The Seven and Six is a new band with the ever-talented Lisa Mychols and Tom Richards. This is great power pop with a beat you can dance to. This is Mychols in her natural habitat, each song hits the right notes, kicks ass and with its upbeat tempos, it’s super highly recommended.
Vista Blue dials back its natural punk influences and turns up the Beach Boys-inspired power-pop tendencies. “Summer Wonderland” is a sweet single with some great harmonies and the other tracks are a cut above the usual seasonal music. Get this one now! Available at Amazon
The Dogmatics is a more traditional garage rock and roll band from Boston thanks to our buddies at Rum Bar Records. Fans of The Replacements or The Johnny Thunders will dig this one. And who else will write a song about the current United States Secretary of Commerce? Also available at Amazon.
Nick Bertling made this faithful group of Monkee cover tunes in honor of the late Peter Tork. It even has a cover of a Kellog’s jingle! Not an EP, but a labor of love and it’s a great FREE download.
The new EP from The Martial Arts (aka Paul Kelly) is a quirky pop romp that is both catchy and idiosyncratic. The other songs are just as infectious and melodic. Get it on Amazon.
Swedish musician Torbjorn Pettersson has once again delivered a collection of compelling songs with a melodic sensibility rooted in the McCartney and Brian Wilson school of pop. Torbjorn has eased up on the obvious homage to his heroes, and the production techniques are much more subtle than his past work. In fact, you could label this as “mellow pop.”
“To Be” opens up the set with an uplifting AOR melody that gently flows from its minor chords and Torbjorn’s understated vocal. “In A Good Place” is a slow shimmering ballad that evokes The Beach Boys, with its layered guitars and piano rhythm. Fans of the recent Pearlfishers will find that this Tor Guides album has a similar vibe.
The tempo and energy jump with a cover of Pilot’s “Just A Smile” and on “My Hippie Mess,” the song speaks to all fans of late ‘60s pop. Overall a very pleasant melodic oasis in today’s chaotic world. It’s a great place to stay for a while, so check it out.
The Zags lead singer David Ricardo’s songwriting approach is straight power pop with some ‘80s and ‘90s stylistic techniques. “No Go” is a good start with its catchy rhythm and bouncy verses. From there we go to “A World Away,”a previously released tune that remains a most impressive and memorable single.
“Neither/Nor” adds woodwinds to the hook and “Put A Record On” speaks to the current state of music where he pretends he’s Billy Shears, but “no one’s listening anymore.” Another stand out here is “(We Will Be) Awesome.” The song perfectly expresses the frustration and hope of a new band where we “keep at this thing until we graduate.” The theatrical “Catalina Serafina” is another gem, with a some nice “ba ba ba” harmonies. As a whole, the album is a little inconsistent, but there are enough good tracks here to make it music that deserves to be heard.
This cult garage rock combo out of Newark, NJ has long been a hidden gem amongst those late 1960’s bands and in 1998, it was included on the box set version of the definitive ’60s garage-rock compilation Nuggets. In 1966, lead singer Richard Tepp had a chance encounter with producer Bob Crewe (The Four Seasons) who’s studio helped create the hit “Open Up Your Door.” Unfortunately, the band disappeared after a few singles. They had a reunion in 2000, a fan in Steven Van Zandt, and he helped create this definitive collection with Wicked Cool Records.
What we have is a great collection of garage music in the mold of The Animals and Paul Revere and The Raiders. Highlights include “Hurt By Love,” “Nasty,” “You Can Make It,” “You Make Me Lonely,” and “Sick And Tired.” The remastered sound is crisp and the recent cuts blend in seamlessly with the ’60s originals. Not everything sticks, but between both volumes, there is plenty of great music to enjoy.
Las Vegas Psych poppers The Laissez Fairs return with this new LP on Rum Bar Records, and they perfectly recreate the shimmering apex of ’60s psychedelia. The opener “Long Grow The Marigolds” is flush with layered fuzz guitars and Farfisa organ, and it sets the tone. The standout “Phantom Stranger” has a sweet catchy rhythm as it jangles along, and the ballad “My Thursday” Girl” is like early Bowie meets Brian Jones.
The band’s general approach reminds me more of The Stones (especially on “Redundant Beach”) than The Lemon Pipers. Although some modern techniques filter through the rose-colored lenses, the music is consistently good across 16 trip inducing tracks. Highly Recommended.
Bertolino has a distinct love for the early 1970s sound and production technique. The opener “On The Downslide” emulates Terry Kath-era Chicago with its horn blasts and bass funky beat. “Parade” is another strong vocal by Paul and great use of harmonies. He impresses for the piano ballad “Ghosted” using a falsetto almost like Barry Gibb, and it grows to a neat guitar solo at the coda.
