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Poprock Record’s should-be hit singles for 2023

01 Monday Jan 2024

Posted by Dennis Pilon in Poprock Themepark

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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.

Around the dial: The Summertimes, Odds, Ratboys, and Cut Worms

01 Friday Sep 2023

Posted by Dennis Pilon in Around the Dial

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Cut Worms, Odds, Ratboys, The Summertimes

With autumn just around the corner it’s time to twist that radio dial for new music. Luckily there’s plenty of fab new releases to tune into.

In many ways The Summertimes self-titled debut LP has been the album of the summer. Reviewed positively everywhere, this is a record spilling over with good-time rock and roll tunes taking us back to that heyday of Ozzie indie chart magic you might associate with acts like the Hoodoo Gurus. It’s there in the loose party vibe of the opening cut and early release single “Inside” or the vocal snarl and rollicking hooks on “Password.” Then “White Pointer” is something a bit different, with a Lou Reed vocal directness amid carefully placed but somehow insistent guitar riffs. Things go jangle good on “Love (It’s the Word)” with its relentless lead guitar lines while “Athens, GA” is more REM, not surprisingly. But the album’s rocking flavour is tempered by lighter moments too: a Paul Kelly feel to “When the Lights Hit the Square,” some Crowded House style in  “Sky and the Sea,” and a hint of Teenage Fanclub lingering on “Wakes Up Shadows.” My favourite cut? Undoubtedly “My Beautiful Girl Harbour” with its faint echoes of Modern English’s “I Melt With You” in places. And don’t miss album closer, “The Perfect Wave.” Rarely can a band combine elements of the Yardbirds, the Monkees, and classic surf motifs and still come up with something new. The Summertimes is not just for summer, it’s one of this year’s must-have albums.

The return of legendary Vancouver band Odds is definitely an event worth marking with cake and fireworks. Central to the celebration – Crash the Time Machine, the third full album release from the band since they reunited with a new line-up in the early aughts. What we have here is more of that west coast cool sound Odds is known for. Opening cut and title track “Crash the Time Machine” assembles all the right poppy rock components. This song says ‘I’m the hit’ for sure. Runner-up should-be single would be “My Mind’s On Other Things” with its alluring guitar lead lines and captivating harmony vocals. Then there’s “Walk Among the Stars,” a track embodying a pop ennui that is unmistakeably Odds. The FM radio deep cuts would be “Staring at a Blank Page,” “Fairytale of Heaven,” or “Fall Guy,” the latter replete with secret agent guitar and more psychedelic chorus. For sonic departures, check out the more dire sound sketches featured in “The Traveling Light” or “Winning Is Everything,” the last a light ditty about how getting what you want may not be what you need. Personally, I’m loving the ELO-tinged “Revolution Singing” as well as the soulful album closer “Somehow in a Dream.” Listening to Crash the Time Machine a few times it’s clear, this is a band that knows its own playbook. But they still know how to throw a curve. Welcome back Odds, you’ve been missed.

I don’t know what I was thinking. Somewhere I picked up a copy of Ratboys 2020 album Printer’s Devil but I never wrote about it. I did review their poppy single “Down the River” but somehow that doesn’t cut it. Redemption time now that their brand new LP The Window is out. As a band that usually straddles folk pop and indie rock, opening cut “Making Noise for the Ones You Love” is a noisy, celebratory, yet fun outlier. “Morning Zoo” puts us right back into the melodic pop swing that band so aces. Very Weepies on caffeine. Should be the hit single. From there the album moves in multiple directions but without losing its thematic centre. “Crossed That Line” chugs along with a rocking inflection. This is where comparisons to Kississippi and Soccer Mommy come in. “It’s Alive” kicks off with a dramatic sonic build-out that has a particular grandeur. Vocally I hear Tristan but with a rocking backing band. Meanwhile the bending lead guitar tone is just exquisite. Another possible single is title track “The Window” with its subtle guitar hooks. For variety, “Black Earth, WI” sounds country-ish, almost Rilo Kiley in its alt-indie temperament while the folk side of the band covered with “Bad Reaction.” My deep cut fave is “Empty.” I love the perky drive and winning melody of this song. It’s got a Grouplove loose tightness.

