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Late September singles

28 Tuesday Sep 2021

Posted by Dennis Pilon in Poprock Themepark

≈ 4 Comments

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Bleu, Cavetown, Dan Rico, I Was a King, Jim Basnight, Keats, Lydia Loveless, Monnone Alone, Nectar, Nick Piunti, Rich Arithmetic, Rumble Strip, The Forresters, The Front Bottoms, The Mommyheads, The Orion Experience, The Ruen Brothers, The Suncharms, The Vaccines, The Webstirs

The rush of fall is upon us with nary a wayward summer breeze to distract us. I guess we’ll just have to turn to this rash of singles to get us through. Here are acts old and new, famous and not so well known, in a variety of poprock styles. Something to tickle every fancy.

Besides having an election, Norway is in my newsfeed because Oslo’s I Was a King have got a new album out. Entitled Grand Hotel, the record steers between spare Brydsian folk numbers and good old fashioned Teenage Fanclub guitar pop songs. The latter spirit strongly guides “Song for the Dead,” the obvious stand out single for me. Former Lucksmiths member Mark Monnone’s latest vehicle is Monnone Alone, though he does get help from a rotating cast of musical characters. His latest release Stay Foggy has a looser feel than this previous longplayer, the more raucus Summer of the Mosquito. It hits me with a summer beach party kinda vibe. I love the early 1960s throwback shuffle of “The Silos.” But my feature track is “Pepper Jar” with its lovely low key jangle and subtle vocals hooks. The long wait for a new album from the fabulously talented Bleu is finally over with the arrival of Six Tape. The record brings together songs released over the past year (like the fantastic “I Want to Write You a Symphony”) as well as tunes originally intended for other projects. The end result does not disappoint. Listeners looking for his trademark larger-than-life ELO-meets-Queen reinvented sound, look no further than the wonderfully over the top “Baby By Your Side.” But I’m featuring something from the more subtle side of Bleu, the playfully acoustic-ish “Kid Someday.” Now I know I highlighted The Orion Experience recently but I can’t resist their brand new single, “Lemon Boy.” The song is a cover of indie artist Cavetown but in TOE’s clutches the track becomes a perfect slice of “Teddy Boy” era McCartney, with just a hint of Chumbawumba’s softer acoustic wistfulness, particularly in the combination of male and female voices. It’s a teaser from a promised new album from the band – I can’t wait! Champaign Illinois’ Nectar are often described as pop-punk but I just hear a great bunch of guitars and some beguilingly melodic vocal turns. As a single “Fishy” has a great driving, droney guitar sound, sometimes drifting into Swervedriver territory but then correcting back to some strong hooks in the chorus. Ok, the song was actually a 2020 release but it has been a 2021 experience for me.

The Orion Experience – Lemon Boy

“For a Moment” is the second advance single from Chicago band The Webstirs soon-to-be-released self-titled sixth album. It’s a solid piece of poprock, in line with their glorious past efforts but with a few new twists, like the engaging and original keyboard sound. Despite taking a long break in the middle of their career this song suggest they are back better than ever. Also from Chicago, Dan Rico and I go way back. He was one of the first truly independent artists I wrote about. Then as now I appreciate his artistic dexterity, his ability to mix styles but somehow always remain unmistakably Rico. Over the past year he’s been working up singles for a new album and right now I’m digging “Rose Gold,” a lightly swinging bit of old rock and roll/indie pastiche with slight punky delivery. Sydney Australia’s The Forresters are also working their way towards a new album, dropping singles on a regular basis. “The Tightrope” has all the magical elements this band excels at: plenty of guitar jangle, an endearing Americana vocal style, and those oh so uplifting hooks. I love the spooky ‘ah’ background vocals filling in the sound as well as the late arrival horn section. The Mommyheads are a smart person’s smart band. “Amnesia Collective” from their recent album Age of Isolation is no exception to this rule. Biting social commentary is delivered with a smooth late Beatles pop sheen, melodically buoyant amid carefully calibrated instrumental surprises and a vocal reminiscent of Freddie Mercury in his more subdued playful moods. Boston’s Ward Hayden and the Outliers (formerly Girls, Guns and Glory) sound geographically misplaced, offering up a more southern Americana feel on their releases, like “Nothing to Do (For Real This Time)” from their recent record Free County. There’s more than a little of that 1980s western feel I recall from bands like True West and Rank and File and that’s why I like’em.

