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On album number two NYC’s Movie Movie continue to explore the far reaches of America’s rootsy rock and roll past, gathering sonic relics like a Raiders of the Lost Ark spin-off. Opening cut “You Never Learn” stokes the fires of heartland rock while “You Closed The Door” sounds like a Bo Diddly-infused Everly Brothers. Then “We Gotta Go!” takes an easygoing California sunshine pop vibe and kicks it up a notch at regular intervals. The song line-up on In 4D! will keep you guessing with its constantly shifting focus. There’s the Bond-theme-ish “You’re a Ticking Clock” with its tasty extended lead guitar solo. Or the more keyboard heavy “Anywhere But Here.” “I Want You Back (Again)” opens with a bit of mystery and rumbly guitar only to resolve into what will undoubtedly become a drunken bar sing-along chorus. Or you can dial into “Shopping Spree” with its Springsteen-esque melancholy and expansiveness. “You Can’t Hide From the Lies” sounds like the single to me, reminding me of the 1980s Americana vibe of the BoDeans and Rank and File. “Damaged Goods” is definitely not – what an organ sound! And then the band call it a wrap with the gorgeous “Living Without You,” a soaring epic of a song.

Mark Ward’s new LP Let ‘Er Rip is a perfect slice of 1980s poprock. There’s hooks aplenty spread over 15 tracks covering straight up poppy rock and roll and a host of adjacent genres. Opening cut “I’ve Been Around” plays like the AM radio-friendly single with its solid hooks and drone-heavy electric guitars. Or is “Pixie Girl” the must-release 45 here, with its insistent chorus and seductive harmony vocals? Then again, “Girl Like You” has got the big and bold lead guitar hook opener that says ‘don’t touch that dial!’ I also like the melancholic turn the melody takes in the chorus. Evident throughout the record is how well Ward knows his sources. From the opening Beatles riff he drops into “Kiss Me Kiss Me Kate” or the 1981 Athens Georgia-era sparkly folk guitar on “Zip It Up” the songs effortlessly conjure up distinct sonic atmospheres. Jangle is clearly the star here, defining tunes like “Little Frames,” “Wasted On My Own Again,” and “Blood on the Plate.” Add in some Beatlesque melodic turns and harmony vocals and tracks like “Love Me Once Again” stand out even more. But the album also showcases Ward’s range, from acoustic guitar-playing singer-songwriter (“I’m Ready”) to talking blues (“Villain”) to country (“The River”) to folk (“Hope”). He even gets downright experimental on “Paint My House.” Let ‘Er Rip is a quality poprock product but check out last year’s Key of E as well to double your pleasure.

Summer Fun is a batch of Rick Murnane’s occasional singles, released annually in summer months while heading for the beach and taken down before Labor Day. But gathered here on one long-player they cohere into an album exuding its own pop personality. Guitar pop definitely, mixing in elements of folk rock and power pop, tied together with Murnane vulnerable vocal style. Opening cut “Monkey in the Zoo” deploys synth in an otherwise solidly guitar pop song in a most fun way. Melodically it sounds like a classic Fountains of Wayne deep cut, particularly in the chorus. By contrast “Only a Game” has a Marshall Crenshaw easygoing pop demeanor. Sometimes Murnane puts his lead guitar up front, as on “A Strong Kind of Love” where some great lead guitar work drives the song along. Alternatively “We Like Animals” really shows how to use bass to anchor the feel of a tune. Or for a more contemplative moment, check out how he channels an Al Steward kind of melodic arc on “We Still See You Now.”  I can’t help reaching for my folk rock source book when “The Days” comes on. The distinctive 12 string guitar pushes the vibe toward some kind Jim McGuinn folk rock side project. Country gets a look in too on “Rodeo Bill” and “Jesus and the Bud Girls,” splashing hints of a western style and the Bakersfield sound here and there. If Summer Fun is a just a set of Murnane toss-off tunes I can’t wait to get back to his main catalogue. You should too.

NYC’s Yours & Mine open their album The Shadow You Cast with some pleasantly grinding guitars so there’s no doubt what you’re in for. Or is there? As the vocals kick in on “I’m Not Ready To Go” the hue is slightly urban country, which makes for a tantalizing and unexpected combo. Overall the guitar intensity of this new record marks a mellower departure from the band’s 2017 self-titled Yours & Mine EP – but only just. Certainly the follow up song “Pushing Up Daisies” clocks in with a strong wall-of-guitar sound and a vocal attack more reminiscent of power poppers like The Well Wishers. Other guitar interventions are more tempered, framing breezy pop melodies like “Wedding Vow” and “Our Own.” “Shadow” is the clear single with its magnetic opening guitar hook, though “Who Knows” is a close second. This time the guitar lick is a more hypnotic loop supporting vocals that fall somewhere between Taylor Swift and Michael Stipe. “September” builds tension between the strong guitar attack and melancholy melody while “The Kid” moves into more Oasis territory. The country vocal tone returns on “Head On” amid a wonderful tangle of electric guitar lines. Closer “Gimme Rock and Roll” is just a fun guitar-slashing romp. The Shadow You Cast is a striking package, hard to nail down but easy to enjoy.

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Photo courtesy Larry Gordon Flikr collection.