Colman Gota is back with producer Mitch Easter on this rocking ode to a grievance. Gota’s vocal style has always reminded me of Tom Petty, but musically he forges his own unique path. Starting with “Catholic School,” he laments that “good guys only win in the movies,” as the catchy chorus sticks with you.
“Victim of Society” is a bit atonal, with his vocal melody running alongside the echoing rhythmic guitar. The remaining songs are all pretty compelling, and Gota’s voice grows on you quickly. In fact, as the album progresses it gets better, a little like a Dylan playing with REM and John Cougar Mellencamp. I love the little details and guitar riffs in “Lonely Tonight” and “Practice Room.” The melodic menagerie of techniques on “Do You Really Wanna Know” is also really great. “Do It All Over Again” starts out quiet, but leads to a hand-clapping joyous chorus. No duds here, enjoy! Highly Recommended.
Norway’s Armchair Oracles are back with a new LP (their 3rd) and the band continues to giving us dramatic and melodic rock and roll. “Porcelain Heart” is an early favorite with its gentle harmonies and guitar jangle. Lead vocalist Atle Skogrand’s tone is hushed and soothing on most songs. “She Gets Me High” has a Big Star meets Beatles quality with a solid hook and it’s my favorite song here.
The band turns up the jangle and Matthew Sweet chords on “Don’t Let It Break You” and “Might Be Wrong.” The dense production threatens to obscure the guitar solos, and at times makes the music homogenous. Thankfully on “Silver Nights” it adds a psychedelic sitar sound that adds a little variety. And the slower tempo gem “Last of All Suns” dazzles with it’s Mott The Hoople-like guitar breaks and haunting bassline. There are enough good songs here to make this one highly recommended.
It’s been five years since their last album, and Glasgow’s magnificent Pearlfishers return with another wonderful album. Lead singer-songwriter David Scott has always mined the rich vein of adult-oriented pop, with influences like Brian Wilson, Burt Bacharach and Laura Nyro. The title track out of the gate is a brilliant example of the rich melody Scott can produce, burnished by strings and brass. The combination of joy and sadness are a reoccurring theme, best heard on “Could Be A Street, Could Be A Saint” with the wistful refrain that “people are beautiful. So beautiful.”
Scott makes his lyrics both inspired and deeply personal. The autobiographical “Once I Lived In London,” starts with a simple acoustic guitar melody as he describes the memories of how he “went busking every day… cold and nervous, closed my eyes and kept believing.” That pastoral track and the wistful “You’ll Miss Her When She’s Gone” reminds me a little of Martin Newell’s recent nostalgia for youth. The charm of a show tune mixed with a little soul makes “You Can Take Me There” another winner. The music is permeated in rich details and each composition is delicately arranged. I vote this album most likely to make you tear up in 2019. Highly recommended.
Back in the 1980’s Freddy Monday started his music career with a band out on Lindenhurst, Long Island. Sorethumb was a true product of its time, as the opening track “Not Ready For Love” is a “shoulda been” hit mix of Hall and Oats, Billy Joel, and Huey Lewis. The band played legendary bars and clubs all over Long Island and NYC: Oak Beach Inn, Right Track Inn, Kenny’s Castaway’s and The Bitter End to name a few.
Many of the songs are stylistically similar to Billy Joel circa Innocent Man. We also get a live track from Xenon nightclub (“She’s A Teazer”) and “Sentimental Heartache” definitely had hit potential. Unfortunately, the band ran into a streak of bad luck including numerous record deals that fell apart and a major label showcase that quickly descended into a fiasco. Sorethumb never got the fame it deserved, but if you are a fan of the era this is a true hidden treasure. Check it out!
After a successful album a few years ago with Whimsicality, Ray Paul gives us more “greatest hits” with Bloody Rubbish. Ray has always been a McCartney disciple and his music is tailor-made for anyone who enjoys Beatlesque power pop. The album features three previously unreleased tracks (two of which are live recordings by the current Ray Paul & RPM band recorded in 2017) and one studio track from 1977, along with remastered A & B sides of his early singles, which are prime cuts of Mersey Beat magic.
The familiar “I Need Your Love Tonight” rings out akin to a Raspberries hit, and the “Hold It” has instrumentation and style along the lines of Badfinger. “Love Me” was made in the early 70’s McCartney solo style, and the live concert tracks with his band RPM showcase the great energy here. I loved most everything here, all ten tracks represent rock and roll at its best. Remastered, and absolutely highly recommended.
Frontman for indie rockers Delta Spirit, Matthew Logan Vasquez’s solo work is creative, with both fiery delivery and a tight sound. He draws from a diverse well of influences, from Gram Parsons to Kurt Cobain. Starting with the intimate folk ballad “Ballad In My Bed,” its provocative lyrics invite you in. Then he cranks up the energy level on “Trailer Park,” rocking like a Texas version of Bruce Springsteen. Following that, the noise rock “Vacation” is very much like Delta Spirit, but then he goes to the Nillson-like piano ballad on “I Love My Boy.”
The best marriage of these two approaches is “Ghostwriters,” a perfect power pop gem. Unfortunately, Matthew is having too much fun to stay the course. The 90’s dance-pop of “Ball Pit” feels pulled straight outta Prince’s vault. Vasquez has the talent and sound to do great things, all he needs is focus to create that greatness. Still, its a highly enjoyable album that deserves to be heard.