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Poprock Record’s should-be hit singles for 2022

05 Thursday Jan 2023

Posted by Dennis Pilon in Poprock Themepark

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*repeat repeat, Allan Kaplon, Andy Bell, Bats, Beachheads, Bill DeMain, Bill Lloyd, Bloody Norah, Buzzard Buzzard Buzzard, Chris Castino, David Woodard, Dazy, Edward O'Connell, Fjord Mustang, Flipp, Frank Royster, Freddie Steady Krc, Freedy Johnston, Goodman, Grrrl Gang, Jane's Party, John Larson and the Silver Fields, Kevin Robertson, Kurt Lanham, Lawn, Limblifter, Linda XO, Lisa Mychols & Super 8, Marc Jonson, Martin Luther Lennon, Moonlight Parade, Murray Atkinson, Novelty Island, Phil Thornalley, Pictish Trail, Push Puppets, Ramirez Exposure, Richard Turgeon, Richard X. Heyman, RIcky Rochelle, Rogers and Butler, Sky Diving Penguins, Sloan, Stephen Schijns, Steve Robinson and Ed Woltil, Suburban HiFi, Superchunk, Tamar Berk, Teenage Tom Petties, Televisionaries, The Bleeding Idahos, The Demos, The Kryng, The Minders, The Proctors, The Rallies, The Rubs, The Stroppies, The Telmos, The Toms, The Wends, U.S. Highball

It was another busy year for melody-drenched rock and roll. Releases were coming fast and furious and frankly I could barely keep up. Still, I managed to get 82 posts up on the blog in 2022 and write over 64,000 words on the loosely-defined rock and roll sub-genre I call ‘poprock.’ I couldn’t write about everything that crossed my desk or what others may have necessarily thought was review-worthy, I just covered what caught my ear or worked itself into some kooky theme I cooked up. So let me be clear, what appears here is a completely arbitrary exercise in personal taste and discretion. I’m sure others may have a somewhat different set of worthy tunes that deserve more attention. And that is totally cool. The point is to celebrate the artists and perhaps give people another shot at checking them out.

So here it is, Poprock Record’s top 50 should-be hit singles from 2022:

1. Grrrl Gang “Pop Princess”
2. The Bleeding Idahos “The Beat Said”
3. Dazy “Rollercoaster Ride”
4. Bloody Norah “Shooting Star”
5. Allan Kaplon “Restless One”
6. Televisionaries “Over and Out”
7. John Larson and the Silver Fields “Reversible Heart”
8. Push Puppets “There’s No-one Else Like Lynette”
9. Tamar Berk “Your Permission”/“Tragic Endings”
10. Freddie Steady Krc “Bohemian Dandy”
11. The Toms “Atmosphere”
12. The Proctors “You and Me and the Sea”
13. The Minders “Home”
14. Richard Turgeon “Better With You”
15. Flipp “You Can Make It Happen”
16. Bill DeMain “Lone Ranger”
17. Limblifter “Haystack Rock”
18. Stephen Schijns “I Met Her Yesterday”
19. The Rubs “When I Dream About You”
20. Edward O’ Connell “Golden Light”
21. Superchunk “Endless Summer”
22. The Kryng “Get”
23. Freedy Johnston “There Goes a Brooklyn Girl”
24. Phil Thornalley “Fast Car”
25. Lawn “Down”
26. The Stroppies “The Perfect Crime”
27. Beachheads “Jupiter”
28. Martin Luther Lennon “jfkha”
29. David Woodard “Stupid Kid”
30. Linda XO “California Girl”
31. Richard X. Heyman “When the New Dawn Comes”
32. Buzzard Buzzard Buzzard “Break Right In”
33. Sloan “Magical Thinking”
34. Teenage Tom Petties “Boxroom Blues”
35. The Demos “Streetlight Glow”
36. Suburban HiFi “In Her Reverie”
37. Moonlight Parade “Amsterdam”
38. Ricky Rochelle “In a Dream With You”
39. The Telmos “What She Knows”
40. Marc Jonson and Ramirez Exposure “Tape Recording”
41. Sky Diving Penguins “Run Boy”
42. Novelty Island “Jangleheart”
43. Goodman “Au Pair”
44. Pictish Trail “Melody Something”
45. Kevin Robertson “Tough Times (Feel Like That)
46. U.S. Highball “(You’ve Got To) Activate a Carrot”
47. The Wends “What A Heart Is For”
48. The Rallies “Must Be Love”
49. Jane’s Party “It’s Been Years”
50. Frank Royster “Open Door”

There were so many great songs put out this past year, I was spoiled for choice. And choosing wasn’t easy. Sometimes I cheated a little. Grrrl Gang’s “Pop Princess” technically came out before 2022 but I only got around to writing about it this last year. What a tune! It’s a perfect example of the kind of excitement a great single can generate and, really, why I write this blog. People need to hear it! Or there’s the fresh indie hooks driving The Bleeding Idahos’ “The Beat Said” and Bloody Norah’s “Shooting Star.” Dazy had a knock out AM radio earworm with “Rollercoaster Ride.” And then there was veteran songster Allan Kaplon coming on like The Highwaymen at first only to let loose the Rockpile hooks in the chorus of “Restless Ones.” There were new faces and old favourites and surprises aplenty. Click on the links to go to the original posts featuring each song.

I had to create a few new categories this year, just to capture all that was good and groovy about 2022. The post-Covid covers album phenomenon continued and most were great fun. But some were particularly inspired. And then there were a lot of acoustic guitar-dominant tunes out this past year that I felt really needed to be singled out in a category I’ve dubbed folk pop.

