Tags
Let Me In On This Action, Lost Angeles, Past and Present, Richard Turgeon, The Bottle Kids, The Spindles
This turn around the dial lays on the sugar and spice with songs that highlight how poprock can embrace both smooth production values and a discordant note here and there.
Eric Blakely’s The Bottle Kids has a polished poprock sheen honed in the late 1970s by such melodic rock luminaries as the Raspberries and Rockpile. Tracks like “When You Come Around” and “Her Heart is Much Worse than her Bite” sound like great lost tunes from that era. But then “American Girls,” the obvious single from the latest album, Let Me In On This Action, goes in another direction, drawing more from the indie side of the early 1980s sound. “Let’s Put Some Power Back in Pop” is a master class in that style as well the theme song of record, giving voice to it’s underlying musical philosophy. Another surprise is the Lennon-esque “I Miss Her Goodbyes” with its interesting “A Day in the Life” piano shots and spot-on Beatles vocals. While you’re checking out the band, don’t miss “The Most Beautiful Girl in the World” from 2013’s Such a Thrill, perhaps Blakely’s greatest composition!
San Francisco’s Richard Turgeon deservedly made a lot of ‘best of’ lists for 2017 with his driving rock and roll debut album In Between Spaces. Now he’s back with a tribute to a nearby burg, Lost Angeles, and it’s another killer blast of nineties-tempered tune-age. Things kick off with what must be the artist’s theme song, “Big Break,” which contains all the elements of Turgeon’s sound: big guitars, slightly discordant vocals, and a sneaky hook that won’t let up. Then “Waiting for You” shifts gears, sounding like a grungy Matthew Sweet, complete with sparkly lead guitar lines and a very Sweet-like melody line and chorus. But the out-of-the-park single for me is the addictive “Look Away” – crank this up and keep the air guitar handy. Turgeon takes a number of chances on this outing, trying out different styles on songs like “Working for the Man” and “I Want to be a Shut-in” while also showcasing how rock can be touching on his loving tribute “Be My Wife.” Besides picking up this latest record, tune in to Turgeon’s various social media for semi-regular releases of new material and inspired covers.
The Spindles’ Past and Present is definitely heading for my ‘best of’ list for 2018. This release has it all: great songs, killer hooks, superb performances. The band is clearly influenced by the Beatles and other British Invasion acts like the Hollies, masterfully covered here on “Look Through Any Window” (which is not easy to do). But they manage to make those influences their own. Overall, the sound is very early 1980s poprock – think the Moody Blues Long Distance Voyager or even some NRBQ. “Prisoner of War” is a strong opener and potential single, while “I Want My Baby Back” sounds like the sure-fire hit to me. Another great number is “Whenever We’re Together” with it’s Jeff Lynne strings and background vocals. “Peace with the Past” has a nice Hard Day’s Night opening flourish before settling in to a more Rubber Soul vibe. Other strong tracks include “Young Heart,” “Annette” and the very Nick Lowe circa Cowboy Outfit sounding “Santa Fe.” On the whole, the record is very easy to listen to again and again …
Prisoner of WarI Want My Baby BackWhenever We’re Together
You know the drill – only record buying fans can stop the slow slide to musical oblivion. Seriously, nobody really wants to be a ‘great lost artist.’ So find The Bottle Kids, Richard Turgeon and The Spindles today on the hot-links.
What were the biggest hits that weren’t in 2017? Who were the biggest should-be stars? In our alternate universe here at Poprock Record, these guys were all over the charts, the chat shows, the scandal sheets, as well as memed all over Facebook, Snapchatted by the kids, and Instragrammed into oblivion. Jesus, they were so popular you are well and truly sick of them by now. But sadly for our poprock heroes, the universe is not just ours to define. In the world beyond our little blog, they could all use another plug.
Daisy House dominated my playlist this year, both their current record and their back catalogue. They channel the 1960s but never let it wholly define them. They have two amazing singers and one fabulously talented songwriter. They deserve all the accolades the internet can hand out. If this were 1970 they’d probably be headlining The Flip Wilson Show tonight. The Rallies were an accidental discovery that turned into an obsession. Their whole album is great but “Don’t Give Up” makes my heart twinge every time. Aimee Mann and Fastball ably demonstrated this year that veterans can still turn out fantastic, career-defining albums. And I got to see both of them live! Los Straightjackets did Nick Lowe proud, producing a phenomenal tribute to his body of work. “Rollers Show” was my go-to summertime happy tune.
I won’t review every selection from the two-four, but I will say that I think the mix of poprock I feature on the blog is evident here. There’s fast and slow, country and rock, guitars and keyboards, etc. And then there’s always the hooks. Case in point: check out the 42 second mark on Greg Kihn’s “The Life I Got.” If you don’t feel the excitement he creates with some classic poprock guitar arpeggiation and the subtle vocal hook you’re kinda missing what we’re doing here. Here’s hoping 2018 is as hit single worthy as this past year has been!
I am going to sneak in an honourable mention for what I consider the compilation of year: 
Dan Rico is back with Nobody Knows, proving with this dynamic 11 minute EP that he is much more than a one album wonder. The familiar elements are all there – the neo-1970s pastiche of glam and 1950s rock and roll – with a few new twists. Opening track “Love in Vain” gets the party started with its insistent boogie beat but Rico blows the doors off with a killer hook at the 40 second mark that will have you hitting rewind almost immediately. “Nobody Knows” captures that border line 1970s punk-cum-garage rock sound with a nice guitar line. Rounding out the EP is “Rock-a-bye” with its hints of pop psychedelia and the mild melodrama of “Roxy Goddamn.”
Coventry’s The Primitives also have a new EP out, New Thrills, and from the opening riff of “I’ll Trust the Wind” you know you’re about to get just what you came for: catchy melodies, ringing guitars, and Tracy Tracy’s cool but understated pop vocals. All four tracks are the high quality 1960s-inspired poprock fare you’ve come to expect from this combo but check out the distinctive echo-y guitar sound and hooks on “Same Stuff” and lead guitarist Paul Court’s nice vocal turn on the chirpy “Oh Honey Sweet.” I could write and write about how great this band is but, really, it’s all there in the recordings. Just hit play.
On the new discovery front, Richard Turgeon is a modern everyman: successful purveyor of image and communication skills, music business ‘how to’ book writer, novelist, multi-instrumentalist, and songwriter, as well as suburban husband and father. He put together his latest record, Between the Spaces, literally between the spaces of his busy work and home life, ‘mostly on nights and weekends’ as he says on his website. The album kicks off with the very fun “Bigfoot’s an Alien” but really gets into gear for me with pristine poprock of “Bad Seed,” a driving number that reminds me of Matthew Sweet. “I Don’t Need You” opens with a great guitar hook and has a super sing-a-long chorus. The whole album is pretty solid, full of well-crafted tunes but, if pressed, I find myself most partial to the above-mentioned selections as well as “Watch Me Now” and “Frostbites.”
Our last breaking new discovery is Cait Brennan. New to me, it appears, because there is a hell of lot written about her first record and unusual career path on the ole internet (thanks to 
Poprock Record 