Category: Top Ten of 2014 Candidate

Edward O’Connell and The Above

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Edward O’Connell “Vanishing Act”
Edward O’Connell was “Our Little Secret” back in 2010, and finally we get a follow up with similar results. A smart mix of influences: Tom Petty, Roger McGuinn, Bob Dylan, Warren Zevon and Elvis Costello. Now with a larger cast of supporting players (including P.Hux!) the sound is richer than before, and O’Connell hits his stride here. “My Dumb Luck” is an great opener, a contemporary guitar ear-worm that can live on “repeat.” Next, “Lonely Crowd” is a bit more subdued, but it sends a thoughtful message about his audience. “Every Precious Day” pumps up the jangle, making it a catchy single.

“What Have You Done?” is similar to Elvis Costello in structure, the chord and vocalization shifts makes it another highlight amongst many. “I’m The Man” is a country flavored song about a murderous wife. Like the debut, the musicianship is impeccable but its tough to keep the energy going (“Yesterday’s World”). Still, O’Connell manages to keep the sweetness on the slow tempo “Last To Leave” and put out a great finale “The End Of The Line.” Such effort does not get wasted, and it makes my top ten of 2014 best LP nominee list.

CD Baby | Amazon | Kool Kat Musik (with bonus disc)

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The Above “Waterbury Street”
It’s hard to find a more period accurate retro-rock band than The Above. Even more than the debut album, the band’s technical skill has increased and with the sophomore LP “Waterbury Street” you’d swear this is a lost rock band circa 1966-68. Lead singer David Alan Horowitz is patterned after Ray Davies and the music is a combination of pop, rock and blues most closely associated with The Kinks, The Who, The Animals and The Creation.

What makes the band standout is also the exceptional songwriting. “Coming Around” and “Do You Have Healthy Mind?” are both hip shaking perfection and even the song “The Prisoner” relates to the era (all about the 1967 British TV show). “Goons” is another gem sounding like The Who’s early mod hits. The R&B stomp of “Dog Without A Bone” keeps the variety going, and the Rickenbacker jangle of “Ordinary Life” is infectious. I couldn’t find a dud or ounce of filler here. Highly Recommended for sure!

Bandcamp

The Paul and John “Inner Sunset”

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No, its not any Beatles or biblical Apostles, but Paul Myers (The Gravelberrys) and John Moremen (The Orange Peels). Written over the past three years in San Francisco, then recorded at Allen Clapp’s Studio in Sunnyvale, CA. The Paul & John’s new LP is anchored by the excellent single “Everything Comes Together” with its SoCal hook and catchy sing-along melody. “Long Way Back” is a bit rougher rock, like Springsteen meets The Smithereens. The harmonies work well there, but they really shine on the slow tempo ballad “How ‘Bout That.” The title track is another winner, full of optimistic lyrics and layered guitars, its Brit-pop melody pleads “don’t let the darkness drag you down.”

Myers lyrical prowess is solid with the jangle-filled “Brickland,” a wonderful picturesque song and Moreman does a brilliant job on the multi-chorded “Can’t Be Too Careful.” Nothing here misses the mark, and its all conceived an a very deliberate way, with the album being bookended by two short ballads, the Paul Simon-ish “Inner Sunrise” and “Inner Sundown.” Highly Recommended and added to my top ten list for 2014.

Bandcamp | Amazon

The Bobbleheads and The Lost Boys

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The Bobbleheads “Make Yourself Happy”
After 2004’s excellent album, I haven’t heard from The San Francisco based trio called Bobbleheads till now. What a great come-out-of-nowhere power pop album. If you took the cheerful vocals of Steven Page (Barenaked Ladies) and married it to hard driving riffs of The Connection, it would sound a lot like “Prove Yourself,” a non-stop riff attack of Rickenbacker melody, and dense production. “Mean Girls” is just as good, and not a second of filler anywhere.

Highlights are numerous, although it is missing a quieter ballad to break things up. I dare you not to play air guitar to “Who’s Gonna Love You” or not sing along to “Turn The Radio On.” Fans of The Smithereens style of power pop will love this and I’m gonna shut up because you just need to hear it. It will stay locked into my daily playlist for a while and without a doubt, gets my nod to be considered for my top ten album list of 2014.

CD Baby | Amazon

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The Lost Boys “Answers on a Postcard” EP
Another “lost” band that passed me by until now is Southampton, England’s The Lost Boys. Last years EP Answers On A Postcard is the follow up to 2011′s debut Not Arf It’s…The Lost Boys. Lead by Daniel Ash (not the Bauhaus and Love And Rockets guy) its full of compelling melodies and polished production techniques.

