Category: Top Ten of 2009 Candidate

Greg Pope had arguably the best power pop album last year with Pop Monster. Well, the follow up is finally here with the “Pete” EP. And like Pop Monster it still has those wonderful layers upon layers of heavy guitar, evidenced by the opener “Fall into Your Arms.” The melodies continue to evoke Badfinger, The Who, Led Zepplin, Guided By Voices and his last band, Edmund’s Crown. With the next song “Help Yourself” it continues the melodic guitar assault. “How Do You Do It” has a 70’s-era bass line mixed with a funky rhythm. The big melodic single “Roll With It” is very much in the Emitt Rhodes mold with a dash of Pope’s multi-layered Beatle touches in the chorus, and even the “Lady Madonna” bassline. “Let it Roll Off” has a gentle country strum and bouncy rhythm. Even the ending track “In My Head” does exactly what the title says, and remains “in your head” long after the song ends with a looping Zepplin riff. I could be picky and mention that the vocals are a bit overshadowed by the guitar work, so figuring out the lyrics aren’t that easy. The fact remains that every song here is simply brilliant and I am ready blast this music on my car stereo this summer. In other words, Pete is most worthy follow up to Pop Monster —  and just as impressive. I don’t really rate EPs in a top ten at the end of the year, but I’m ready to declare this the best EP I’ve heard so far.

My Space | CD Baby | Not Lame

Tucson, Arizona power pop veterans of the retro 60s sound, The Resonars last year put out one of my favorite albums entitled Nonetheless Blue. Their latest release, That Evil Drone, shows that the last album was no fluke. Much like its predecessor, The Resonars sound is focused on psychedelia in the Beatles Revolver-era. The chiming guitars and vocal harmonies of “World Apart” will thrill you. The fast paced fun of “No Black Clouds Float By” builds on the Monkees styled jangle and hyper-guitar solos between the chorus. Leader singer/songwriter Matt Rendon has absorbed every significant guitar style of the sixties era from McGuinn to Hendrix to Clapton. I’m not sure if The Pillbugs continue as a group, but The Resonars are rightly worthy of the crown for retro-pop this year (sorry, El Goodo it was close but they take it). “Run Kodiak Run” is an excellent instrumental with driving fuzz guitars, Rickenback lead and slightly distorted bass. “No Horizon” is another catchy gem, along the lines of New Colony Six and Paul Revere and The Raiders. By mid album, with “Black Breath” and “She Did” it shows more garage roots, similar to The Seeds sound. “Bird Using Bird” has that smokey blues feel that the Yardbirds used to do so well. And another instrumental, “Yes Grosvenor” is simply a masterful guitar exercise. That Evil Drone is an amazing album, considering that their music is technically complicated and spot on accurate to the period.

Listen to “No Black Clouds Float By”

If you believe Jeff Lynne to be Almighty, then “Praise be to Mr. Blue Sky, ’tis a Strange Magic that allows the Evil Woman to leadest thou to Xanadu.” And listen to The Secret Powers. The last time I heard such a great mix of retro influences was Andrew Gold’s “Fraternal Order of The All” — and the last time I heard true ELO worship was Bleu’s supergroup “LEO”. Well here we have the two types of worship combined into one pretty fantastic album. Ryan “Shmed” Maynes made the move to Missoula, Montana. He built a recording studio in his backyard in the hopes of making a living as an engineer, producer, and musician. Lots of “historical” data about the group is emerging, but one thing is certain — this album is totally entertaining. The production of each song is chocked full of layers and layers of detail. “Orange Trees” is vintage Lynne and sounds like it fell off the “Out of The Blue” album. In between songs are quick odd “podcasts” from Uncle Shmed. Then comes the wonderful bouncy Jellyfish-like “Maryanne” full of ascending chords and waltz timing changes and carnival-like ending. Then “By The Sea” is a perfect companion for Harry Nilsson’s “Think About Your Troubles.” A theatrical multi-part harmony on “Lazy Men” would make Bryan Scary fans jealous. This leads us the then penultimate ELO ballad “Misery.” I could go on, but you get the gist. The group keeps the story moving until the end when they break character. Along the way you are treated to musical roller coaster ride. No weak spots either, as every track sparkles with great melody and multi-instrumental greatness and easily makes my top ten this year. So remember to wear clean underpants and all hail Shmed!

Pop virtuoso, Andy Morten (The Nerves, Bronco Bullfrog) has put his twenty+ years of musical knowledge to the test on his solo effort known as The Campbell Stokes Sunshine Recorder. He’s rediscovered his love for British 60’s sunshine pop, and you will too, after you hear it. This starts with a very sarcastic outline of a lame emerging power pop artist (wink, wink) in “Track One” where he starts out “I’m too sloppy for power pop, ’cause I never know when to stop and all my chord progressions sound the same.” Then the sunny “She Looks Good in the Sun” covers the period as well as The Parade or The Merry Go Round with delicate guitar riffs and psyche-pop rhythms that are just magical. Next we are paying lip service to 60’s wannabe pop star with “Tony Hazzard” complete with kazoos and conceited lyrics about a fop who thinks “if Paul McCartney does it why can’t I?” Next, both “Bye Bye Mrs. Bumble” and “Everybody Loves the Good Times” are a light Beatlesque hodgepodge. The wonderful title track “Feel The Sunshine” has a strong hook and uptempo beats sure to put a spring in your step. “TV Jingle Man” mixes Brydsian jangle and Kinks storytelling styled lyrics. Every track is a winner here – even the bonus track on this disc gets better with repeat listens. It’s a perfect gift for the musical anglophile, and I am a sucker for this retro stuff when it’s done so lovingly with such self-deprecating humor.

Valley Lodge is the rock machine comprised of singer/guitar player, and world-class entertainer Dave Hill (Sons of Elvis, Uptown Sinclair, Cobra Verde); guitar player/singer John Kimbrough (Walt Mink), bass player/singer Phil Costello (Tragedy, Satanicide, Stynx, Children of the Unicorn), and drummer Rob Pfeiffer (Sense Field). In 2005, the debut album was one of the best power pop albums ever (in most critics top ten that year). Well the wait for a follow up is over and it kicks major butt. A sonic guitar attack worthy of Matthew Sweet opens up the album with “Break Your Heart” and the singalong chorus is instant ear candy. The album takes lots of late 70’s music cues, like “The Door” is a strutting combination of Slade, Sweet and Gary Glitter. The album gives no quarter as the sound gets smarter and the guitar work is just miles above other bands on tracks like “Baby, It’s A Shame” and “Barricade”. The energy here is similar to Sloan and Supergrass, and the Gene Simmons-like cocky attitude translates well to tracks like “If You Love Me” – where he tells his woman “if you love me come on down…” And the cover of Bob Welch’s hit “Sentimental Lady” is the only time the band slows down a bit, if you don’t count the acoustic ender “Lose Your Man” which sounds tacked on. But this does not take away from the amazing performances through most of the album. Although I’ve gushed on about Kimbrough and Hills’ guitar godliness, it’s also the strong songwriting and arrangements on every single tune that deserve equal tribute. Yes, power pop fans — this is a “must get” album.