Maxwell Smart and Agent 99 meet the Groovy Guru (played by Larry Storch of F-Troop) and the psychedelic group known as the Sacred Cows. Apparently that dippy hippy rock and roll was meant to brainwash teens to “Kill, Kill, Kill” and “bump off a square.” Well, maybe El Goodo could use those costumes for their next show?
Radio City "Class of ’77"
After I heard The Wigs earlier this year, I thought we’d never see another lost treasure from the early years of 1970’s power pop. Long Island, NY native Gary Feldman formed Radio City in 1977, taking a love of The Raspberries, Todd Rundgren and The Byrds with him in the studio. In fact, the band’s big sin was being “too pop” in a fashionably punked-out New York music scene at the time. It’s another case of a group breaking up before it’s full studio release, but Gary revived and remastered the album, and it finally sees the light of day. Opening with true gems like “Don’t Mistake Love” and “Little Runaway” this is a perfect example of the period. Both these singles would have been big hits if they were released back then. Starting with “She’s A Heartbreaker” you can hear a bit of early punk influences poking through. The playing is exceptional, and energy on tracks like “Tomorrow” and “Play It Like A Man” compares well with Elvis Costello or The Rubinoos, full of Rickenbacker riffs and strong drumming. The last 4 tracks have alternate takes and some live performances. For fans of Buddy Love, The Wigs, Doug Derek & The Hoax and The Toms it’s a no-brainer. This is another band that deserves credit for helping bridge the link from Badfinger and The Raspberries to The La’s and The Smithereens.
My Space | Not Lame | Kool Kat Musik
The Boolevards "Real Pop"
Merseybeat aficionados will be on cloud nine with this new release. Using the classic instruments of the great Merseybeat era (6 and 12 string Rickenbacker guitars with some acoustic guitar in for flavoring) and utilizing classic Mersey recording styles (double tracked vocals, a clean guitar sound, two part harmonies, plenty of backround “oohs and aahs,” with echoing vocal effects). The brainchild of brothers, Joe and John Nowik and lead guitarist Hugh Murphy, “Real Pop” is chock full of catchy melodies, along the lines of The Wonders (from the movie “That Thing You Do”), The Rubinoos, and Billy J. Kramer & The Dakotas. The songs are basic sixties teen angst about girls that remind me of those early Jan & Dean singles. For fans of those early-era Beatles bands (The Fore, The Offbeat) this will be a welcome addition to your collection. The CD label even lists the facts: 100% Rickenbackers, Hooks & Melodies – 0% long guitar or drum solos. The issue I have here is the sound is a bit too derivative and with the massive amount of tracks (17), none of them really standout much. Tracks seem to blend together here, and the tinny production keeps every sound (vocals, guitars, drums) at a flat EQ curve. The music is also pretty much at the same fast tempo for every song as well. However, if you enjoy the pre–Spector British sound then this is right up your alley. And you have to give props to Joe Nowik and crew for period accuracy, so let your inner-Beatle fan enjoy this one.
Boolevards | CD Baby | Not Lame | Kool Kat Musik
Mandy Moore, Mike Viola and Daniel Clark perform live at Amoeba Records
An intimate small venue performance — my favorite concert style. This is a real treat that’s expertly filmed and very blog worthy. Thanks again to Mike McCartney’s Time Machine.
Cush And The Intelligent Designers "Happy Accidents"
Cush is actually Jim Cushinery, originally from pop cult icons The Wigs, but he’s also been an important session man for Ringo Starr, Sarah McLachlan, Sinead O’Connor, and Bon Jovi. He is also known to kids as the composer and singer for Power Rangers TV show theme. So Cush has been around the block many years, and he hits a musical gusher on Happy Accidents. The funky “Little Black Dress” mixes a little McCartney with Stonesy overtones and a damn catchy chorus that makes for a strong single. Versatility best describes Cushinery, as each song is a finely crafted pop morsel, a good example here is “Won’t Let It Rain,” full of multi-tracked guitar riffs and Beatlesque vocal touches. “Sweet Doomed Angel” begins in earnest, like a ballad for Robin Zander, and it ends with full epic rock harmonies and a guitar solo so good that it will peel the paint off your walls. And then Cush throws us a curve ball, like “Dreaming (Black) In White” which echos DeBussey’s “Claire De Lune” as a gothic pop ballad. This kind of contrast reminds me of what The Brigadier does musically to his classic styled Anglo-pop compositions. Back to rock with the biting break-up song “Sorry I Ruined Your Life” that goes way over the edge, and it’s f-ing brilliant. The rough edges on most of these songs keep it interesting and the production is crisp and clean. The memorable melody of “Ordinary Vices” is another confessional with a great chorus along the lines of Elton John’s “Someone Saved My Life Tonight”. You have no big missteps, although the acoustic mid-tempo ballad “All You Get” gets a bit cliche. After a few listens, I kept hitting repeat, those melodies just don’t leave your head – this is an ideal tortured pop artist album. Enjoy it!
My Space | CD Baby