So, without further ado, here are Poprock Record’s most inventive covers from 2022:

1. Kurt Lanham “I Want to Hold Your Hand” (The Beatles)
2. Lisa Mychols and Super 8 “I Can’t Explain” (The Who)
3. Bill Lloyd “The World Turns Around Her” (The Byrds)
4. Andy Bell “Light Flight” (Pentangle)
5. Murray Atkinson “Bus Stop” (The Hollies)

And here are Poprock Record’s top folk pop singles from 2022:

1. Fjord Mustang “Health Class Field Trip”
2. Rogers and Butler “Oh Romeo”
3. Bats “Golden Spoon”
4. *repeat repeat “Hm Feels Like”
5. Steve Robinson and Ed Woltil “Make Amends”
6. Chris Castino “Chinese Whispers”

I do love making lists but the choices do not amount to any big heavy pronouncement on anything – just my bit of fun and chance to celebrate these artists a little bit more. Check them out and see if you don’t agree, they’re seriously good!

Photo courtesy Fred Rockwood.

Record round-up III

31 Saturday Dec 2022

Posted by Dennis Pilon in Artist Spotlight

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*repeat repeat, 2nd Grade, Cherry Slide, Municipality, The Rubs, The Stroppies

This is it, round three of our year-end record round-up, our final one for the year. And it is definitely a strong finish. If round one was rocking and round two was retro then round three is a tad more out there and experimental. But oh-so listenable.

Everyone Stop is *repeat repeat’s sprawling new 27-cut double-plus album. Just released at year’s end, you can enjoy it as an uninterrupted 91 minute experience or skip all over its many different contributions, needle-dropping your way through its musical depths. With so much material here the record lacks the laser-like stylistic focus of the band’s magisterial 2019 release Glazed. But the expanse gives them a chance to hang out in so many different sonic playrooms. The results are a rocking good-time funk dancing acoustic emotional ballad roller coaster. You’re gonna need to hang on tight to hang in here. The first three cuts are a good introduction to the textured genius of this band: “Everyone Stop,” “Dearly Departed,” and “Arrangements” hit you with such cool guitar tones, a solid dance bass/drum combo, and airy-light vocals. The whole album could have just stayed in this lane. But suddenly “Adult Friend Finder” flips the script, taking us into alt-folk territory not unlike the likes of You Won’t and Bombadil. Just looking for earworms? Let’s cut to the hits chase: “Hmm Feels Like,” “Diamonds,” and “Tripping (I Know I Will)” are all should-be hit singles. What hooks! What sonic artistry! There’s so much to love here and I can only scrape the surface of what the band accomplish on this LP. Right now I’ll just draw attention to the wistful “I Was Happy” which lays its dreamy pop over a musical bed that sounds so Portugal the Man. Or there’s my today-fave cut (it may change tomorrow) “Burn Another Layer.” My recommendation: you’re going to need to set aside some time to fall in love with Everyone Stop. But you will.

I fell hard for The Stroppies killer 2019 single “First Time Favourites” with its harpsichordian keyboard riffs and folk rock vocals. So my first hit of their new album Levity was more than a bit jarring. But I loved it. What an interesting shift of musical emphasis from this band on this record, to a more daring, somewhat techno-experimental sound laid over solid rock and roll tunes. You can feel the creative tension of this mixture rippling throughout opening cut “The Perfect Crime,” with the guitar and keyboard parts pulling in different directions. Then “Smilers Strange Politely” floats a pleasant melody over a relentless guitar riff that gets seared into your consciousness. The record is really all about letting the electric lead guitar drive the songs – songs like “Up To My Elbows,” “I’m In the Water” and “Figure Eights” all let the guitar work cut loose in exciting ways. And yet there’s still a folk rock feel to so many tracks here, like “Material Conditions” and “Butchering the Punchline.” Seriously, Levity is a great new direction from a very good band.

Philadelphia’s 2nd Grade always give a little bit more. 2020’s Hit to Hit had 24 songs. 2021’s Wish You Were Here Tour Revisited had 23. Now in 2022 they’ve scaled back – to 16 cuts. But new LP Easy Listening does not skimp on quality. This is one fine crew of melodic tunes, accent on poppy. Opening cut “Cover of the Rolling Stone” hits all the classic powerpop marks, vibing Mo Troper pretty strongly for me. But then “Strung Out On You” throws some 70s rock jauntiness into the mix. “Hung Up” is all 1980s guitar pop. “Me and My Blue Angels” works in a few more minor chords while “Wouldn’t It Be Nice to Let It Be” lets a big room rumble guitar fill the space in another otherwise airy lowkey number. For variety check out the Stones rhythmic slouch all over “Poet in Residence” or the bubblegum Ramones feel to “Beat of the Drum.” This record is like some K-tel super hits collection, there’s so much diversity here (and I’m not even half through the album). Personal faves: “Teenage Overpopulation” and “Hands Down” – such exhibit A perfect poprock singles. “Planetarium” is pretty sweet too. Easy Listening is not just truth in advertising, it’s 100% fun.

