This New Jersey band is led by vocalist/guitarist Jerry Lardieri, and he’s joined by Peter Horvath (The Anderson Council) on bass and Chris Ryan on drums. This strong rock and roll, as the guitars blare out on “Against The Tide” recalls riff-heavy bands like The Successful Failures and The Well Wishers. “Black Cloud” and “Under My Skin” have a late ’90s indie vibe akin to The Lemonheads. Of course, The Anderson Council’s shadow falls over a few songs like “Emily Strange,” and “Local Scene” with its driving rhythm.
At the mid-point, it smartly slows down the tempo for “Hurry Up and Wait,” as a welcome pause it shortly takes off again. This is meat and potatoes rock that fits neatly in your mix with those other bands I mentioned earlier. Does it innovate or distinguish itself? Not really, but it’s not bland either, and after a few listens some of these songs will stick with you. Check it out.
Paul ‘Trip’ Ryan is back. It starts with a low-key charmer “For My Friends,” a dedication with soaring strings, and preps the listening audience for some blissful fun. “Susan Revolving” has a Sgt. Pepper-styled bass groove that makes it easy to love. The mellow vibes continue with “All My Worries” with its Lennonesque quality, referring to the calm zen-like state when he was in the “submarine.” From here it gets less Beatlesque, but the spirit remains very trippy, hippy, and idyllic on “Out of My Head,” “Jennifer Anne,” and especially “Our Town.” The fab references continue with the jangling love songs “Be My Yoko” and “Moments In Time.”
The tone is very consistent throughout the album, and maybe that’s what the problem is. The songs tend to blend into one another, creating almost a jangling soundtrack to put you to sleep. The previous album Universal Journey had some fuzzier guitar songs mixed in to prevent this. ’60s pop enthusiasts will enjoy this for sure, but others might want to start with the last album. Still, it remains music that deserves to be heard.
Arthur Alexander is back after last year’s successful Sorrows reboot “Love Too Late… the real album” and he’s just as immediate with the driving opener “Woman,” a frantic rocker that pulses with energy. The melodic “It’s Not Love Anymore” is essentially a top-notch ballad turned into a compelling rocker. “One Life (Is All You Got)” has a touch of The Who, with a blissful sitar break midway through. Music like “Ashes” and “Humming The Blues in Four” display Alexander’s talent for delivering emotionally charged performances, making it difficult to not feel a strong connection to the music. His vocals are given ample space to shine thanks to the simple yet powerful arrangements.
Arthur also takes on prog rock (“Why Can’t You Come”) and even electro-pop (“A Little Too Much”) with less success, as I think his vocals are better with fewer digital alterations. But “Oh Lulu, Won’t You Be My Girl” is a welcome shot of whimsy, in the form of an old-fashioned dance hall number. A sequel to the Beatles’ “Honey Pie,” anyone? Overall, more hits than misses. Highly Recommended.
Michael Giblin (The Split Squad, Minus 5) is the main honcho behind The Parallax Project. The debut was a power pop classic, but after 2009’s I Hate Girls, the band disappeared. This time he’s enlisted Joe Adragna (Junior League/Minus 5) to come back with Autologous (a medical term for being derived from the same individual). Giblin has this biggest hook first with “Put It Out,” a mantra that will be hard to “put it out of your head.” Next, “I’ve Got To Change My Life” is like Ric Ocasek (The Cars), who describes his issues in verses, and the chorus brings it home. “Mary Houdini” is a rich single with classic harmonies and tambourines.
By the second half, the songs deal more with universal topics like heartbreak, disappointment, and becoming older. The guitar ballad “Anything Like Me” is very heartfelt, and the steel pedal tone of “You Were Never There” and “This Is So Easy” recalls Marshall Crenshaw. While not as catchy as the album’s first half, Giblin’s songwriting is better here. The end boasts a strong Who-like theme, “Nobody Cares,” and there are just enough gems here to make this Highly Recommended.
On to the EPs, and I was very impressed with a new band called The Goods. Self-produced in the band’s own studio in Oakland, CA, by Rob Good its awesome hooks and guitar riffs are what I look for. German band The Radio Field has a sweet jangle, and “ooh-la-la” backing vocals from Robert Stadlober. It’s been a few years since I’ve heard some new Fallon Cush, as “Grain of Salt” is a contemplative bit of roots pop. I love Glam, and Clone knows Glam with a solid female lead in Juniper Watters on “Queen.” A great freebie this month, as RumBar Records gives you some Swagger – a 35-track sampler of loud rock and roll. Cheers!
This is a Nashville band that wants to make a bold statement. Influences from power pop, glam, and indie rock are all mixed in a musical stew. “Gold Confetti” is a great start, with its upbeat, sing-along chorus dripping in attitude. But even better is the follow-up single “Let’s Go Home” with its super energetic hooks, and its quiet verse builds to a catchy chorus. The guitars here bring it all together as the band uses classic song structures (that are out of vogue today) to form something quite unique, and “Devotion” is another winner with its Cars-like synths.
Next, lead singer Matt Friction sings “Can’t Stop Letting You Down” and seems to channel Marc Bolan without the falsetto. The band wants this to be a party album, as each hook takes a winding stylistic shift in the second half. The band can go “hard rock” anthem with ease on “Stoned To The Bone,” and the next few songs go straight party rock, and you’ll never get bored here, and no filler. The closest analogy I can come up with is Sweet meets Panic! At The Disco. Yes, it could’ve used a ballad to break things up, but this deserves attention and is highly recommended for sure.
Dwight Tilley had a revived sense of purpose after releasing several collections of rarities (Between The Cracks) at the end of the 20th century. He began the journey to elder statesman status in power pop with 1999’s Tulsa and continued to be very productive for the following 15 years. This new compilation of Twilley’s later work proves he was not only a great songwriter but also remained a potent force in melodic rock and roll.
Nothing in the collection sounds dated, as it’s timeless rock. Check out these new Twilley classics; “It’s Hard To Be A Rebel,” “No Place Like Home,” and “Speed of Light.” With 20 tracks there are plenty of gems to choose from.
If you’re a fan of Dwight Twilley’s work, The Best of Dwight Twilley: The Tulsa Years 1999-2016 Vol 1 is a must-have. There are previously unreleased songs from albums like Tulsa, The Luck, 47 Moons, Green Blimp, Soundtrack, and Always. Dwight’s 12-page booklet with photos and notes about his inspiration and the songs’ backgrounds is included. Highly Recommended.