Serious news flash here this time out with a new release from a legendary band 23 years gone, a magisterial collection from a celebrated sideman to legends, a new album from some Germanic geezers, and a collection of EP tracks from a band of contemporary modsters. It’s a full program for sure.
I was super excited to hear about The Mayflies USA reunion. The band’s three turn-of-the-century albums are right up there with the best of that era’s hooky poprock (along with bands like Fountains of Wayne and Matthew Sweet). I could hit repeat on “Walking in a Straight Line” over and over again. The new album Kickless Kids leans more toward a poppy indie rock vibe rather than outright power pop, as evidenced by the opening cut, “Thought the Rain Was Gone.” But that is more than ok. “Calling the Bad Ones Home” even hits a few classic rock marks with a Keith Richards rhythm guitar swing before rolling out the hooks. “Kickless Kids” shifts things back into a more guitar pop register. Ringing guitars are definitely up front on tracks like “Railway Spines” and “Cabbagetown.” By contrast, a song like “Jewel of Russia” springs some particularly engaging melodic hooks in the chorus. There’s also a splash of country in places, like the Freedy Johnston-ish “Come On Down.” Or you can dial into a classic rock and rock jam feel on “Twilight Alright.” Welcome back Mayflies USA, it’s like you never left.
Veteran LA session player and longtime Brian Wilson sideman Nelson Bragg has still found time to put out his own music from time to time. Now he’s gathered together what he considers his poppiest material for Mélodie de Nelson: A Pop Anthology. It’s hard to argue with his choices. Songs like “Lived This Life Too Long” and “You Could Believe” are awash in harmony vocals and subtle hooks. Jangle is also here in spades on tracks like “Forever Days” and “I’m In No Mood.” And “Death of Caroline” is so obviously a Beach Boys love letter. Given his locale it’s perhaps not surprising that Bragg draws on a host of uniquely California influences from his catalogue. “Every Minute of the Day” has a 1970s California rock sound, with up front acoustic guitars and sonorous harmony vocals. “Glorious Days” sounds like a should-be hit single in an updated sunshine pop mode akin to recent bands like Daisy House. There are departures too. “The Last Girl I Ever Loved” has more of a rock edge, reminding me of Nada Surf with its breathy vocals. “We’re Gonna Laugh About It” is the new song recorded specifically for this collection and it sounds a bit like Pugwash’s Thomas Walsh to me. Then there are the baroque moments on both “Whitechapel Girl” and “Seriously Girl,” the former with a strong McCartney vibe. Mélodie de Nelson: A Pop Anthology is a seriously good collection from a top rank act too long in the shadows.
Austria’s The Geezers have that Jeff Lynne magic in combining classic sounding rock and roll tunes with just a touch of synth (ok, sometimes a lot of synth), giving everything a modern but still somehow timeless sheen. This dynamic is nicely captured on “Harmony” where a spacey opening synth riff resolves into a robust and hooky poprock tune. The band’s new LP Music is full of just these sorts of surprises. The LP kicks off with “Home,” a song with a sonic wash that wouldn’t be out of place on a record from The Outfield. I love how “Echoes” marries choir-like background vocals with thrumming electric guitars before kicking into gear with a singalong worthy chorus. I want to say that the keyboard is the star here and you definitely feel its original imprint all over the record. “A Lifetime” uses jaunty keyboard work as a hook that won’t let go, leading into a killer chorus. “The Happy Life” takes its synth work into an almost Bronski Beat direction. And then there’s “Future Love” which has a sonorous edge comparable to Tears for Fears’ “Mad World.” But the guitar work on this release is no slouch either. “Modern Days” is a brilliant synthesis of 1960s power pop and more modern song styles. The opening lead guitar line is positively mesmerizing. “Bit By Bit” is a swirling jangly winner while “Candy Cane” launches with a driving guitar lead line that is eventually matched by surging rhythm guitars.
Seattle’s Shake Some Action! have a new album entitled Top Gear and it’s a reliable installment of their love of everything mod, mod, mod London circa 1966, with a dose of Britpop thrown in too. But wait, attentive readers might recognize that this package is not an entirely new collection of tunes. The album brings together the band’s two dynamite EPs from last year (reviewed here), adding three new cuts to the mix. Hearing “I Don’t Know Where She Goes” again alone is worth the price of admission. Those organ shots are exquisite! Click the hotlink to catch up on the material from those EPs. Surveying the new songs included here, they’re definitely not afterthoughts or cast-offs. “Fake It Till You Make It” has a dance floor energy that could be 1965 or 1995. “Never Let Me Go” is a more gritty 1960s beat group number. “What Did You Leave Behind” dives even deeper into the 1960s sounding more like 1964 era Merseybeat.
You’ve heard the news, there’s definitely good rocking at midnight (or any time you might choose to play these songs). Hit the hyperlinks to get more in-depth coverage of these breaking stories.
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Poprock Record 