Category: Highly Recommended by Powerpopaholic

This took me by complete surprise, a plain white album cover, reveals an amazing power pop album inside. Armed with a relentless work ethic, and a natural gift for crafting pop hooks, the upstate NY songwriting partnership of Tawni Bates and Andy Weaver quickly evolved into the power-pop/rock band Skoober in early 2006. Skoober got on the map by first composing the closing theme for Adam Waltermire’s Pop Garden Radio Show. The duo, supported by various other talented musicians during live shows, spent the majority of that year recording demos and honing their skills. Boy, did it pay off here. With a sound that effortlessly mixed classic pop hooks and a modern power pop sound SKooBER really delivers the goods on this debut. Tawni Bates vocals are clear and crisp, like a modern mix of both Marykate O’Neil and Natalie Merchant in places. The opening track “Now What Do We Do?” is a stunner, Weaver’s guitar is similar to Queen, Cheap Trick and Rooney in sound and slickness. It gets even louder in “Make A Liar Out Of Me” and Tawni’s full range vocal soars above the buzzing guitar riffs. “Second Chances” sounds like a lost Cheap Trick track (“Dream Police” era). The album’s triumph here is the Jellyfish-inspired title track,”Say!” with those mind bending chords, guitar accents and an inspiring vocal performance. The Beatlesque flute, and gentle tone for “Your Heart” downshifts from the power, to a pure pop delight. The album stays in sophisticated pop on “Pinch Me” with more concentration on Tawni’s beautiful voice. It includes two bonus tracks done with acoustic guitar. Right alongside Vibeke, this album exceeds expectations and is one of the best power pop albums I’ve heard with a female vocal. Super Recommended here! Already booked for IPO in Youngstown, OH on Nov.14

SKooBER Website (streaming tracks) | MySpace | CD Baby

The Jellybricks are power pop veterans and I welcome the fourth release with open ears. Produced by Saul Zonana and three years in the making, it doesn’t disappoint. Fans of IKE, Matthew Sweet and The Tories, who enjoy a heavier produced guitar sound will enjoy it for sure. “Ruin Us” is just an example of great shimmering melodic guitar pop. The Jellybricks’ maturing songwriting skills and musical prowess continue to impress with “Broken Record” and the opener “Eyes Wide” could easily be a radio-ready single if people gave them the chance. That said, compared to The Jellybricks earlier efforts, it may be a bit too slick in places (think Rooney) without being as memorable. But some tunes are just great standouts, like “Nobody Else” which almost sounds like a Squeeze-penned TV show theme song, and the band spreads the vocal performances around toward the albums end. These last few songs sound a bit scatter shot (like “Put it Down”), but the strong ender “Up To You” has enough strong energy to hit the mark and the wonderful ballad “Heartache Begins” with flowing harmonic chorus and slow drum beat bring the effort to a fitting fade out. Overall, no tracks here are poor and this has some excellent music that should not be missed.

Jellybricks’ Site | My Space | CD Baby | Emusic | Not Lame | Kool Kat Musik

It took a while, but I finally got to Meadows frontman, Todd Herfindal and his solo release of songs called “Collective.” Rather than it be a collective of odds and ends from the last Meadows album, it stands on it’s own as straight ahead pop/rock album. The style doesn’t fall far from the Meadows tree however, the opener “Air I’m Breathing” has an slick pop sheen with a very catchy chorus that falls between Tom Petty-Counting Crows rock and a dash of Crowded House pop. It’s a great message too, “I won’t waste another day on little things that don’t mean nothing.” The slide guitar solo is welcome on “Finally Movin’ On” although it’s a bit predictable in approach in songwriting. The guitars flexible riffs make the song “Waiting on the Sun” sound great, and this one most resembles Counting Crows. “Won’t Look Back” is an excellent ballad about your best female friend. Another standout is “Forget It All Again” a classic modern rock track that will please fans of The Honeydogs. Not a bad track on the album. Even the sappy sentiment on “This is a love song” has so much earnest good cheer and emotion it makes up for “silly love songs” type of lyric. Overall, this is one of those very commercial power pop albums you can give your musically challenged friends, and they’ll enjoy the clean arrangements and Herfindal’s perfect rock and roll lead vocal. One of the most accessible and good-natured albums I’ve heard all year.

Todd’s Site | My Space | CD Baby | Emusic | Not Lame

Cliff Hillis (formerly of Starbelly and IKE) pulls together his third solo record. After he left IKE, Hillis worked on some songs for movie soundtracks and even won last year’s Chili’s contest with his Beatles-style take on the eatery’s “Baby Back Ribs” jingle. This new Hillis album has a more mellow spin here, with the pleasing tight melodies that sound like Glenn Tilbrook (Squeeze) mixed with John Mayer. The smooth catchy opener “She Sees” shuffles along at a casual pace that switches to the guitar buzzing goodness of the great “Never Understand” with those great “ooh ooh” vocals in the chorus. The album boasts a cadre of pop experts including his band The Thinkers, as well as Eric Bazilian(The Hooters), Danny Wilde (The Rembrandts), and Willie Wisely. The song “Elevator” is another standout of awesome light pop melody and tempered beat that flows right into the chorus. “Northern Lights” echos back to earlier albums and flirts with a Posies-like sound with heavier guitar. The Beatlesque mid-tempo “Ought to know” is another great tune with an unusual synth break during the main banjo melody. Every song here is good, and even the ballads don’t get too weepy. The songs delve into subjects about maturing relationships and marriage – without the usual gloom and doom you hear with other artists. This is a good solid album you are sure to enjoy.

My Space | Tallboy Records | Not Lame

I found a few good songs on Minnesota native Jeremy Messersmith’s Alcatraz Kid. The Elliot Smith comparisons are still apt here, but the musical growth and songwriting development has really exploded with “The Silver City.” And Jeremy partnered with Dan Wilson (Semisonic) to paint a vivid picture of heavenly Suburbia. The opening track “Welcome to Suburbia” is a celestial pop triumph, with shimmering melodic chorus and George Harrison-like guitar accents that compliments Jeremy’s soft vocal. Much like the futuristic travellers on the cover the listeners will be treated to “Dead-End Job,” a great ballad with a lovely horns and more descriptive narrative. The next track “Franklin Avenue” is the shinning gem on this album, rich with instrumentation about a passerby “Waiting for that sinking feeling.” The production on the album is sparse, but dynamic with “The Commuter” resembling a the REM track “Man on The Moon” in feel and tone. And a bit of good electronica pop sneaks in with “Miracles” after this. The album sags a bit in the middle, but comes back strong on a version of Paul Westerberg’s “Skyway” and a very bouncy pop tune “Virginia” that demands repeat listens and I dare you not to tap your toe to the beat here. The closing track “Light Rail” continues the ride, with a McCartney styled ditty that’s a worthy followup to “Ob-La-Di, Ob-La -Da.” The album is like a great cup of coffee; rich, dark and sweet – but ultimately very soothing. Mmm… drink this one up.

Jeremy’s Site | My Space | Itunes | Emusic

Listen to “Miracles”