I feel like I’ve been trying to write about The Rubs all year. Ever since I ran across their Stonesy “I Want You” last March and found their album (dust) in August it’s been on the shortlist. But for one reason or another the record didn’t fit into this to that post. Not for lack of trying. So now let me say, this album is phenomenal piece of work. It’s like a great lost record from the 1979 to 1982 period, it so nails the guitars and poppy rock and roll songwriting and sound of the records in that era. Songwriter and one-man band Joey Rubbish (not his real name?) takes a host of classic rock motifs and pops them up, front-loading some great melodies. Opening cut “I Want You” is an attention grabber, so classic rock and roll but those candy coated vocals make it irresistible. But then things shift with “Dana” and its kooky fun spacey keyboards. From there variety comes in many forms, from the folk rock “Here In My Dreams” to the keyboard punchy “I Don’t Wanna Wait” to Thin Lizzy-ish “Hang On To Me.” Rubbish so nails the everyman rock and roll vocals of the late 1970s on tracks like “Waste of Time” or the propulsive Plimsouls guitar drive on tunes like “The Same Thing to Me.” But my vote for outstanding track here is “When I Dream About You,” a genuine poprock tour-de-force. What a majestic melody! Don’t waste time, just place (dust) directly into your ‘best of the year’ pile.

NYC’s Cherry Slide are a slice of acoustic guitar pop, dropped from the Family of the Year mold. It’s all strummy strummy strummy against a wash of harmony vocals. Except when it’s not. “Not Fair” captures the basic sound: acoustic guitar front and centre, light and airy vocals, all in the service of a poppy tune. “I Took a Number” adds some variation to this with its nice lead guitar accents. But then we have “Generate This!” It’s a wonderful single that just cooks along, riding a strong acoustic rhythm guitar and dropping in bits of electric guitar amid a captivating mix of vocals. Picked straight from the ‘hits’ tree. The band also offer up a souped-up cover His Name Is Alive’s rather spare “Wall of Speed” adding a soft-rock Spector Wall of Sound effect. Moving north Halifax Nova Scotia’s Municipality also ride the lowkey guitar pop train, sounding a bit more Elephant 6 though. On their debut Sunroom they really do sound sometimes like Apples in Stereo just popped into the Beatles Let It Be sessions. “First and Last” and “Let It Go” have really got that late period Abbey Road feel. But the material itself is more 90s indie poprock e.g. there’s a bit of Elliot Smith on “Without You.” On the other hand, “All in My Mind” sounds like the single to me with its hooky guitar shots.
It’s been an odyssey, getting through this end-of-the-year record round-up. But so worth it – so many great acts, so many great tunes. And dropped in just in time for 2022.

Photo fragment of 57 Chevy ad courtesy James Vaughn.

Spring singles countdown

19 Tuesday Apr 2022

Posted by Dennis Pilon in Poprock Themepark

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*repeat repeat, 65MPH, A. Michael Collins, Billy Bragg, Bryan Adams, Classic Pat, Goin' Places, Hovvdy, Invisible Rays, K. Campbell, Kerosene Stars, Pictish Trail, Robby Miller, Smiles, Stephen Schijns, Tamar Berk, The Lovetones, The Rills, The Stranglers, The Telmos, Tracy Shedd

This is a countdown to both warmer temps and hotter tunes: our spring singles countdown! I find my incoming new singles pile never really shrinks but that’s not really a problem is it? So here goes with another 21 songs just pining for your attention.

The Stranglers were one of those bands I was vaguely aware of in my youth but I was too distracted by the melodic heft of The Jam and Squeeze to take notice of their more subtle charms. In fact it was only in the past few years I heard the band’s exquisite “Golden Brown” from their 1981 album Le Folie. Fast forward to last year and the band’s 18th album Dark Matters is full of winning tunes. The tribute to late longtime band member Dave Greenfield “And If You See Dave …” is touching while “The Last Men on the Moon” has a hooky futuristic vibe a la 1980s Moodies meets Blue Oyster Cult. Another band doing the coming-back-strong thing are The Lovetones. After a decade gone they returned in 2020 with Myriad and the must hear song for me is “Rescue.” Ok, this is not a breaking single but it should have been, it’s got that magical mid-1960s sparkle tune-wise. Tamar Berk is building up to something pretty extraordinary, if her drip drip of confident pre-album singles is anything to go by. “Tragic Endings” opens with alluring simplicity, just a single electric guitar and Berk’s clear voice, before adding layer after layer of sonic hooks. The song is masterful arrangement of push and pull melodic effects and the vibe is like Pat Benatar meets Blondie, with a touch of Laurie Anderson thrown in. The upcoming album is Start at the End but you’re gonna want in at the beginning. Ottawa’s Robby Millar turns up the 1970s bubblegum/glam guitars on “All We’ve Got” with a chorus that is very The Cure. It’s a creative combination that is oh so obvious once you hear it. Incipient spring brings a new double A sided single from Nashville artists *repeat repeat and they certainly paint a picture, “Soft” a dreamy, shoe-gazey float along the water, “Hmm Feels Like” a punchier Kevin Devine-ish acoustic bit of hooky shuffle.

