Chicago’s Sunshine Boys (featuring Freda Love Smith of Blake Babies, Dag Juhlin of Poi Dog Pondering and Jacqueline Schimmel of Big Hello) is releasing the politically-charged single “Infinity Girl” on Friday, Jan 10 and Power Popaholic has the exclusive premiere! Sunshine Boys’ sophomore album, Work and Love, will be released on Friday, May 1 via Pravda Records and follows 2018’s critically acclaimed Blue Music.
BTW: In case you missed last Sunday’s radio show on 11L Radio NY International – I played a song from each of the albums in my top ten for 2019. Here it is recorded for posterity and your convenience.
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Editor’s note: It happens every year. I miss several releases from 2019. Some are high on other bloggers lists, some I just forgot to review (Doh!) and others just seem to slip through the cracks for a variety of reasons. This week I will review a few of these remaining 2019 albums.
Bryan Estepa “Sometimes I Just Don’t Know”
The venerable Australian singer-songwriter Bryan Estepa delivers a stark, emotional album that earned Absolute PowerPop blog’s#1 album spot. Estepa has always tackled serious adult subjects, and the first track “I’m Not Ready For This” is all about dealing with a serious health crisis. Bryan’s strong vocals are filled with empathy that sets the tone of the album. While the music is more adult-oriented pop than power pop, you do get catchy and melodic songs like “Drawn Like Magnets.”
Dealing with doubt, fear and how your loved one gives you the strength to go on is also a central theme. “Rattled and Rolled” and “Another Kind of Madness” deal with these strong emotions and the tight compositions keep it compelling. The lyrics will resonate with the patient listener, “Granted” is some of the best advice a song can give. It would be too easy to turn this somber subject matter into a depressing album, but Estepa fights through these feelings with conviction. I will concede this would have made it in my top 20, and thus a highly recommended listen.
This Ohio band led by Rene Rodriguez, Todd Stanton, and Andrew Stanton does a good job of creating pop eclecticism with a sense of fun. Taking influences from Mike Viola, NRBQ, and The Beach Boys, it starts with the bouncy “Saving It Up For Sunday” that goes through a typical week in the life. The themes alternate from happy to sad and the lead vocalist duties shift from song to song (with mixed results).
So we get the slow lounge ballad “She Makes Me Happy” followed by the hopeful pop of “Maybe Next Time.” Next, we get some slow faux Jimmy Buffet on “Wanted Man,” but things again pickup with the uptempo “Halfway There.” The highlight of the album is “Miss Her Reminiscing” with great lead guitar and the tender “Silence in The Room” is another beautiful gem about dealing with the loss of a loved one. Check it out, it’s music that deserves to be heard.
Final comments: The power pop genre is much less cohesive now than it was 10 years ago. It seems anyone with a retro sound seems to get the label shoved at them. On the other hand, the best power pop this year did not fall into a single style category (“Beatlesque,” “Alt. Roots,” “Psychedelic Glam” ) but took from a variety of styles and influences. This year was a tough one as all the artists did a great job, and I’ve missed so many albums I see at the top of other blog lists. Check out all these artists — you won’t be disappointed and you’ll most likely disagree with my order.
After a 13 year absence, Tim Boykin has reformed The Lolas and the band hasn’t lost its ability to create catchy melodies and sweet harmonies with loud raucous guitars. Boykin is joined by drummer Shea Rives and bassist Jeff Waites, and together they pick up where the band left off. This impressive Kool Kat label debut displays a tight musical combo playing ten solid cuts of prime power pop.
The title track blasts from the speakers with bright clear vocals and a dominant riff leading the way. The influences are classic (The Beatles, The Ramones, Big Star) and the relentless hooks keep on coming. “DJ Girl” is a great mid-tempo pop gem, and “Bon Voyage” is a fast tempo melody with a driving guitar rhythm. The psychedelic “Wish You Were Loud Enough” seems slightly out of place, but “Assailant” leads with a wicked fuzz bassline and multi-tracked harmonies. The not-safe-for-work “Lightning Mountain” is probably the most beautiful jangling Rickenbacker melody to contain the f-word. Not a single note of filler and yes, this also makes my crowded top ten list this year. It’s also worth noting that The Lolas have a new LP coming out early January. Boykin has a new crew playing on this one, and it’s likely to be one of my first reviews of 2020.