Am I only one who hears a bit of Tracy Thorn with Lydia Loveless? There’s something in her heartfelt, urgent delivery that really hits me like Everything but the Girl’s songstress. Check out “Let’s Make Out” to see if I’m on to something or just lost it. This song is also evidence of how labels like ‘alt country’ just don’t capture the exquisite synthesis that is Loveless’ oeuvre.  The recent revival of The Suncharms is confirmed as a undeniably good thing with “Dream of a Time Machine” from their recent LP Distant Lights. It’s all the usual shoe-gazey goodness you’ve come to expect, disciplined by a solid hooky guitar lead line threaded throughout the tune. Nashville’s Keats offer up a bunch of great rollicking rock and roll tunes on The Saturday Night Shocker. My choice selection from the record is “Look At Us Now,” a track that brims with chord changes sounding somewhat like BTO meets Bad Company. Detroit’s Nick Piunti is back with uber cool new single, a driving bit of new wave retro with a vocal that is acid-drenched like Bryan Adams or Tom Cochrane entitled “Heart Inside Your Head.” The keyboards on this baby are outasite, expertly running up against a wall of chugging rhythm guitars. All of which leads me to say, where is the new album? I was into The Vaccines long before they became pandemic cool and they have never failed me. The new album is entitled Back in Love City and I am definitely feeling the love for my choice of single, “Heart Land.” The track is a chord-filled re-declaration of love for all things America, e.g. ‘milkshakes and fries,’ ‘favourite bands and Spiderman,’ ‘Easy Rider and Kerouac,’ etc. Post-Trump America may have some worldwide making up to do but not with this band. With rumbly lead guitar lines and dreamy vocals, this is a 5 star enjoyable single.

The Vaccines – Heart Land

On Rich Arithmetic’s new stand-alone single “You Are Always Right” there so many hints of rock and roll’s glory days, like the very Beatles-y song structure covered over with light jangle and a shoe-gazey folk rock vocal. It’s a sound that a whole lot of 1980s indie artists spent much time imitating. But Rich makes it his own. And check out B-side “Up To You,” it’s pretty sweet too. Jim Basnight has pulled a full album out of his musical bag of tricks, remixing tracks to freshen their appeal. Altogether Makin’ Bacon is 17 tracks full, with plenty of straight-up, unadorned rock and roll. I’m really liking “Ho Chi Minh” with its tasty guitar lead line and unrelenting background vocal ‘ah’s buffeting the lead vocal. The Ruen Brothers sound so retro country meets early rock and roll, except when they don’t. Case in point, recent single “Cookies and Cream” is a full on melody blast, where a contemporary production vibe accents their usual Blue Velvet sonic palate. The single is a bouncy bit of fun, like combining Johnny Rivers with Wham! From London to New Jersey we return to The Front Bottoms who have been drip releasing some singles lately, like the trippy “Voodoo Magic.” It sounds like classic TFB, with a soaring guitar lead line and slick melodic vocal. Somehow I missed the band’s 2020 album, In Sickeness & In Flames – check out the fab “Montgomery Forever” as homework. Dave Nachmanoff and Richard Rossi recently worked together on the superb John Wicks tribute album. Now they’re back at it, collaborating on a new project called Rumble Strip and an accompanying EP, Let’s Roll. As the liner notes suggest, the effort walks a line between Americana and power pop with an easy, well worn confidence. My choice cut is the organ-drenched “Checkin’ Out,” a breezy number with flashes of Dire Straits and pub rock. But frankly, I’m also partial to Rockpile-ish “Adam West” and the amusing vamp that is “Uber Driver.”  Really, the whole EP is a winner.

Ruen Brothers – Cookies and Cream
The Front Bottoms – Voodoo Magic

Twenty tunes to cap off your September. Now you’ve got a playlist to gather those leaves by. Click on the artist names indulge yourself just a little bit more.

Poprock Record’s should-be hit singles of 2017

10 Wednesday Jan 2018

Posted by Dennis Pilon in Poprock Themepark

≈ 3 Comments

Tags

Aimee Mann, Chris Lund, Daisy House, Daniel Romano, David Myles, Fastball, Freedom Fry, Greg Kihn Band, Los Straightjackets, Max Bouratoglou, Propeller, Richard Turgeon, Robyn Gibson, Soccer Mommy, Terry Malts, The Front Bottoms, The Molochs, The Mylars, The Primitives, The Rallies, The Strypes, Together Pangea, Tommy and the Rockets, Wiretree

recordWhat 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.

