Read the album review here.
#powerpop #elo #phux #rockandroll #interview 🎸 Listen below:
Another Mo Troper-produced pop confection, Bory is a Portland artist who impressed me with his melodic EP debut, Sidelined. With his first full-length album, Bory has a layer of grungy, obscured fuzz and DIY bedroom compression, but it is unable to contain the powerful melodies, which sound like classic Teenage Fanclub crossed with Guided By Voices.
The bombast of the opener, “The Flake” is all about the lovely melody buried beneath the buzzing drone of guitars and pounding drums. Bory adds earworms to his “Five Course Meal” about a self-effacing narrative; you barely hear the rising harmonies and handclaps over the fuzz, and that’s the point. “Our New Home” is all about the freedom of moving to a new area and “acting real cool” as a homeowner. As we move forward, “We Both Won” and “Wreck” go into relationship issues with a masterful combination of key changes. The catchy “Secrets” adds more jangle to the mix as he frets about aging and insecurity as he says, “The best days are behind us, and the worst is yet to come.” “Sidelined” is another catchy riff that explodes into an echoing solo. Fans of Diners, Disq, and The Eels will enjoy this razor-sharp mix of textured memories and inspirations. Highly Recommended.
Richard Turgeon has found his niche, and he’s sticking with it. He’s a one-man band that writes, composes, and plays almost everything himself. Longtime collaborator Ron Guensche guides Richard along here, and these new songs stand out right away. Starting with “All Alone” and “You’ve Moved On,” they are a one-two punch about a final separation. “I’ve Got You Now” is the guitar crunch rooted in mid-90s power pop (The Gin Blossoms, The Lemonheads, The Posies), and he falls into the category of modern West Coast power poppers like Jeff Shelton (The Well Wishers) and James Hall (Shake Some Action).
Next, “Our Fair City” is a commentary on the homeless problem (“It’s better when you turn a blind eye.”) Additional highlights include the solid “Friend Zone,” and while the album’s second half sounds a bit routine, the final track, “Don’t Forget Me When You’re Gone,” is a well-done ballad in the Billy Joel tradition. Highly Recommended.
There’s always at least one artist a year who swoops in at the last minute to make a great impression on me. This year, that artist was Erik Voeks and The Ghosters. Voeks has been a tireless DIY musician making his music for many years, but this time he’s collaborated with a band, and the result is pure pop magic.
The general theme here is the ephemeral nature of all things. Both Voeks and guitarist Juan Ferrari do a masterful job together. The title track “It Means Nothing Now” is an incredible opener, with the jangle layered on top of relaxed harmonies akin to classic bands like The Byrds or America. “Hazy Maze” is another gem about the passing of time online and the endless photos that generate money for social media companies. “Everything Dissolves” chorus soars and is another gem.
The jaunty angled riffs of “Hieronymus” about a visit to Madrid perfectly describe a tourist’s mood, and then the chiming riffs of “The Most Confusing Part” are akin to classic Elvis Costello. “Suck It Up, Buttercup” starts with a T-Rex riff about the state of the political abyss and “we should’ve seen it coming.” The combination of excellent guitar breaks and wry lyrics on “It Breaks You” is a great example here. The album settles into a consistent groove without a single note of filler. And when it rocks out, like on “Love You Anyway,” it’s just irresistible. There are too many highlights to mention here, and it’s not only highly recommended; this makes my top ten of 2023 list!
Grin and Bear It is the title of Brad Marino’s new album, which features 12 songs that encompass Rock n’ Roll, Punk Rock, and Power Pop. There are moments in life when you simply have to give up and accept the situation. His ability to write great new music using the classic rock and roll template is really impressive.
In addition, Brad gladly collaborates with his fellow “New England Mafia” (Kurt Baker, Geoff Palmer, and Zack Sprague) on all manner of songs. The sound of The Connection lives through Brad on “Back Again” and the Baker-penned “Hung Up.” The title track is always about letting things slide: “Who cares what they say about you…” It’s also characterized by a jagged and halting rhythm that captures your attention. The beauty here is that Brad adds his blues-rock touches to songs like “Another Sad and Lonely Night” (a Bobby Fuller cover), and he also covers The Rolling Stone’s “(She’s) Doing Her Thing” and “Monkey Man!” Not a bad track in the bunch. Highly Recommended.
Musician Jeffrey Foskett, who was a part of the Beach Boys’ touring ensembles for almost 40 years under Brian Wilson and Mike Love, passed away on Monday at the age of 67.
A fan who got to play with their heroes is unusual, but Jeffrey was one of those fans. I was familiar with him from his solo albums like “Sunnys Off” and “Cool and Gone (Gone, Gone)” from 1997; to me, he perfectly vocalized those Beach Boy harmonies better than anyone short of Brian Wilson himself. Shortly after these album releases, he became a member of Wilson’s solo band and remained there until 2014. He rejoined the group in 2015 and remained there until his cancer rendered him disabled in 2019.
Foskett, whom the other members of the Beach Boys dubbed the “vice principal of the Beach Boys,” was one of the unusual musicians who could win over fans of each of the factions that formed within the band during the years. As far as Jeffrey was concerned, his allegiance was with the music and the California sound. Listen to some of the brilliance below in his memory.
The duo of Jon Flynn and Joel Wall returns for a very different follow-up to 2021’s Thank You. The band has taken a slightly different direction, as “I Want You” opens with a tropical, almost Sugar Ray-like tune and the surf guitar washes over you like a day at the beach. “Won’t Go Down” features bursts of post-punk guitar, and then “Fruit Trees” jangles along to a catchy melody (and my favorite tune here).
The album takes plenty of chances stylistically, with the dream pop of “Open Your Eyes,” the mid-tempo “Don’t Wanna Start Again” with its elegant strings, and “Take You Home” echoing Marc Bolan’s breathy vocals. My only pet peeve is that there isn’t a song in the second half that stands out among the pack. This seems more like a transitional album, but it’s still a good one. It’s music that deserves to be heard.
Rather than release a new EP, Roger added four new tracks to 2018’s independently released Glamping and included eight bonus tracks with live and instrumental songs. The new material is good. Opening with the piano bounce of “I Feel Good, Bad, Fine” sets the mood nicely with a touch of boogie. “Rockin’ It Our Way” is the Jellyfish-styled rock fans have come to expect from him, with soaring chords and harmonies. “I’m Starting A Band” and “On Our Way To The Moon” have Roger looking back on his career a bit with his impressive falsetto. “We’re so in demand,” he sings in the former. While very good, these songs are stretched out past the five-minute mark and aren’t that sticky.
I previously reviewed the other songs, and the live tracks are nicely done. If you are a completist or you never bought the previous EP, then I’d pick this one up. Roger remains one of the most sought-after musician-producers in the business, and this LP proves he hasn’t lost any spring in that step. Fans should also not forget his great work with The Lickerish Quartet. And hopefully, more new music is on its way.