While the melodies miss out on those hooks occasionally, Paul’s use of saxophone, flute, and R&B elements make “All The Way To Chicago” another winner, and “Tap Out” boasts a spirited guitar floating alongside the Matthew Sweet-like vocal approach. The last track “The Antidote” is another gem where he weaves together flowing vocals, rhythms, and instrumentals beautifully. Overall its the most sophisticated and polished set of music Paul’s done. Highly Recommended.
The UK based Frater has quickly emerged as a power-pop force to be reckoned with. With a leaning towards classic 60s-70s influences he opens with “Sunshine After The Rain,” a deceptively simple melody that worms it’s way into your head quickly, on its strong verse-chorus structure. “Oh, Now Girl” is like an early Teenage Fanclub gem, which also has its heart on its sleeve. “Your Latest Breakup Song” slows down just a touch, like if Paul Simon teamed up with Andrew Gold. These three tunes alone make Frater’s music unforgettable. But there is more.
The dream-like “All Out at Sea” changes the mood and “The Getaway” has this thick early 70’s sheen, like Sweet or Sailor. “Holding On to You” is a perfect song about longing that combines old and new styles of pop balladry. “Strangers on The Bus” and “What Does Good Look Like?” lean toward mid-tempo pop in the mold of Adam Schlesinger. Not a single weak track here, so I’m gonna cut this review short. Last year’s “Goodbye Kayfabe” was a top ten EP, and it’s safe to add this LP to 2019’s top ten LP list.
Texas-based band The Pozers are back with two distinct songwriters as they sing about nostalgia, youth, breakups, regret, and death. Starting with a hard rock riff and an echoing lead vocal by Kenny Swann on the opener “Goodbye (I’m Gone),” it’s safe, but an uninspiring start. But Jim Richey’s “Two” is a much more interesting tune, as a psyche-pop mid-tempo gem with layered harmonies and a nice instrumental break at the midpoint. Fans of The Pillbugs will enjoy that one. Next, “SoCal” is another Richey song and you’ll hear echoes of Badfinger in this tune about chasing fame. He sings “So tell me how’s the life you’re making? If you cry just say you’re faking.”
“The Only Girl” is an odd one; like a Beach Boys tune played at half speed and it contrasts with Swann’s “Nonstop” with its frantic drum pounding. Some songs with this approach work great like “Teenage Storybook,” and “So Long” but some of the heavy production techniques detract from other songs (“Telling My Secrets”). ”The Obvious Ledge” is a worthy tribute to the late Elliot Smith. There is enough here to keep most power pop fans interested, and I would recommend you check it out.
As a lifelong ELO fan, it’s a wonderful thing that the 71-year-old, semi-retired Jeff Lynne is still churning out enjoyable music. Like 2015’s Alone in the Universe, this is Jeff’s solo as ELO again (although keyboardist Richard Tandy assists on one tune) and playing every instrument. And while it’s a solid outing, please do not compare it to the highs of the band from 30 years ago. But this version of ELO is like comfort food on a cold night, and we should all savor each note.
The title track is a little a simple melody that recalls those Beatlesque days, but it doesn’t really stick. “Help Yourself” is a bit better, with its layered chorus and Jeff’s timeless mantra “You never change/you just keep on being you/you’ve got to help yourself.” The next few tunes feel like Jeff’s coasting a bit. But “Losing You” is gorgeously composed, it’s slow tempo is reminiscent of “Strange Magic.” Then Jeff comes to life with the rocker “One More Time,” and with it a neat series of synth, piano and guitar breaks. The futuristic fast tempos of “Sci-Fi Woman” and “Time of Our Life” both boast solid verses, hooks and sound like outtakes from the Time album. I have no doubt that some will compare this to the fuller sound and production of the past and come away disappointed. But as a Jeff Lynne fan, it grows on you, like most everything he does. Highly Recommended.
Ryan Allen makes this a full band effort by removing his name from the headline, and the band is simply Extra Arms. It’s first-rate punk-pop that fans of Green Day or Superdrag will embrace quickly. The first few tunes are barely scraping a minute and a half each. “F.L.Y.” is a joyous middle age piss and vinegar rant that opens things up quickly. “Secret Friend” churns out the fuzz chords and its another winner that you can sing along to.
Extra Arms heavy and fast riffs layered with Allen’s rough vocal are what power pop bands can aspire to, “Comes In Waves” and “No Enemies” keep the driving guitars and pounding rhythm flowing. The thick bass slows the tempo on “Space Jam,” which buries its jangle under reverb and finishes with a sweet acoustic coda. “Up From Here” is another winner, with the biggest, catchiest hooks on the album (maybe this should’ve been the first track?). This slim 8 track LP has no filler and it’s highly recommended. Play it on a loop for the full effect!