First, a few ground rules. The choices are drawn from the pool of songs I featured or found in 2017 and were released in that year. This is not a ‘best of’ list. This blog does not have the kind of coverage that would allow for such ‘omniscient view’ judgments. I cover things as they crawl past my attention, which means as often as not I’m featuring tunes I missed from 1994 as terribly exciting and ‘new’ to me. Nor is inclusion here a knock on the acts I’ve covered but not included. If I put them up on the site, I like’em. But there is something about this collection of tunes that lingers, sticks in my mind, and has the staying power I associate with classic 1970s AM radio hit singles. And we’re offering a ‘two-four’ of hits because, well, we are Canadian. The hyperlinks on the artist name take you to the original post and the featured songs.

So here we go – our annual list of Poprock Record’s Should-Be Hit Singles of 2017:

  1. Daisy House “Languages” / “Leaving the Star Girl”
  2. The Rallies “Don’t Give Up”
  3. Aimee Mann “Patient Zero”
  4. Fastball “Just Another Dream”
  5. Los Straightjackets “Rollers Show”
  6. Terry Malts “It’s Not Me”
  7. Wiretree “J.F. Sebastian”
  8. The Front Bottoms “Peace Sign”
  9. The Molochs “No More Cryin’”
  10. The Primitives “I’ll Trust the Wind”
  11. Tommy and the Rockets “Hey Daisy”
  12. Soccer Mommy “Out Worn”
  13. Robyn Gibson “He Doesn’t Love You Like I Do”
  14. Greg Kihn Band “The Life I Got”
  15. Max Bouratoglou “Drum”
  16. Richard Turgeon “Bad Seed”
  17. Freedom Fry “Strange Attraction”
  18. Daniel Romano “When I Learned Your Name”
  19. David Myles “I Wouldn’t Dance”
  20. Chris Lund “Tell Me”
  21. The Strypes “Grin and Bear It”
  22. Together Pangea “Money On It” / “Better Find Out”
  23. Propeller “Summer Arrives”
  24. The Mylars “Forever Done”

DH CRDaisy 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.

Greg_Kihn_Rekihndled_coverI 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!

songs_bond_songsI am going to sneak in an honourable mention for what I consider the compilation of year: Songs. Bond Songs: The Music of 007. This Curry Cuts collection has so many gems, working with material that is frankly hard to redefine. Standout tracks for me include Lannie Flower’s amazing reworking of “The James Bond Theme,” Freedy Johnston’s beautifully spare rendition of “For Your Eyes Only,” Jay Gonzalez’s nicely understated take on “A View to Kill,” and Big Box Store’s wonderfully retooled version of “Die Another Day.”

As always, let me make a plea to support the artists so we can continue to enjoy all this great music. In a way, we are living through a melodic guitar-based music renaissance, in part due to the breakdown of the old commercial music industrial complex. But what is replacing that old system is not clear, particularly the ‘making a living from music’ side of things. Visit the artist sites, go to the shows, buy the records – and repeat.

Around the dial: The Front Bottoms, The Morning Line, Fur, Gordy Garris, and Mike Daly and the Planets

13 Wednesday Dec 2017

Posted by Dennis Pilon in Around the Dial

≈ Leave a comment

Tags

Fur, Gordy Garris, Mike Daly and the Planets, The Front Bottoms, The Morning Line

Car radioThis turn around the dial offers up some real variety, from melodic indie to spacey jangle to neo-1950s to straight-up heartland poprock.

front-bottoms-going-grey-raining-video-streamWith a name like The Front Bottoms I just assumed the British vaginal slang meant they were from somewhere in the UK. But New Jersey hasn’t been part of the United Kingdom for hundreds of years so I guess you can’t judge a book by its title. Nor can you judge a band by its past efforts. I’d heard some cuts from this group years ago and it wasn’t particularly my cup of tea with its mostly-talking-rather-than-singing vocal style and attitude-oriented punk esthetic. But something happened on their 2015 release, Back on Top – the band dramatically increased the melodic quotient of their songs while actually singing a bit more, with “Cough it Out” and “Help” (great keyboard opener!) real stand-out tracks. This year’s Going Grey just solidifies this new sound. The hit single for me is clearly the anthemic “Peace Sign.” The song opens with lovely echo-y keyboard and builds from there, from spare verses to crunching choruses that hit you with hooks that make an impact. Even the bridge is worth mentioning – it’s the musical equivalent of edging given the way it holds the melodic tension. Other album highlights include the staccato groove of “Bae” with its surging chorus and the hooky drone of the more musically muscular “Grand Finale.” But really, the whole album hits all the marks of intense listenability. https://poprockrecord.files.wordpress.com/2017/12/03-bae.m4aBaehttps://poprockrecord.files.wordpress.com/2017/12/03-cough-it-out.m4aCough It Out

