Category: Top Ten of 2022 Candidate

The Well Wishers and Ward White

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The Well Wishers

The Well Wishers “Blue Sky Sun”

There are few artists as consistently pleasing as Jeff Shelton (aka The Well Wishers). 12 albums in, Jeff took a break from power pop to work on his fuzzy shoegaze rock project Deadlights, but he has returned, like the prodigal son for his latest, Blue Sky Sun. The pandemic has given his life pause, and allowed him to return to the melodic hook-laden sounds he started his career with (The Spinning Jennies).

Jeff discovers his optimism with the opener “Figure it Out Myself,” and his crunchy guitars are similar to Matthew Sweet. The slow-building verses of “Any Way At All” and “Blue Sky Sun” are supported by layers of jangle and self-insight. But Jeff really lets his power pop flag fly with the irresistibly catchy gem “Idiot Smile.” Comparisons to Cheap Trick are apt for the anthemic political commentary “Radicalized” and “Just Enough” is another great tune with a great beat/riff combo. A cover of Guided by Voices’ “Game of Pricks” fits in fine here, and the ending piano ballad “Blue Water” is likely the best Well Wisher ballad ever. Not a note of filler here and it’s hard to argue that this doesn’t belong in my top ten list for 2022. Super highly recommended.

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Ward White

Ward White “Ice Cream Chords”

Los Angeles-based art-rock crooner Ward White returns with a deft blend of dry wit and guitar riffs. Starting with “Shorter,” he laments on aging as we are all “over and it’s overdue,” to a catchy rhythm. Next “Rumors” is full of overbearing anxiety set to a Cars-like synth refrain. Another standout is “Mezcal Moth,” a song about Juarez with a great chorus and ascending bassline. No matter White’s observations about a bad concert (“Ice Cream Chords”) or even musical metaphors (“Like A Bridge”) it’s always a distinctive tableau.

His fragile-sounding vocals and clever lyrics perfectly fit on some of the more despondent narratives, be it the corruption of “Born Again” or the brilliantly somber “Signore.” While there are fewer hooks in these songs, the compositions contain some interesting chord shifts. The quick guitar arpeggios in the verses and reverb-echoed guitar solo of “Slouch” are an example of artisan details that can be appreciated here. Overall, Highly Recommended.

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David Woodard and Bird Streets

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David Woodard

David Woodard “Stupid Kid”

David Woodard follows his muse (after a series of fine EPs) with some of the best music I’ve heard from him. With a mix of 80s indie rock arrangements and power pop smarts, his music nerd comes out on the catchy title track “Stupid Kid.” The jangling gem next, “Literally Probably Maybe” is similar to Fountains of Wayne mixed with a little Bill Lloyd, using his low-key vocal and poetic lyric. His duets with the Queen of Power Pop, Lisa Mychols are also standouts, “Right Through Me” is just a perfect bouncy rocker and the quieter “Turns Blue” highlights those lovely harmonies.

The guitar hooks of “More Than Happiness” (a duet with the late David Schrader) is another in a series of strong tunes here. If you get the CD version of the album, you get five additional tracks from his EPs including “Applebees,” a favorite of mine. While his vocals aren’t particularly dominant, David is a big talent and not a “Stupid Kid” because he gets better with each release. Do yourself a favor and get this highly recommended collection of gems.

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Bird Streets

Bird Streets “Lagoon”

Bird Streets’ debut had John Brodeur and Jellyfish alumnus Jason Falkner collaborate on a triumphant power pop romp, but Lagoon is almost on the opposite side of the emotional spectrum. Brodeur is solo here, starting with “Sleeper Agent” it packs a confessional wallop, with those orchestral strings that build in intensity with his anxiety. More akin to OK Computer-era Radiohead but even better is “Machine” with its lush “ever-lasting sigh” and then the compelling “Burnout” where even getting high isn’t helping anymore.

The melancholy throughout the album is elevated by the concise arrangements and clever lyrics. The pop craft of “Let You Down” and “SF 1993” both describing a relationship imploding is gorgeously rendered. The sitar based “Leave No Trace” goes through Brodeur’s depressive mood, while “Disappearing Act” recalls his alcoholic days. The ray of hope is the final track, “Go Free” with its relaxed vibe of acceptance in letting go. A very relatable “depression” album, and highly recommended. So good, it might find a spot near my top ten album list this year.

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Dungeon of Skeletons and Karma Gambit

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Steve Robinson & Ed Woltil

Dungeon of Skeletons “Patterns”

It’s been a long time since we’ve heard from Nashville-based musician Justin Kline. Triangle-Six Songs was a favorite of mine back in 2010, but with a new band, Dungeon of Skeletons he’s constructed a pure power pop classic. Opening with “Patterns” his theme of renewal comes with an earnest optimism, that leads into the masterful “Turn The Key” with its catchy melody and infectious sing-along harmonies. His approach reminded me of fellow Tennessean Wyatt Funderburk, but with more of an alt. rock edge.

Every single track here follows the joyous lead from the densely packed “Gonna Be Alright,” to the bouncy retro Carpenters feel of “Doom & Gloom.” Even when they break out with a different approach, like “Daggers” it’s all irresistible and loaded with hooks. Influences here are from sunshine pop to alternative to glam. On my top ten list for sure, and super highly recommended.

