Off-the-beaten-path: Alwyn Morrison

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Alwyn Morrison “Chained”

I don’t have too much info on New York native Alwyn Morrison, but he’s got three songs to his credit so far. His latest is “Chained” written by Alwyn and co-writer Michael Ales, and its an emotional ballad that caught my ear. It’s a complex story about wanting to leave a stale relationship, but fearing the unknown. He feels trapped like a prisoner, or metaphorically “chained to a dark room every night and day.”

The song is an introspective plea for assistance, and Alwyn is able to convey it with his controlled vocal delivery and strong guitar strumming. The chorus is straightforward and appealing, and the middle eight provides us a beautiful key change as well as some “ooh, ooh” backing vocals. Overall this is some solid pop balladry, and the production here sounds very professional as well. Check out Alwyn’s other songs “The City” and “Lenox Hill” for more melodic adult pop. I look forward to a full album at some point. Learn More and visit his Linktree

Off-the-beaten-path: Duane Hoover

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““Duane

Duane Hoover “Wayward Path”

Duane Hoover has been playing in bands for a while from Atlanta to New York City, where he excelled in the influences of T-Rex, Bowie, and Lou Reed. Duane frequently balances his roots in contemporary rock with his influences from classic 60’s rock.

His new album ‘Wayward Path’ starts with a sneering vocal in the solid opener “Sorrow,” and next he does a glam version of the Donovan hit “Jennifer Juniper” with a lot more energy than the original. Hoover’s dominant guitar riffs are very similar to Pete Townshend (The Who) on “Go Away From My World,” and the classic Choir single “It’s Cold Outside.”

Hoover stumbles a bit on “Dreaming My Dreams,” and “Over The Years” where the compositions are a little too ambitious for his vocal limitations. But there are plenty of good rockers here, like the rollicking “Wishing Well” and the complex bedroom harmonies on “Come On.” His vocals are best when he uses a Lou Reed styled approach like on “Fool’s Paradise” with just enough cool delivery to sell it. The album concludes with “All Over Again” another Who-styled guitar-bass epic, and you’ll hear Duane’s songwriting strengths. My advice is to lean into the vocal stylings found on “Sorrow” and “Fool’s Paradise” which sound the best to me. For fans of the band’s mentioned, it’s a worthy effort that deserves to be heard.

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Mike Delevante and Strange Neighbors

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Mike Delevante

Mike Delevante “September Days”

Although Mike Delevante is from New Jersey, he has spent a lot of time in Nashville. Like his idol Bruce Springsteen, they both have a talent for spotting the lyrical qualities in everyday situations with a resigned romanticism. The opening track “The Rain Never Came” is the big highlight here, a superb jangle pop tune and compelling verse akin to The Jayhawks Gary Louris.

“Whenever You’re Around” does conjure up a brisk fall day reminiscing about the past. His mellow voice and unpredictable chord changes work best on “Good Cry” and the bouncy “I Wrote To You.” The other songs, while well done are a bit indistinguishable from each other. Mike does tell a good story, with a big drum opening on epic ballads like “Sunset,” about ending life like an old movie. “Too Far Gone” is also a surprisingly catchy tune, with a bass line akin to The Hollies “Long Cool Woman in a Black Dress” but way slower in tempo. If you are in the mood, I would give this album a chance to seep into your brain.

Amazon

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Strange Neighbors “People Pleasers Pleasing People”

Strange Neighbors were a breakout band last year at the International Pop Overthrow in NYC last year, with the hit “Skeleton Boy” and the band has stepped up in terms of songwriting, production, and performance for their new LP. Starting with “Crush” its got everything you need to know; catchy, risqué verses and Aidan Strange’s strong vocal performance. The angular guitar compositions continue with “Without A Head,” and it sets up some nice guitar breaks.

Additional highlights include “Silk and Cyanide,” “Influencer” and  “Whenever We Fall.” The honky tonk ending “Your Last” is also a ton of fun with a great bass line and plenty of country twang.  Overall a strong effort and musically mature one too. I hope for many more neighborly encounters in the future. Definitely highly recommended. 

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Power Popaholic Interview: Richard Barone of The Bongos

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Richard Barone of The Bongos

In this exclusive conversation, Powerpopaholic sits down with Richard Barone of the legendary band The Bongos to dive into their brand-new live album, “Shroud of Touring.” 🎶

We talk about the album’s raw energy, how it captures the band’s signature live sound, and what it means for fans both old and new. Richard also reflects on The Bongos’ impact on the New York/New Wave scene, the Hoboken sound, and their lasting influence on indie and power pop music. Whether you’re a longtime Bongos fan or just discovering their music, this is a must-watch for anyone who loves vibrant, intelligent pop with edge and heart.

Off-the-beaten-path: Carl Kammeyer

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Off-the-beaten-path features singles and albums of up and coming artists (often unsigned by a record label) that are not necessarily power pop, but really good music that deserves to be heard.

Carl Kammeyer “You”

California-born pop singer/songwriter Carl Kammeyer has a strong voice and a gift for crafting heartfelt and emotional music. Kammeyer’s “You” is soulful, light breeze through an early morning window. Influenced by Marvin Gaye and Bobby McFerrin, Kammeyer opens with rhythmic percussion and organ, and a striking vocal thereby producing a sound both nostalgic and modern.

Although initially the vocals strain a bit, Carl settles in nicely with the positive message and its touch of doo-wop in the background harmonies, repeating “you, you, you.” The instrumentation is subtle and understated here, as the vocals are out front. Simple and optimistic, the words complement the optimism, and gradually the melody creeps into your consciousness and remains there. In fact, you’ll hear the echoes of that chorus long after the song ends. Kammeyer shows with “You,” soulful pop doesn’t have to yell; sometimes it simply needs to make you smile.