A Cut Worms recording is often a snapshot of a particular corner of the history of popular music. Late 1960s folkie pop on Hollow Ground, more 1970s country rock on his 2020 single “Unnatural Disaster,” and so on. Now on the new self-titled Cut Worms I’m hearing that crafted pop sound I associate with the mid-1970s, with a few notable exceptions. From the first tantalizing spate of piano notes of opening cut “Don’t Fade Out” there’s a Captain and Tennille or Neil Sedaka or Gilbert O’Sullivan breezy swing in play. “Take It and Smile” has a more seventies singer/songwriter feel. “Living Inside” also has that intimate seventies pop feel. But just as you’re settling in “I’ll Never Make It” harkens back to a Patsy Cline ballad in more rockabilly days or “Is It Magic” utilizes a 1950s sparsely-arranged harmony group style. “Let’s Go Out on the Town” moves back into the sixties with its Cyrkle or The Young Veins vibe. “Too Bad” finishes the record with another strong nod to 1970s confessional pop, particularly the electric piano.

It’s a real mix of tune-age on this radio relay race. Click on the hot links to get more of the good same.

Photo courtesy Thomas Hawk Flikr collection.

Beach blanket singles

23 Thursday Jun 2022

Posted by Dennis Pilon in Poprock Themepark

≈ 3 Comments

Tags

beach music, Chris Castino, fine., Freedom Fry, Freedy Johnston, Frontperson, Jerry Paper, John Larson and the Silver Fields, Kurt Hagardorn, Mercvrial, Mike Bunacini, No Monster Club, Phil Dutra, Ratboys, Red Sleeping Beauty, Shake Some Action, Shaylee, Super Hit, The Dreaded Laramie, The Kafers, The Toms, Weird Nightmare

Beach weather is finally here and nothing goes better with sand, sun, and surf than some suitably summer-proofed tunes. Today we offer 21 suggestions for your latest sun sojourning mixed tape.

A new record from Freedy Johnston is truly an occasion for celebration. He is a master story spinner and songwriter in the vein of John Hiatt, Robbie Fulks, and Elvis Costello. The new record will be called Back on the Road to You, Johnston’s 9th, due out in September. Right now we’ve got the pre-album release single “There Goes a Brooklyn Girl” and it’s a good as anything he’s ever released, with snappy, resonant lead guitar lines and a melodic hook that is teased out and then pulled taut at just the right moments. METZ bandleader Alex Edkins has a new solo project entitled Weird Nightmare and it’s a great big ball of wonderful guitar noise. Don’t let the guitar onslaught opening the second single from the self-titled album fool you, “Luisitania” has some genius pop instincts lurking behind its wall of sound, reminiscent of Catatonia at certain moments. It’s hard to keep up with Franco-American duo Freedom Fry. Seems like they’re putting out a new EP or single every month. I’m just going to hit pause on their many releases to appreciate “Strange for Love” from their May EP of the same name. The snazzy looping guitar licks are just so addictive in a fresh Fleetwood Mac sort of way. The vocal harmonies only reinforce the Lindsay and Stevie comparison. “Down the River” is Chicago’s Ratboys from their reinvented and re-recorded greatest hits collection Happy Birthday Ratboy. It is interesting to compare this latest version with the original. Where the former is somewhat stark and spare, the new version has a lovely pop candy-coating to it, with vocals that vibe The Weepies. Talk about timely tunes, Ireland’s No Monster Club “Waterfight” is just the right dose of that summer feeling. The song is a large bit of goofy fun, sounding very mid-1980s sonically and in its complete lack of seriousness.

Freedy Johnston – There Goes a Brooklyn Girl

Austin’s Phil Dutra writes big songs. I’m talking sweeping soundscapes that are cinematic in their intensity and presentation. His latest single “Is Anybody Home?” conjures images of all those over-the-top 1980s MTV moments full of heartbroken teens, hella-good hair products, and cars driving off into the distance. But wait for the unbreakable hook anchoring the chorus. Dutra knows how to deliver solid melodies, always with a slightly surprising twist. I’ve written about Portland’s Kurt Hagardorn before. He’s a reliably good rock and roll guy who can play in a variety of styles. But his new single is really something else. “Caveat Emptor” exudes 1970s rock and roll boogie time, a bit of CCR, a touch of The Sheepdogs, carried by solidly hooky rhythm guitar work, some tasty horn playing, and a judicious use of cowbell. Words like ‘shimmering’ spring to mind as soon as Mercvrial’s “Be That Someone” hits the turntable. The band is typically filed under the dreampop or shoegaze labels but what I hear is New Order in club dance mode. The driving keyboard riffs just propel the song along. On “Archipelago” from The Dreaded Larimie’s new EP Everything a Girl Could Ask all I can hear are echoes of Jane Siberry, if Siberry had joined The New Pornographers. The band call their sound a mix of power pop and femmecore, which combines slashing guitar chords and dreamy vocals. I call it a winner. Sweden’s Red Sleeping Beauty team up with indie songstress, sometimes economist, Amelia Fletcher on “Solid Gold.” It’s a jaunty number mixing a light Housemartins-style ambling pop sensibility with that reliable Swedish melancholia. Delightful guitar pop for anyone suffering though a bout of nostalgic self regret.