The Stranglers – The Last Men on the Moon
Robby Millar – All We’ve Got

Houston’s enigmatic poprocker K. Campbell layers his recent single “Breaking Glass” with an intoxicatingly compressed sound, like a classic 45 blasting from a transistor radio. But listen a little more closely to hear all the subtle shifts in sonic texture that elevate the tune. Another textured mini-masterpiece comes from L.A.’s A. Michael Collins. “In Other Climes” initially sounds like it’s a member of the Bryds family tree with its jangly guitars and harmony vocals. But it quickly turns into something more contemporary, not unlike the retro reinventions from the likes of Richard X. Heyman. Bryan Adams albums typically alternate between effing-eh truck-driving stadium-rawk and more radio-friendly poprock earworms. Album 15 So Happy It Hurts delivers on both but I’m drawn more to the latter, which just happen to be all the songs he wrote here with his traditional hit-songwriting partner Jim Vallance. “I’ve Been Looking For You” is textbook poprock goodness: so simple, nothing ground-breaking here, but man does Adams know how to put it together. Now for something a bit different, Classic Pat takes on Trisha Yearwood’s “She’s In Love With the Boy” stripping out all its ‘easy listening’ country elan and replacing that with a fabulous 1980s Canadian indie vibe e.g. The Northern Pikes or The Grapes of Wrath. The song is just one of many commercial country make-overs appearing on a worthwhile album split with Buzzard Buzzard Buzzard entitled Country Buffet. Austin duo Hovvdy wowed critics with their self-described ‘pillow core’ album True Love last fall. Now they’re back with a new single “Everything.” The acoustic guitar sets the tone and hook for the song, building from a stark and spare backdrop only to drop in a bit banjo on its way to veritable wall of sound as the tune builds. It is somehow both a bit manic and oh-so-smooth at the same time.

Bryan Adams – I’ve Been Looking For You

Everything about Isle-of-Eigg dweller Johnny Lynch is original. His recordings as Pictish Trail defy easy categorization. Me, I’m drawn to the melody central cuts, which really comprise only some small part of his musical vision. As Guardian writer Jude Rogers reveals, his latest album Island Family is an oblique love letter to his island home and community. My choice for your listening pleasure is “Melody Something” but the rest of the album is worth some dedicated listening. Lincoln UK’s The Rills are something a bit different again, offering up a lot of story detail on “Skint Eastwood.” The verses have a driving, almost relentless attack but when the chorus kicks in, wow, it’s like melodic crack. Staten Island’s Goin’ Places have shifted the intensity of their punk delivery over their twenty years together, edging slightly into more pop punk territory on their most recent album, Save the World. It’s a strong album but personally I’m digging the Mersey-ish “Recover.” Sure, there’s a still a strong punky feel to the proceedings but the boys add some very melodic guitar lines and sweet background vocals. Veteran protest songster Billy Bragg came out with a new album The Million Things That Never Happened last fall and it had more than a few of his signature hooky folk rock numbers. The highlight for me was album closer “Ten Mysterious Photos That Can’t Be Explained” with its rollicking tempo and razor sharp social commentary. Kelowna’s Stephen Schijns has a curious new single that combines an eerie Gordon Lightfoot-reminiscent vocal with a chugging yet propulsive bit of poprock performance, and a tasty bit of 1970s guitar solo. It really works.

North Carolina’s Tracy Shedd ambles onto centre stage with her single “Going Somewhere,” its laid back feel gaining more urgency in the chorus. Definitely a bit of car-driving, windows-open on a summer day sort of music. The Telmos’ “What She Knows” actually first appeared on the band’s 2019 EP How Quick It Goes Away but it has now been re-released by Aldora Britain Records. It definitely deserves a second chance, given its sunny 1960s pop psychedelic feel. Kinda like The Zombies jamming with The Hollies. Back into the pop punk field, Boston’s Invisible Rays pump out what sounds like a somewhat more socially adjusted Weezer on “Landline.” This one is jump-up-and-down dance good. Another late find for me is smiles “Gone For Good.” This 2019 release oozes Teenage Fanclub, Big Star and Matthew Sweet vibes. Turn it up loud and get lost in the melodic haze. Chicago’s Kerosene Stars continue their English 1980s band revival kick with “Purpose of Friend,” a song that sounds like something from Manchester 1988. A bit confessional folkie, a bit swing poprock.

We’ll wrap things up with a double blast from prolific Cambridgeshire indie artist 65MPH. The recent singles “Real Life” and “Don’t Walk Away” cap a series of releases from this guy, so an album proper cannot be far off (can it?). I love the rough and ready vibe on these songs, reminding me of work from the likes of The Jam and Cast.

Twenty-one singles crammed into one post is like finding a variety box of quality chocolates on your Easter egg hunt. There’s definitely going to be some you really like. Time to start indulging.

November spawned a single

15 Monday Nov 2021

Posted by Dennis Pilon in Poprock Themepark

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*repeat repeat, AB, Andy Bopp, Andy Reed, Back For More, Beatles, Billy Bragg, Bob and the Eastern Beacon of Hope, Buzzard Buzzard Buffalo, Cut Loose!, Dig, Drone Etiquette, Glazed, Grip Weeds, I'm Sorry Sir That Riffs Taken, Last Legs, Let's Go!, Magnetic, Middle Angst, Orbis Max, Paul Kelly, Radio Days, Rocket Bureau, School Book Depository, Scrimshanders, Sideshow, Simon and Garfunkel, Songs That Never Were, Steadman's Wake, Steve Miller Band, Suburban Urchin, The BellTowers, The Buzz, The Byrds, The Connells, The Covid Collaborations 2020-21, The Cut-Outs, The Hard Ons, The On and Ons, The Only Living Boy in New York, The Persian Leaps, The Tender Age, Tommy Scifres, Vanilla, Ward White

In between competing Canadian and American Thanksgivings is most of November, a month where nothing much really happens. What better time to shine a little light on some new singles? No time, my friends. Get ready to taste test twenty or so new tunes in between bites of leftover turkey.

