Today’s post is all new. I mean, most of the stuff I write about is new but this is a crew of talent I’ve heard nary a whisper about.

Everything about Sergio Ceccanti’s new album Mysterious Journey is freighted with retro cool. The guitar tones are like selections from a guitar pedals buffet. The song styles run the gamut of 1960s melodic forms. And yet, somehow, the album’s sonic aura is timeless. Opening track “Mystery Girl” captures the broader elan of the album with its distinctive lead guitar lines and hushed vocals. Jangle comes to the fore on tracks like “On My Way” with a Searchers buoyant energy. Then “You Dropped Me Alone” lightens the mood with a boppy bubblegum feel. Despite a consistent overall sound, the album does branch out in terms of sixties genres. “From My Mysterious Journey” suggests an early 1960s Roy Orbison intrigue while “Without You” tips things in a more Stones direction (in their more melodic moments). There are real departures here too, like the Teenage Fanclubby “Waiting Outside.” Or listen to how the guitar work on “Forget Me” pretty much guarantees that won’t happen. Really, this album is a summer sleeper chart climber.

It’s hard to know just how seriously to take Terry Anderson and the Olympic Ass-Kicking Team on their new record Got To Be Strong. I mean, the name invites guffaws aplenty. And then there’s the choice of song themes: chainsaws, bandanas, box wine, etc. Not topics that say serious song-smithing. But here’s the thing – the more I listen to this album the more I’m convinced these are fine specimens of sophisticated song craft. Stylistically, there’s more than hint of the Allman Brothers in their poppier moments. Things even stretch into Bachman Turner Overdrive territory on the opening cut “Chainsaw Repair Shop” with its chugging rhythm guitars. “My Bandana” sounds more pub rock/Rockpile era Nick Lowe. Then comes “Best Day Ever,” just the kind of feel-good rock and roll we really need right now, sustained by some serious organ backing. The album changes tempos effortlessly – things slow down on “Dilapidated Heart,” a song that really gets its Americana blight on (both material and spiritual), while “Magnificent” takes a more Byrds-meets-The Band approach. Then comes the album’s secret weapon “Regret Avenue,” a song whose jangle and hooks scream should-be hit single. I could go on loving up every song here but you get the picture. Got To Be Strong is just a great album experience from some very serious talent.

It happens. Turns out sometime over the past few years I bought Mark Alan Lofgren’s first volume of his Black Moon Book project but I never wrote about it. And that’s a shame because the record and follow up Black Moon Book 2 have got some lovely performances. Like “We Don’t Leave the Yard” from the latter – that synth work is utterly captivating. Well, making up for lost time I’m turning to the latest installment in the series Black Moon Book 3 and I can report it’s fabulous too. Just lay your ears on “Ne’er Do Well” and tell me if this doesn’t sound like a misplaced deep cut from the recent Real Estate offering Daniel. Damn but that lead guitar sound is to die for! “Get Out or We’ll Stay” works up a positively meditative drone that is so different but also very pleasing. “Perennials” has a English folkish feel compositionally, reminding me of Vashti Bunyan despite its delightful jangle coating. “The End of the Novel in Your Head” balances dreamy lead guitar and vocals in a perfect balance. Then “Ocean Drive” kicks things into a new lane, sounding more latter day XTC. “Glass Half Full” even threatens to break out into come classic Chuck Berry riffs, before art rocking the hell out of the arrangement. With this Black Moon Book triple play it’s clear Lofgren is just getting better and better.

There’s too many new somethings for one post – look for something new II, coming your way soon.

Photo courtesy James Vaughn Flikr collection.