How does power pop legend Tommy Marolda keep sounding so cool? The guy’s been on overdrive since his famous 1979 long-weekend recordings as The Toms became every indie power pop fan’s must-have item. His band is back with a new LP called Stereo comprising 12 melodic pleasers. Currently I can’t get enough of “Atmosphere.” It’s so quirky and fresh-sounding and loaded with hooks. Portland’s Super Hit takes DIY chutzpah to new highs with his exciting deep cut “Run Away With Me.” Ok, this one’s not new. I’ve dug it up from his 2015 EP Pocket Rock. But man it deserves a second look. It kicks off in a pretty low key, sounding like something recorded in a someone’s bedroom register, but 53 seconds in a seriously wicked electric guitar kicks in and it’s deliciously hooky. Think trebly 1960s garage rock, just turned down a little. Sticking with Portland, I’m totally digging Shaylee’s single from last fall, “Ophelia.” The opening guitar work is so cool, sneaky yet delicate, weaving a bluesy-folk lick into your consciousness. By the time full band sound kicked in I was bewitched. The song is about the rush of new, sometimes brief, love and the music manages to mirror the rapturous roller coaster that relationships can be. When you take the Bryds into the 1980s you either get Tom Petty or the Grapes of Wrath, depending on how hard you hit the drums. John Larson and the Silver Fields are in the sweet spot, a little bit country, a whole lot rock and roll, with an accent on jangle on their most recent long-player The Great Pause. What is interesting to me is how different reviewers are raving over totally different tunes on the record. Personally I’m loving “Reversible Heart.” The jangle guitar sparkles and the tune is so Marshall Crenshaw meets Blue Rodeo. On Wide Awake Seattle’s Shake Some Action give the people what they want: jangle-infused psych poprock that shimmers and sparkles with electric energy. And the songs! There’s all the usual 1960s flavours here but I hear quite a good dose of Britpop too. Then there’s “Night Train to Munich,” a seductive gem of tune, its spare use of Rickenbacker nicely framing the haunting melody.

Artist Lucas Nathan is the band Jerry Paper and they are looking to just be themselves. In the case of Nathan that means identifying as non-binary, something the single “Kno Me” touches on. If that messes with your head the message here and on other cuts from the album Free Time is you’re just going to have to live with it. “Kno Me” cops an uber cool stance, challenging what we think we know about the singer and their gender. Meanwhile the chorus is pure pop bliss. When you’ve played with indie royalty like the New Pornographers and Woodpidgeon getting something new off the ground can fight to draw focus. But Frontperson deserves the spotlight. The title track from their new album Parade is so light and frothy, like unpredictable performance art (but not the boring self-indulgent kind). It kicks off so Laurie Anderson before the vocals turn more Joni Mitchell meets, well, the New Pornographers. The song’s got a thoroughly poppy positive vibe, despite the somewhat dire lyrics. You can’t help but feel a bit uplifted after hearing it. Japan’s The Kafers have so nailed the early Beatles sound it’s eerie. And I’ve heard a lot of Beatlesque numbers over the years. “Crying for the Moon Instead” sounds like it’s right off Please Please Me or With the Beatles, it’s got that Crickets-post-Holly vibe with guitars that are so 1963. If you listen to more than a few tunes by Mike Brunacini you’ll hear he’s got a distinctive piano pop thing going on, very Ben Folds. But I like his recent “Summer of 2009” in part because it’s such a departure. Sure it’s got piano but the guitar is pretty much in front for a lot of the tune. I love the variety he puts into performance, adding endearing bits of melodic ornamentation here and there to what is already a pretty strong number. fine.’s last album I’m Glad It’s Over Now is so listenable, the blending of the duo’s vocals a so smooth yet sibilant harmony. But the standout track for me is a bit of different, the so-this-post-topical “South by the Beach” with its accordion-sounding keyboard parts. The overall sound really reminds me of the synth-intimate atmosphere created by the likes of Long Island’s Red Barn.

The Kafers – Crying for the Moon Instead

Song 21 on our beach mix-tape odyssey is from Chris Castino’s new album Brazil. “Chinese Whispers” is a mellifluous pop number in a Paul Simon or Joshua Radin style. It’s a perfect accompaniment to your drive to beach, with the wind in your hair and some good feeling in your heart.

As Jonathan Richman once said, the beach be one of the best things we got. What makes that better? Tunes, of course. Stock up your playlist here!

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