Singer Matthew Milia (Frontier Ruckus) helped his old band earn fame based on his finely honed songwriting skills. He turns to the nostalgia of his youth during Catholic school as the subject matter and his sound seems to squarely fit in-between Ben Folds and Elliot Smith. Opening with soothing California styled pop of “‘Alive At The Same Time” has an easy-going jangling melody and smooth Beach Boys styled harmonies. “Puncture” has that stream of consciousness lyric about life and self-acceptance. “Congratulations Honey” is a steel pedal ballad that looks back on his “white trash town,” and then the jangle comes back on the compelling “Attention Students” that recalls the Jayhawks or Wilco.
The songs vividly describe an intimate portrait, a great example being “Swollen Home” about mundane suburban living; the ambiance comes through each verse. “Abruptly Old And Caffeinated” picks up the tempo, the verses work poetically and then a key change in the latter half make it another keeper. While not every song is a slow ballad, all the songs emanate a feeling of bittersweet melancholy. The lack of hooks or tonal variety work against the album, but it’s the skillful musicianship and writing that make this an album that deserves to be heard.
Sometimes when you hear great power pop, it’s easy to spot right away. Los Angeles based Jordan Jones debut is one of those rare instances. His music was a cassette-only release on Burger Records, and later a digital release on Beluga Records this year. Starting with “Wrote You A Song For Me,” I hear a distinct Marc Bolan influence and it sounds like a surefire hit from the golden age of power pop (Big Star, Raspberries, Cheap Trick).
“Understood” is a quick gem with punk fuzz guitar and a fast tempo not unlike The Connection. “My Somebody” is a smooth guitar melody, layered with crashing drums about getting older and looking for somebody. It leads into the super catchy “No Makeup” with smart lyrics about loving the girl whether she has makeup or not. The potential hits keep coming; the mid-tempo “Rumour Girls,” “Waiting” and “Be My Baby” are brilliant in its simplicity. The acoustic “Do You Wanna Hang Out” is just the kind of honest romance Chris Bell would write about on #1 Record. The marching drumbeat opens “Oh My Heavenz” and anchors this sped-up ballad to finish this short debut. Every single one of these ten songs resonates and Jones pulls it off with style and enthusiasm. Highly recommended and a definite spot saved in my top ten list for 2019.
Kansas City’s The Whiffs began with a simple EP in 2017, and they emulated the sound (and look) of Stiff Records label artists like Nick Lowe and Wreckless Eric. This year they took a big leap forward in quality, with songs that would be big hits in a world circa 1978 – 1980. The sound has elements of classic power pop and punk, all 14 quick jams in under three minutes each. “Shaking All Over” is a great Lowe-sounding single with a catchy chorus and a great guitar solo. More standouts include the Raspberries-like “Hey Little Annie,” “Please Be True” and “Dream About Judy.”
The bands’ influences include Alex Chilton and Paul Westerberg with heartbreakers full of three-part harmonies like “Throw It Away” and “She.” The pub rock roots come through “On The Boulevard,” and some upbeat punk tunes end the album. My biggest issue with all this is the very muddy sound production. I understand the need for authenticity when recreating an era’s sound, but most of the album’s songs have the mid-range pumped up high. Like a worn-out cassette, it sounds like someone threw a blanket over the entire mix. There is a reason old albums get remastered, and if the band ever did this — it would give these tunes a real chance to shine. Still, this is absolutely an essential listen for power pop fans. Check it out.
Chicago’s Sunshine Boys (featuring Freda Love Smith of Blake Babies, Dag Juhlin of Poi Dog Pondering and Jacqueline Schimmel of Big Hello) is releasing the politically-charged single “Infinity Girl” on Friday, Jan 10 and Power Popaholic has the exclusive premiere! Sunshine Boys’ sophomore album, Work and Love, will be released on Friday, May 1 via Pravda Records and follows 2018’s critically acclaimed Blue Music. 