Morning lineMusic veteran Stephen Smith has been playing in bands and writing music since the early 1980s and his most recent vehicle The Morning Line bears the influence of all that history and experience on their latest record, Smoke. 1960s poprock, some jangle, that slightly muddy 1980s underground sound, with splashes of indie country and folk. “Los Angeles” opens the record with an acoustic guitar and builds a hypnotic pace into something very radio single-worthy. “Anybody Else” unleashes the jangle guitar while “All Mine” sounds very 1960s beat group channeled through 1980s with its great rumbly electric lead guitar. I love the opening to “Polygraph” which builds on a guitar riff in a very 1970s sort of way before segueing into a Graham Parker sound, if Graham was a bit more mellow. “Mailboxes” finishes things with slightly country poprock feel. Smoke is an enjoyable ride – hit play and hit the highway for at least 30 minutes or so.

FurBrighton UK’s Fur sound like an early 1960s British beat group offering up their versions of 1950s classics. The song structures are pure 1950s. “If You Know That I’m Lonely” could easily be mistaken for the sort of material the bubbled all over American radio circa 1958-9 while “Not Enough” mimics that airy ballad style honed to perfection by a legion of boy and girl singers at the cusp of the 1960s. “Trying” updates things somewhat with its fat sibilant lead guitar sound – this one is a bit more pastiche with its modern and classic touches. Would love to see the record collections that influenced this outfit! I love the sound they have created. It is somehow simultaneously both contemporary and wonderfully dated. Can’t wait to check out a whole album by this bunch.https://poprockrecord.files.wordpress.com/2017/12/01-not-enough.m4aNot Enoughhttps://poprockrecord.files.wordpress.com/2017/12/01-trying.m4aTrying

GGWe raved around Gordy Garris’ 2015 release The Pulse for its songs and understated delivery. Garris always seems to squeeze a hook out of his songs with the most bare delivery. Well his most recent album builds on his previous efforts as he becomes a first class songsmith. Never Give Up opens with “Let Me In,” which sounds like Garris going for the hit single with its slow build and smooth background vocals. This one starts sparse (in classic Garris style) but develops a slicker and more commercial sound, but in a good way. And from here there are so many highlights it’s hard to choose amongst them. “Good Times” starts with a great acoustic guitar hook and then gets its swing on with a catchy tune. “All That I Want” showcases how Garris uses a great vocal delivery to bring out the hooks in his songs. “Stole My Heart” sounds very Joe Jackson circa Body and Soul, minus the acerbic delivery. Other highlights for me include “Move Me,” “Remember Me,” “Out of My Mind,” and the ballad “Believe Me.” So, yes, basically the whole album. It’s that good.

MDPWrapping up this twist of the dial is the poppy Americana jangle of Mike Daly and the Planets. This is another performer in for the long haul. Mike Daly’s been making music and records in a host of bands for decades. It shows on this remarkable debut from his new outfit. Just check out the Beatlesque opening tempo of “Never Too Late” and its seamless shift into a great new wave vibe. Or the Costello feel of “No Simple Task” with its swinging melody. But the album’s highlight is undoubtedly the majestic “Salvation,” a song that manages to be both moving and insanely catchy at the same time. And to show where Daley comes from, check out these tracks from his former band, Every Damn Day. I love the banjo that kicks in half way through “Theme From an Imaginary Sitcom” and the full-on Costello-cum-Beatles homage in “It’s All About Tonite.” These are lost gems!https://poprockrecord.files.wordpress.com/2017/12/01-never-too-late.m4aNever Too Latehttps://poprockrecord.files.wordpress.com/2017/12/03-salvation.m4aSalvationhttps://poprockrecord.files.wordpress.com/2017/12/04-no-simple-task.m4aNo Simple Taskhttps://poprockrecord.files.wordpress.com/2017/12/01-theme-from-an-imaginary-sitcom.m4aTheme from an Imaginary Sitcomhttps://poprockrecord.files.wordpress.com/2017/12/02-its-all-about-tonite.m4aIt’s All About Tonight

The Front Bottoms, The Morning Line, Fur, Gordy Garris, and Mike Daly and the Planets are all waiting to be your newest hit makers. Don’t leave them hanging on the telephone.

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