There’s something very Bowie about Ward White. His delicate yet forceful delivery defies easy categorization. His new album, The Tender Age, is full of sophisticated tunes but I’m drawn to the more rootsy, almost pub rock “Don’t Let’s Die at the Stop Light.” The organ and lead guitar work are fabulous and the chorus takes a surprising melodic turn. The new Grip Weeds record Dig is a cover album tour-de-force. The band blast through an inspired collection of sixties psych rock classics and then some. But their treatment of The Byrds “Lady Friend” is epic, taking the song to new heights by amping the psych content and nailing the vocal arrangement (adding some Turtles’ ba ba ba’s to good effect). And don’t skimp on getting the deluxe double-album version because disc two has some real killers, like the wild cover of The Monkees “For Pete’s Sake” and the banjo-licious take on the Nightcrawlers’ “Little Black Egg.”  Another band working the sixties side of the street pretty hard is The On and Ons and they ace that garage-y yet poppy rock and roll sound with guitars that practically leap from the speakers. The new album is Back for More and you will be, guaranteed. But as a taster, check out “Your Kind of World.” What a fab hooky guitar lead line opener! And the rest is a pretty winning Bryds-meets-Beatles “Rain” era single. The minute I spotted that Tommy Scifres had played with Aaron Lee Tasjan I had a feeling his record would be pretty cool. And it is. The LP is Last Legs, a lovely collection of melody central tuneage, like the mellifluous “Thought You Knew” with its spacey vocals and trippy guitar. Like some very early 1970s Steve Miller Band. But I’m liking “What’s at the Bottom of Your Heart” even more with its retro 1950s swing. How many bands can take two decades off from recording and come back like they’d just slipped out to the store for a pack of smokes? Clearly The Connells can. Steadman’s Wake is their new album and it is a fantastic mélange of Americana and Tom Petty poprock. The whole album is a keeper but I’m presently grooving on “Fading In (Hardly)” with its Billy Bragg song-framing and shiver-inducing, gut-punch of a chorus. Get those lighters ready.

The Grip Weeds – Lady Friend

There’s something old and something new about Sydney, Australia band The Hard Ons’ new album, I’m Sorry Sir, That Riff’s Been Taken. Going on 40 years as a musical outfit (with a few times outs) obviously the band is something old. But The Hard Ons 2021 have a brand new lead vocalist, former You Am I singer Tim Rogers, and pretty punchy poprock sound, apparent on the driving “Hold Tight.” Love the band name, love the album title. Boston’s Scrimshanders get labelled with tags like alt country but I don’t get it from listening to “SXMS,” featured on their latest long-player Songs That Never Were. Just check out that rough chord-slashing guitar work and those John Doe vocals. This is rock and  roll baby. Ok, maybe tracks like “Restless Heart” have a bit of country in them, but, again, I hear more of the Jersey shore in those twin engine organ and guitar blasts. I totally loved Nashville band *repeat repeat’s 2019 album Glazed with its unique blend of contemporary and retro sounds. Since then they’ve been teasing us with a succession of tasty singles, practically a new album’s worth. The latest is “Trippin’ (I Know I Will)” and it is wonderfully otherworldly with hooky, winsome lead guitar work that frames a lovely little pop song. Chicago’s The Cut-Outs describe their sound as punk-powerpop-rock and roll. Ya, that about captures it, though not on every song. Take “Ordinary Man” from their latest collection Let’s Go! – it’s a late 1960s rocker all the way. Of course, there definitely a heavy dollop of poppy punk ambiance defining the album’s opening cut “Tuesday Night.” I love the manic clapping and the Dave Rave-like vocals. Washington D.C.’s The Buzz have got that spare 1979 guitar sound all over their most recent record Cut Loose! There are so many great songs here but overall I’m really grooving on “Stuck in the Cloud,” a bona fide should-be hit single. There are a load of subtle melodic change ups in this song, with the band regularly altering their attack and deftly layering interesting musical dynamics behind a glam era vocal.

Orlando Florida’s The BellTowers psych their jangle pretty thoroughly throughout Magnetic, both Reel One and Reel Two. The double EP is a whole lot of intensely sibilant guitar work. My recommendation is, start with “Erase Any Doubts.” The guitar is everywhere, hypnotically drawing you in, keeping you focused on it like a great montage sequence from any season one episode of The Monkees. Look I’m not saying it’s an Australia thing but I can’t help but hear a kind of punk rock Paul Kelly vibe embedded in Suburban Urchin’s “4000 Miles Away” from their Born in the Suburbs release. The cut charges along with such fist-waving intensity, you know this would be a dance hall stomper. Milan, Italy’s Radio Days just keep dropping exquisite singles. This time they draw from the British beat group era circa 1965 for the background sonic pallete. There’s an early Mersey feel to the guitar lead line kicking off “Walking Alone” but then the song branches out into a more timeless power pop sound. Buzzard Buzzard Buffalo are a mysterious band that leave a light footprint on the ole interweb. They hail from Manchester Tennessee but sound like they hang in that more famous version of the town. “Love Song for You” is a quirky, endearing bit of lofi pop. It’s a song that comes on in the background and before you know it you’re turning up the volume and hitting repeat. I’ve loved St. Paul Minnesota’s The Persian Leaps for a long time. I own two of their albums, an EP, and handful of singles. So how come I’ve never managed to write about them? Epic coverage fail! Well, let me make up for lost time – get the band’s newest release, Drone Etiquette: it’s great. I mean, check out how that banging guitar opener to “When This Gets Out” is cast against vocals that are so melodically refined, offset by some polite piano shots. Then for something different, there’s “The Company She Keeps” which has such a fab Andy Partridge/XTC chime.