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Karma Gambit

Karma Gambit “When Does Rock ‘n’ Roll Start to Get Sad?”

Karma Gambit is a power pop band from Asbury Park, New Jersey. Inspired by bands such as Fountains of Wayne, Weezer, and Oasis, this quartet contrasts sharp character studies and ironic humor with big guitars, immediate hooks, and layered harmonies. Like most great power pop, the songs are about relationships, starting with the swoon over “Aphrodite.” The radio-ready single here is “Cable Knit Sweater” and its similarity to FOW is more than those punchy chords, but singer/guitarist Jack Linden showcases his sharp wit within the lyrics. 

“Kiss and Tell” is a bitter sad sack tale about a pickup artist and the garage rock of “Kick in the Teeth” recalls the Fabs’ “I’m Down.” The inventive “Adam Bomb!” is another tale of broken romance at the local mall. It veers into folk with “Hello Minnesota,” but each song makes for compelling listening. Highly Recommended.

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Sloan and Richard X. Heyman

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Sloan

Sloan “Steady”

On their 13th album, Sloan retains its title as the best indie power pop band left standing. The Canadian quartet has a career that spans over 40 years, and “steady” not only describes the band’s lineup but also its consistent stylistic approach. The chugging guitar on “Magical Thinking” starts us off, with hooks a plenty and a “ba-ba-ba” chorus. Then we launch into the catchy rocker “Spend The Day” a song that’s defined Sloan’s sound for years with a wicked guitar break, and it leads right into the gentle harmonies and handclaps of Jay Ferguson’s “She Put Up With What She Put Down.” Each song leaves an impression, and the album gets even better the further along we go.

Chris Murphy’s “Human Nature” is a brilliant piano-based song about our love of gossip. But what’s amazing is how the band can take Beatlesque elements and make it totally their own, my favorite track here is “Nice Work If You Can Get It,” a dreamy Rickenbacker riff based on “Day Tripper” – it’s an instant classic. Not a weak track to be found, and without a doubt (like their 2018 opus 12) this easily gets added to my top ten list for 2022.

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Richard X. heyman

Richard X. Heyman “67,000 Miles An Album”

For many years Richard X. Heyman was the original power pop DIY, one man band, and even though he branched off playing with The Doughboys several years ago, he remains a singularly unique songwriting talent. 67,000 miles an hour refers to the speed of the earth as it moves in orbit around the sun. RXH goes through a variety of styles here, but he starts off with an absolute gem “You Can Tell Me,” full of harmonies and sweet chord progressions. The rich horns of “Misspent Youth” goes through visions of his life in New York, and “Traveling Salesman” is a garage rocker with a distinct riff.

With 18 tracks you’ll find plenty of great songs here like “Crave,” a bouncy rocker with synth keys and pounding drums, and the mature hooks on “When The New Dawn Comes.” The soulful vocals of the mid-tempo ballad “Plans” are another highlight. Sometimes RXH finds a musical idea, like “Ready For A Fall” with its stylized harmonies, but it doesn’t quite work. However, enough tracks do work and that makes it highly recommended in my book.

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John Larson & The Silver Fields and Push Puppets

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John Larson And The Silver FieldsDowling Poole

John Larson And The Silver Fields “Mile A Minute”

John Larson and The Silver Fields lean into the power pop genre more here than any previous album. The opener “Jeannie” hits all the right notes with a strong hook for his “go-to girl” and it’s a catchy delight. “Too Stupid To Stop” sounds like the mantra for every musician with a passion for music, and it’s another winner. Larson’s influences are both traditional from the late ’70s pop through the ’90s alternative, “Because of a Girl” and “Can’t Miss Kid” have a timeless quality, with memorable choruses particularly the latter, with its keyboard-guitar combo akin to early Todd Rundgren.

Yet Larson makes efforts not to stick to a specific style or emulate the past too closely. It’s that quality that makes this collection so special. The authentic rock and roll spirit lives on in “Dig It Out” and the daydreaming quality of the slower tempo “Smartest Guy In The Room” is like the lyrical opposite of the Beatle’s “Fool On The Hill” with just as much sonic depth. Not a wasted note here and no filler. Mile a Minute is immediately accessible and it begs for repeat listens. Highly recommended and makes my top 10 album list for 2022. Don’t miss it.

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Push Puppets

Push Puppets “Allegory Grey”

Push Puppets are a fresh new band from Palatine, Illinois. The band is the brainchild of singer/songwriter/guitarist Erich Specht and he definitely knows how to hook you with his great opener “There’s No One Else Like Lynette,” reminding me of The English Beat’s “Save It For Later” and just as catchy. Fans of The Finn Brothers and Crowded House will find a lot to love about Push Puppets; “Sometimes The Buds Never Flower,” and “The Bane of My Existence,” adds a similar bouncing tempo, jazzy touches, and smooth lyrical approach.

“Obvious” uses the soft verse-dramatic chorus to great effect, and then the band veers off into folk territory with “Perfect Picture.” While the first half of the album has the best material, the songwriting is never predictable and it often shows flashes of brilliance, like the chorus of “October Suprise.” This is a band you should keep your eye on… Highly Reccomended.

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