The Lemon Clocks, a “power pop all-star” lineup comprising Jeremy Morris, Todd Borsch (The Ringles/The Gilligans), and Stefan Johansson (The Proper Electronic Company), divide this album up between jangle and psychedelic prog rock. So retro you will swear this is a long lost 60’s classic. The Rickenbacker riffs jump forward on the punchy “Garden Of Eden”and then on the 8 minute plus “Rainbow Bridge” its like a magical pairing of The Byrds and 13th Floor Elevators.
The trippy hippie mantras “Life Is LIke A Dream” and “The Bright Side” are great tracks among many here. The vocals get a bit lost in spots (“The Man Who Lost The Time”) but Jeremy’s in full McGuinn mode throughout the album. A great head trip for pop fans who want to go to a “Better World Beyond.” Even the sizzling guitar distortions on “Lemon Clock Land” give the old Pink Floyd a run for its money. Not a weak track anywhere and my top pick for psychedelic pop album this year – so tune in and turn on, man. Also recommended for fans of those neo-psyche bands like Olivia Tremor Control and Neural Milk Hotel.
Rock veteran Wes Hollywood has always had roots in late 70’s and 80’s power pop style. Mr. Hollywood has been a staple in independent music for more than a decade, first with The Wes Hollywood Show and later with solo efforts. His latest album Fantasy Arcade is an unapologetic triumph of hook infused melodic rock. The bouncy beat of “It’s Good to See You” is a great opener with its shiny, happy guitar riffs. You’ll hear touches of The Kinks, Elvis Costello, Cheap Trick and The Records in the stunner “Alfie” with a series fantastic chord changes.
The very Davies-like break-up song “Baby We’re Through” is another winner, and the chiming riffs of “City Streets” explain the lost hangouts of childhood, paved over by new developments as Wes croons “goodbye to the corner shop, the record stores and vacant lot.” Its one of my favorite songs here. Each track is meticulously crafted, like the mid-tempo ballad, “Coming Along,” a personal account of his thoughts and the title track has shades of Oasis in its echoing rhythm and blistering chords. No filler and easily one of the best power pop albums this year. It comfortably gets a top ten nomination for my 2012 list.
David Myhr “Soundshine”
All you need to know about Sweden’s David Myhr is that he was part of the Merrymakers. And they were one of the best power pop bands of the nineties (even Jellyfish Andy Sturmer was a fan). After the band’s demise, David suddenly found he had enough material for a solo album. Collaborators on Soundshine include Peter Morén (of Peter Bjorn and John) and Andreas Dahlbäck, who co-produced.
David’s melodic talents are still top notch, so fans of The Feeling, Jellyfish and Farrah will love this. Starting with “Never Mine” its got the hooks and hummable chorus sure to stick with you. The bubbly “Looking For A Life” and “Got You Where He Wanted” comes closest to that old Merrymakers ELO inspired sound. “I Love The Feeling” has a nice Beach Boys feel and infectious bounce that make it my favorite here. “Cut To The Case” has an 80’s flavor — a bit like Aussie band, The Go-Betweens. Each tune has its own charm, like the Beatlesque “Ride Along” where the tone is so upbeat, it will lift the sourest mood. Overall the apt-titled, Soundshine is chock-full of fantastic power pop, delivering one masterful melody after another. And so far it’s at the top of my year end best album for 2012 list.
Jay Gonzalez “Mess of Happiness”
Drive-By Truckers keyboardist Jay Gonzalez has released one of the years best retro pop albums. The material recalls the best of breed 70’s DIY, a la Todd Rundgren’s Something/Anything?. The crunchy riffs of “Punch of Love” literally knock you back and the multi-tracked harmonies in the chorus keep you engaged. The complex arrangements, and awesome hooks are in each tune, from the gentle love song “Luisa” to the organ chord shifts of “Baby Tusk” (even the lyrics reference the 70’s). Another theme for this album (and this blog) could be “Turning Me On” about the joys of discovering classic pop music.
No doubt if this album came out in 1973 it would be at the top of the charts, but in the messed up era we live in it will not get the credit it deserves. The Big Star meets Seals & Crofts tune “The Will” is another example of mining those influences to for great melodic effect. The jangle and genius of “I Urge You” is another gem among many that will demand repeat listens. The short faux punk “Tension” gives way to a wicked guitar solo, and it seems a perfect set up for the mellow “The Other Side.” Another top ten best album nominee for 2012. Don’t miss it!
From Washington state comes a daring sophomore album from Sweet Diss and the Comebacks. The brainchild of Nate Reinauer and its so good, you’ll need many repeat listens. The band has vocal skills similar to The Beach Boys or The Sonic Executive Sessions, with the melodic guitar fuzz of Weezer and Green Day. It also reminded me a little of Kara’s Flowers (later they became Maroon 5). The album’s sole concept is about “getting the girl” and opening with the crisp a capella “Twenty-Something” it shows off stunning four part harmonies.
Then we get the hook filled “Never Stop Wooing You,” full of minor chords and sunshine. Next the guitars get heavier, and tempo gets faster on “Maybe Someday.” The focus of all this attention is on an “Indie Girl,” a mid-tempo ballad where the singer worries his songs are “lame” cause she’s into folk “and I’m still playing power pop.” Every track here is polished melodic gold. A musical suite named “Seattle’s Best” ends things off, with some quirky movements as our twenty-something protagonist falls in love with his Barista. However, it does end abruptly with anti-climactic demo “Nobody But She.”
When the seminal Beach Boys album Pet Sounds was released in 1966, it had a unified theme in its emotional insecurity and deep seated longing that defined a generation. To my ears, Emerald City Love Song serves up those very same emotions to a new generation of pop fans in its own way. Essential and a contender for one of the best power pop albums of the year.
Brooks has always been a talented, melodically obsessive, and cynical musician who wears his heart on his sleeve, much like Roger Klug or Chris Von Sneidern but sometimes going overboard when it came to song construction. I’m happy to say that on his third album, Harmony of a Passing Light – Brooks nails it here with a perfect combo of influences and original compositions. Starting out with “Calling Everyone,” Brad evokes the spirit and soul of Daryl Hall and his vocal never sounded better. “Steal My Disarray” is a stunner of a tune with echoes of Joe Jackson and led by awesome slide guitar by Paul Hoaglin. And it just gets better…
“The Spinner & The Spun” is a powerful rocker with a driving beat and swaggering rhythm – here Brad radiates awesome coolness with the lead guitar solo by Paul Hoaglin. The haunting harmonies of “Night Fades” starts out and the beautiful chorus wrap it up with a shimmering sitar lead. A few slower country themed songs about rebellion (“Farewell To Foderol”) and addiction (“Will It Be Enough”) are also noteworthy. More gems include “Exemplary Girl” and the dramatic “Grand Manner.” Brad breaks into this years top 10 nomination with this effort, and fans of emotional rock and roll will love it.