I’ll admit I initially stopped at Växjö, Sweden musician Fredrik Solfors’s site because his band name was so intriguing: School Book Depository. And what’s not to like about a guy with a ‘Bob’ song on every album? Album number three is now out, Bob and the Eastern Beacon of Hope, collecting a host of drip pre-released singles and then some. I’m loving the gentle hooky charm of “Killer in the Mountains,” a carefully crafted bit of poprock portraiture. There are so many delightful details here, from the Owl City meets Good Old War vocals to a captivating musical arrangement. With “Lipstick Queens” Rocket Bureau bolt out of the singles gate with a track that sounds like a mix of some mad off-off-Broadway show and a new wave revival album. They claim to be Wisconsin’s ‘basement-rock and roll-one man-studio band’ but to my ears they are ready to take the stage. The song is from the album Middle Angst, and its got a lot more 1970s guitars and hooky tunes for you. For a while it seemed like the name Andy Bopp was everywhere. “Bopp’s a genius,” they’d say. “Bopp’s got a killer album,” proclaimed the reviews. Who is this guy, said I? Well after a stroll through his latest LP AB, I caught a bad case of ‘reviewer meets genius.’ Everything you’ve heard is true. Just test drive “Uncommon Disaster,” it’s a thing of sonic beauty. It kicks off with some 1966 Beatles rock guitar chords before resolving into a new wave era Kinks kind of number, with some outta-sight background vocals and a bridge to die for. Tacoma Washington’s Vanilla are curio poprock all stars, no genre can stump them. Their most recent collection Sideshow makes my case, with a bit of alt country, old timey pop, XTC-infused new wave and more. But “I Shall Be Re-released” is the standout here for me. Listen closely for those subtle vocal shifts in melody and harmonies, the almost buried retro lead guitar. It’s both familiar and different at the same time. As the world shut down these past few years music collective Orbis Max decided to get some socially distanced jamming going, the results emerging now on The Covid Collaborations 2020-21. There’s a rotating cavalcade of indie starts included here – Danny Wilkerson, Lanny Flowers, Ed Ryan, etc. – as well as great cuts just featuring the essential members of the band. Like “You Sold Tomorrow” with some super ‘woo hoos’ and pumping piano and a Harrisonian sheen to it all.

Track 21 in this monster collection of November tunes is something very Autumn, Chicago indie production legend Andy Reed’s lofi treatment of Simon and Garfunkel’s “The Only Living Boy in New York.” I’ve always had a soft spot for Simon’s acoustic-y soft rock numbers but Reed manages to strip the MOR production values out of the original to give the track some added indie allure. The heavenly background vocals are still there, even if the church organ isn’t. Altogether a fresh take on a deep cut classic.

While no alternative artists were forced to dance awkwardly through a background desert motif, here’s hoping that our November singles mediation has spawned some listening pleasure. Click those hyper-linked artist names to signal yes.

Poprock Record’s 25 must-have LPs for 2019

15 Wednesday Jan 2020

Posted by Dennis Pilon in Poprock Themepark

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*repeat repeat, Berwanger, Bombadil, Dan Israel, David Brookings and the Average Lookings, Johnny Stanec, kiwi jr, Lolas, Martha, Matthew Milia, Mondello, Nick Eng, Pernice Brothers, Richard Turgeon, Scandinavia, Sofa City Sweetheart, Telekinesis, The Boys with Perpetual Nervousness, The Brothers Steve, The Cactus Blossoms, The Golden Seals, The John Sally Ride, The Maureens, The Vapour Trails, Trip Wire

Screen Shot 2020-01-13 at 11.39.35 AMPoor 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!

Just a word of caution – there’s no science to the list and rankings below. Here are just 25 albums and 10 EPs that caught my ear this past year and kept me coming back for more. There was something about each, their combination of elements (songwriting, instrumentation, performance), that I thought really worked as a coherent whole. And that’s saying something in our world of social media distractions and a renewed music biz focus primarily on singles.

So let’s begin with Poprock Record’s 25 must-have LPs for 2019:

  1. Bombadil Beautiful Country
  2. Matthew Milia Alone at St. Hugo
  3. The Brothers Steve #1
  4. The Maureens Something in the Air
  5. Richard Turgeon Go Deep
  6. The Golden Seals Something Isn’t Happening
  7. Pernice Brothers Spread the Feeling
  8. *repeat repeat Glazed
  9. Martha Love Keeps Kicking
  10. Scandinavia Premium Economy
  11. The Vapour Trails See You in the Next World
  12. The Cactus Blossoms Easy Way
  13. Johnny Stanec Things Were Better, When
  14. The John Sally Ride Nothing Doing
  15. The Boys With Perpetual Nervousness Dead Calm
  16. Telekinesis Effluxion
  17. David Brookings and the Average Lookings Scorpio Monologue
  18. Mondello Hello, All You Happy People
  19. Nick Eng Long Shot
  20. Sofa City Sweetheart Super (b) Exitos
  21. Dan Israel Social Media Anxiety Disorder
  22. Berwanger Watching a Garden Die
  23. Lolas Bulletproof
  24. kiwi jr Football Money
  25. Trip Wire Once and Always

Screen Shot 2020-01-15 at 2.26.05 PMI 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.