Opening with the fast tempo of “I Fall For Everyone” it reminded me of Zumpano with its echoing surf guitar tones and cheery vocals. Another gem here is the “Moving Pictures” with its hook filled chorus, chock full of great key transitions. This style is a winning formula that’s repeated on “From Love To Hate,” and it connects each melodic clip in a way that recalls XTC. The slow ballad “Broken Story” follows Daniel’s echoing lead over a methodical acoustic melody. Overall its a winner, and between the two EPs you have a band deserves to be heard. Highly Recommended.

Amazon

The Dowling Poole and The Both

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The Dowling Poole “Bleak Strategies”
We told you about the duo of Willie Dowling and Jon Poole teaming up for the debut of the Dowling Poole. Honestly the track record of albums from PledgeMusic or Kickstarter has been spotty at best, and I’ve been burned a few times by artists promising the best thing ever, only to get “something else.” Thankfully Dowling Poole happily exceeds expectations here. The pastoral shimmering opening “The Sun Is Mine” could’ve fallen off XTC’s Skylarking – it’s that good.

Next the rhythmic “Kiss On The Ocean” is a quintessential English-styled love song, part Maddness and part Martin Newell with a sing along chorus supported by “ooh la la” vocal backdrop. “Hey Stranger” is a little darker but no less compelling and it wanders into Klaatu-land with an amazing harpsichord and trumpet ending. Nearly every track is a polished gem and even the mellow “Paper, Scissors, Stone” is has a delightful jazzy pastiche that echoes Colin Moulding. The rich instrumentation and details invites many repeat listens, especially on the albums second half where it morphs into progressive rock with multiple melody lines, a perfect example being the psychedelic “Getting A License.” The finale “Clean” is slow building juggernaut along the lines of “Hey Jude.” This is an essential “do-not-miss” album, that makes my top ten list for 2014. I’m sure it’ll move to major distribution soon, but get it at PledgeMusic now.

PledgeMusic

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The Both “The Both”
Like the musical equivalent of a Reese’s Peanut Butter Cup, Aimee Mann and Ted Leo join forces to create The Both. It’s fairly rare for indie power pop auteurs to get mainstream attention (Reviewed in Spin, Rolling Stone and Pitchfork), but I’ll take it. Both artists leave their comfort zone a slightly and form an effective collaboration. Leo’s punk tendencies and Mann’s introspective melancholy are relatively restrained here, and that’s a good thing. It allows the duo to come up with some excellent songs “Milwaukee” being the highlight. Leo’s guitar is reminiscent of Thin Lizzy and Mann’s catchy chorus makes for good listening. This energy is missing from other songs like “The Gambler” and “No Sir” where the melody merely plods along.

Some nice touches are on the fuzz-bass led “Volunteers of America” with the comfortable harmonies of the duo and solid guitar riffs. In fact this is best vocals I’ve heard from Leo in a while. Both artists get to express ideas, Mann’s sparse “Hummingbird” and Leo’s guitar heavy “The Prisoner” both make personal statements. The Thin Lizzy cover of “Honesty Is No Excuse” is another highlight, along with the Beatlesque piano melody of “The Inevitable Shove” about “…blaming the ones you love.” A solid release that should please fans of both artists.

Amazon

The Hazey Janes “Language of Faint Theory”

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Scottish power pop band The Hazey Janes have been slowly evolving to more diverse indie pop sound, this is starkly shown on the latest LP, Language of Faint Theory. Recorded in El Puerto De Santa Maria, the crisp production and sweeping melodies present  a sophistication previously unheard from them. “Iwan” opens the album with a slow drum beat and piano chords, and mature background harmonies. The last half of the song has a truly great guitar solo that floats in, guaranteed to produce goosebumps.

That takes you into the next track “The Fantom Line,” a more accessible and even grander melody line along the lines of classic Genesis. After the opening notes of “All Is Forgotten” I almost expected Phil Collins to sing “Entangled” next, but the song transitions to a showcase for lead singer Andrew Mitchell’s vibrato-soaked croon along a soothing pop melody. “In Shadows Under Trees”  is a Roy Orbison flavored country ballad that proves the band can branch out intro other genres.

But after a few diversions we get back to some great power pop starting with “The Genesis,” full of cascading keys, drum rolls and strong lead guitar. Gone are most of the Beatles/Byrds influences on this album, although they show up on my favorite tune of the summer so far, “(I’m) Telescoping” with its gorgeous vintage sound. The title track surprises with sweet vocals by guitarist Alice Marra, evoking the sunny Spanish coast with its richly layered chorus. While clearly transitional in style, the band hasn’t forgotten its fans, nor its need for artistic growth and that’s a creative triumph.

Amazon