentiment is so summer car-driving playing-on your-radio. Then again “Goodbye Spider” sounds more like the jump-out-of-the-speakers uptempo hit. It’s got that killer sing-along chorus – just try not to join in. I’ve listened to Be The Now a number of times and I still don’t know what the ‘now’ is – but I want to be it.

The news cycle moves fast but I’d recommend taking it slow in reviewing these stories. You’ll want to tune into all the hooky details.

Top photo courtesy Heather David Flikr collection ‘1957 Wall-Tex scrubbable wallpaper ad.’

Spotlight single: Ransom and the Subset “Perfect Crime”

01 Wednesday Mar 2023

Posted by Dennis Pilon in Spotlight Single

≈ 1 Comment

Tags

Perfect Crime, Perfect Crimes, Ransom and the Subset

It’s been a long time since Seattle’s Ransom and the Subset’s last album release – you’ve got to go back to 2014’s No Time to Lose. And I was late to that party, only catching on to the band in 2017. But I am on top of the latest band news, their brand new single is “Perfect Crime.” This song has got a textured pop goodness baked into its DNA, making all the various musical adornments just more ear candy. From the opening that jumps right in, to the drop-out quiet build-up in the verses, to the alluring ‘bah de bah’s in the chorus that draw you in, this song is a ride where you won’t care if you miss your stop. The sound has a smooth pop sheen I associate with Sam Roberts or Ben Folds, with some great lead guitar break out moments and organ backing. No doubt a special guest appearance from ace session guitarist Jay Graydon didn’t hurt (he played on Steely Dan’s “Peg”). The single is the first release from the band’s new album Perfect Crimes, due out in April, and it certainly bodes well for what is to come.

Give “Perfect Crime” a spin at the band’s Futureman Records Bandcamp page that can be found here.

Photo courtesy Joe Haupt Flikr page.

Rock and roll (almost) never forgets

16 Thursday Feb 2017

Posted by Dennis Pilon in Poprock Themepark

≈ 1 Comment

Tags

Adam Merrin, Always on the Run, An American Underdog, Andy Reed, Dave Rave, Ransom and the Subset, Summer Fiction, The Genuine Fakes, The Honeydogs

recordsBefore the I started this blog I already had a huge stack of material I’d been gathering for over a year or so – great stuff that deserves a wide audience, songs you might have missed.  So today we go back to the vaults to ensure that rock and roll never forgets.

Andy Reed is a member of that immensely talented group, the Verve Pipe.  Not only have they put out a load of great albums, including some for children (which is much harder to do well than most people think), the band has spawned of host of great solo projects.  Reed’s band An American Underdog has one album, 2011’s Always On the Run, which is chock full of poprock gems like the carefree, hooky “I’ll Miss You Girl” and crunchy “Nothing I Can Do.”  Also, check out Reed’s killer solo version of Elvis Costello’s “Crimes of Paris.”  He takes just a bit of the edge off the Costello version and ups the pop quotient – lovely!

Like so many talented musicians of his generation, Adam Merrin has made his career by mostly placing his music in TV shows rather than releasing albums under his own name.  But the two that have emerged, 2007’s Have One and 2009’s Have Another One, are delightful low key pop excursions.  “Our Love is True” opens with a catchy guitar hook before leaning more on keyboards to drive the song while “Fallen for You” builds to a super chorus.  “This is How You Are” has a great total sonic ambience, mellow but unrelenting.https://poprockrecord.com/wp-content/uploads/2017/02/03-this-is-how-you-are.m4aThis is How You Arehttps://poprockrecord.com/wp-content/uploads/2017/02/03-our-love-is-true.m4aOur Love is True

Canadian Dave Rave keeps churning out great poprock.  From a pretty stunning beginning playing on Teenage Head’s boppy single “Let’s Shake” back in 1980, Rave has branched out with a host of different solo projects over the years.  Pick any period and you’ll find some great material.  “All of the Love You Can Handle” is from his 2010 album Live with What You Know and what I like here is the strong vocal, just ever so slightly reminiscent of the Moody Blues in their more poprock period.  This one will get in your head one night and fail to check out the next morning.

Reviewers often mention Summer Fiction and the Beach Boys in the same breath.  Sure I guess its there in the same way that every artist with a wash of breathy background vocals and hints of 1960s melody is another bastard child of Brian Wilson.  But I hear something much more original in Summer Fiction’s dialectical synthesis of 1960s influences.  For instance, there is mordantly sad quality to the vocal style that contrasts the peppy upbeat harpsichord of “Chandeliers” that is pleasantly jarring.  You know this guy is the broody poet type but, like Morrissey before him, he just has to juice the depressing lyrics with far out jangly guitars and hooks.  I also love the quiet intensity of “Throw Your Arms Around Me” and the easy swing of “By the Sea” from the 2010 debut album.  2015’s Himalaya ups the jangle factor on tracks like “On and On” and the clearly Smithsian-influenced “Perfume Paper.”

What is it with Sweden these days?  For a long time it seemed ABBA was it in terms of musical exports – now a flood of great acts are hitting the beach like a new invading force.  The Genuine Fakes have a cute cover of Frozen’s “Do You Want to Build a Snowman” as well as a number of holiday tunes but these songs obscure their more serious material.  “I Want to be a Stranger” is a good example, at times low key, at others killing it with strong hooks, great poprock vocals, and a groovy organ and guitars.https://poprockrecord.com/wp-content/uploads/2017/02/02-i-wanna-be-a-stranger.m4aI Wanna be a Stranger

The Honeydogs have all the markings of a classic rock and roll outfit – think Tom Petty and Heartbreakers or even the Replacements.  Adam Levy writes everyman songs that are relate-able.  There are too many choices from the catalogue I could make but I really like “Too Close to the Sun” from 2006’s Amygdala: the solid acoustic guitar backing, cool organ, tight vocals.  This is poprock magic, a really perfect single.  “Losing Transmissions” from 2001’s Here’s Luck is pretty special too in a more rock and roll vein.  Check out their recent release Love and Cannibalism for more of same.

Over to the wet coast for Seattle’s Ransom and the Subset.  This band’s 2014 album No Time to Lose deserves to be a big hit, the whole thing is solid and eminently enjoyable.  Their love of Fountains of Wayne comes through but in a subtle way, for instance on tracks like “Questions” and “When Will I See You.” But the standout track is the amazing “Anna,” a single so perfectly sculpted into shape it screams AM radio hit.

Not forgetting means not being a stranger.  So make sure to visit Andy Reed, Adam Merrin, Dave Rave, Summer Fiction, The Genuine Fakes, The Honeydogs, and Ransom and the Subset online.

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