Next up, Poprock Record’s 10 must-have EPs from 2019:

  1. David Molter Foolish Heart
  2. Omicrom J Trauma You Should Have Thought About That
  3. David Woodard Everything in Between
  4. Brett Perfect Patterns
  5. Project: Ghost Outfit Project: Ghost Outfit
  6. Super 8 Head Sounds
  7. scienceisfiction Don’t Everyone Thank Me at Once
  8. Ducks Unlimited Get Bleak
  9. Jean Caffeine Love. What is It?
  10. Lost Ships All of the Pieces

The revival of the EP is very much in the spirit of the times as performers try to woo listeners to fork over for music in an era of YouTube shuffles and streaming. Personally, I’m usually left feeling that most are just bloated maxi-singles or Readers Digest condensed albums. But these ten show just how punchy an EP can be! Content-wise, I’ll just say this about my number 1 choice: wow. Dave Molter got his musical start in the 1960s (as evident on the record!) but waited until his 70s to put out Foolish Heart. What you get are five gems polished to poprock perfection: hooks, harmonies, the whole deal.

One last thing: a special mention for Aaron Lee Tasjan’s Karma for Cheap: Reincarnated. The original record was my number 1 album for 2018 and this reinvention beautifully reimagines all those great tunes in often stark and stripped down ways. If you liked the original, you’re gonna love the remake.

Poprock Record’s should-be hit singles of 2019

09 Thursday Jan 2020

Posted by Dennis Pilon in Poprock Themepark

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*repeat repeat, Aaron Lee Tasjan, Army Navy, Berwanger, Big Nothing, Bombadil, Brett, Bryan Estepa, Dave Molter, David Woodard, Dead Rituals, Deadbeat Beat, Drew Neely and the Essentials, Ducks Unlimited, Ezra Furman, Fruit Bats, Hollerado, Johnny Stanec, Juliana Hatfield, Lucille Furs, Martha, Matthew Logan Vasquez, Matthew Milia, Mike Adams at his Natural Weight, Nick Lowe, Omicrom J Trauma, Pernice Brothers, Perspective A Lovely Hand to Hold, Propeller, Richard Turgeon, Ryan Hamilton and the Harlequin Ghosts, Space Dingus, Taylor Knox, Telekinesis, The Boolevards, The Brothers Steve, The Cerny Brothers, The Cudas, The Dave Anderson Project, The Golden Seals, The Maple State, The Maureens, The Mommyheads, The Needs, The Rallies, The SmartHearts, The Well Wishers, Trolley, U.S. Highball, Wyatt Blair

Screen Shot 2020-01-09 at 11.14.44 AM2019 had plenty of jangle, hooks, harmonies and melody to spare. From an initial list of over 200 songs I’ve managed to whittle my should-be hit single list to just 50 chart toppers for this year. Man, it was hard. Because I only post music I like this whole exercise is a bit like choosing your favourite child. Well, IMHO, the 50 songs featured here all have a strong earwormy quality to them. But let me know if you agree or disagree! Hit the links below to find each artist as featured in my original blog post this past year.

So, without further ado (drum roll please!), here is Poprock Record’s should-be hit singles for 2019:

  1. The Golden Seals “Something Isn’t Happening”
  2. Juliana Hatfield “Sugar”
  3. The Well Wishers “Feeling Fine”
  4. Bombadil “The Man Who Loves You”
  5. Matthew Milia “Abruptly Old and Caffeinated”
  6. The Brothers Steve “She”
  7. The Maple State “Germany”
  8. Aaron Lee Tasjan “Songbird”
  9. Johnny Stanec “Secret World”
  10. The Maureens “Can’t Stop”
  11. Telekinesis “Like Nothing”
  12. Omicrom J Trauma “Leave You Alone”
  13. Matthew Logan Vasquez “Ghostwriters”
  14. Hollerado “Straight to Hell”
  15. *repeat repeat “Pressure”
  16. Space Dingus “Parchment Squire, Paper Knight”
  17. Taylor Knox “City at Night”
  18. Fruit Bats “Ocean”
  19. Berwanger “Bad Vibrations”
  20. The Cerny Brothers “American Whore”
  21. Pernice Brothers “Skinny Jeanne”
  22. Wyatt Blair “I’ll Keep Searching for You”
  23. Mike Adams at his Honest Weight “Do You One Better”
  24. U.S. Highball “Summer Boy”
  25. The Rallies “All Over Town”
  26. Richard Turgeon “Loneliness”
  27. Perspective, A Lovely Hand to Hold “One Wrong Turn”
  28. Deadbeat Beat “Baphomet”
  29. Bryan Estepa “Another Kind of Madness”
  30. Ezra Furman “In America”
  31. Nick Lowe “Blue on Blue”
  32. Lucille Furs “Paint Euphrosyne Blue”
  33. Brett “Wisdom Tooth”
  34. Martha “Heart is Healing”
  35. The Dave Anderson Project “Welcome”
  36. Drew Neely and the Heroes “Chasing Danielle”
  37. Dave Molter “Tell Me That You Love Me”
  38. The Boolevards “Take Me to the Top”
  39. Army Navy “Seismic”
  40. Trolley “I’ll Never Tell”
  41. Ducks Unlimited “Anhedonia”
  42. The Needs “I Regret It”
  43. The Cudas “The Kids Want Hits”
  44. Propeller “There Goes a Day”
  45. Dead Rituals “Run”
  46. David Woodard “Nine Hundred Ninety Nine”
  47. Ryan Hamilton and the Harlequin Ghosts “Feels Like Falling in Love”
  48. Big Nothing “Waste My Time”
  49. The Mommyheads “Wake Up a Scientist”
  50. The Smarthearts “The Man from the Company”

As you can see, the list is a bit all over the map. There’s hints of country and folk and a lot of rock and roll. Because I’m working a broad poprock vein (as opposed to a more narrow power pop) my list crosses lines that other melodic rock blogs might not. That means the pop folky Bombadil and Fruitbats can sidle up to the more edgy melodic punk of Ezra Furman or country rock of The Cerny Brothers. But most of the entries fall neatly into my definition of ‘poprock’ – as in, melodic rock and roll characterized by plenty of hooks and harmony vocals. It’s all there in my number one song from The Golden Seals “Something Isn’t Happening” with its swinging acoustic guitar base, various hooky lead guitar lines, and catchy vocal melody. Or you can hear it in the addictive guitar drone driving Juliana Hatfield’s great single, “Sugar.” Same goes for The Well Wishers’ fantastic poprock reinvention of Fleetwood Mac’s 1977 sound on “Feeling Fine.” And I could just go on dropping superlatives on every entry on this list. Instead, click on the links and check out my original posts about all these artist.

All these artists have instruments to keep in tune and studio time to pay for, not to mention all the time they take away from paying work to write the songs and practice performing them – all in aid of getting this exciting music out there for us to enjoy. Help them thrive by getting out to see them live and buying their music.

Husbands and Wives: *repeat repeat, Freedom Fry, and The Weepies

05 Wednesday Jun 2019

Posted by Dennis Pilon in Poprock Themepark

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*repeat repeat, Freedom Fry, Glazed, Husbands and Wives, The Weepies

Screen Shot 2019-06-05 at 1.53.21 PMFans of Everly Brothers-style singing talk about blood harmony or, put more scientifically, the impact of genetics on musical compatibility. But husband and wife duos also often connect musically with a chemistry that is characteristically different than more platonic pairings. Today’s blog post promotes the benefits of musical matrimony with three stellar case studies.

Screen Shot 2019-06-05 at 1.54.26 PMNashville’s *repeat repeat was a recent accidental iTunes front page discovery. With a Weezer-esque sense of style and design, I just had to click on the stylish organge-drenched album cover to hear what was inside – and what a treat I found! On Glazed, *repeat repeat come on like a more dance-able, clubby Fountains of Wayne, with a guitar-oriented poprock anchored by the band’s distinctive use of synthesizer. The vocals on this album also function like a finely tuned instrument, adding an extra depth to the subtle melodies. “Hi, I’m Waiting” eases you in with its slow roll out and earwormy synth shots before punching things up in the chorus. “Pressure” has a club dance groove drive given a rock and roll combo treatment and some hooky vocal ‘oh’s’ for good measure. “Fortunate One” is the hit single for me: understated but builds its melodic architecture piece by piece until you can’t resist hitting replay. “I’ll be the One You’re Going Old With” has a sweet sentiment and clips along with a chirpy feel good sound. “City of Stars” vibes “Stacey’s Mom” but geared down to a more dreamy tempo. “TTB” has flashes of early Paul Simon vocally but punks up as it goes along. And so on. This is a great album buy. Don’t miss their catalogue highlights either: both “Everybody’s Falling in Love” and “Girlfriend” from 2017’s Floral Canyon are both winners! https://poprockrecord.files.wordpress.com/2019/06/06-fortunate-one.m4aFortunate One

Screen Shot 2019-06-05 at 1.55.26 PMWe’ve featured a lot of songs from American-Franco duo Freedom Fry. There is something so distinctive about their blend of almost whispered harmony and folksy charm. But it’s the tunes that ultimately carry them through, whether their own original material or a load of inspired covers. 2018’s Classic really was. So many great songs on an expertly executed album. Since them the duo have peppered us with series of expanded singles that take up new textures and unpredictable cover material. Like “Renegade – only Freedom Fry could strip out all the bombast of the Styx original, leaving the song’s uneasy essence remaining. “Black Mountain” gives the duo a chance to show off their formidable vocal layering techniques. “Hey Moon” has a lovely, lilting lullaby-like texture. “Yeah You” picks up the tempo and charges up the hooks. Then “The Sun is Going to Shine on You” shows how the band can work up a tougher yet still melodic sound. Freedom Fry brim with creativity and surprises!

Screen Shot 2019-06-05 at 1.56.14 PMThe Weepies ooze gentle sweetness with their carefully crafted harmonies and delicate arrangements. There is always something wistful about their performances: often quiet and filled with longing. “All That I Want” from their 2004 debut Happiness really captures the basic formula, which is further solidified with tracks like “Gotta Have You” 2005’s Say I Am You. From the same record check out the Simon and Garfunkel-worthy, shiver-inducing harmony on “World Spins Madly On” or the winsome “Nobody Knows Me All.” Then 2008’s Hideaway was a masterpiece, upping the poprock polish without relinquishing the folksy intimacy. The whole album is songwriting gold, from the engaging title track, to the entrancing “Little Bird,” to the single-worthy “Antarctica,” and so on. 2010’s Be My Thrill changed things up a bit, shifting things uptempo on tracks like “Hope Tomorrow” while 2015’s Sirens even introduced inspired covers like Tom Petty’s “Learning to Fly.” Health problems and parenting appear to have slowed The Weepies early productivity but their website reports a new tour for Autumn 2019. Perhaps a new record won’t be far behind.

Marriage brings a special kind of intimacy to musical collaborations, as our three cases illustrate. But it also needs money. Lots of money: for kids, houses, medical bills (in you’re in the States), and more. Visit *repeat repeat, Freedom Fry, and The Weepies and do your part to keep these couples in the black.

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