Frank Marzano "But Enough About Me"

Utter charming DIY power pop is what makes you root for Frank Marzano. The Edinboro, PA transplant has all the right influences (The Beatles, The Beach Boys, and Klaatu) “bands with a real emphasis on songwriting.” he says. The songs have sunny, cheerful melodies and the arrangements are top notch as well – best compared to Chris Breetveld (The Breetles). Opening with the Merseybeat of “A Girl named Sam” it jangles away and should put a smile on your face. Marzano’s vocals work best here, his slightly nasal delivery resembles Mike Love a bit, so it takes getting used to. The album is a hodge-podge of Beatlesque pop-rock, ballads, doo-wop, and folk, tackling such diverse subjects as romance, city life, divorce and single motherhood. The lyrics are fun and often full of dry humor – in fact, he most often sings in an earnest first person narrative. He tries to pick up a single mom in “Hot Mama” mentioning all the selling points including “I’m patient with kids.” Another highlight is the descriptive of “Bleecker Street” complete with idealized “homeless who discreetly ask for change.” All the instrumentation is quality too, from Phil Popotnik’s sax solo to Frank’s own guitar breaks. But it’s got it’s flaws, too. One can fault the length of many songs, for example “Hard To Get” is over four minutes and wears out it’s welcome after two. The ending piano epic “Matthew/Neurotica” clocks in at over eight minutes. Other tunes are just creepy (“She Does Math”). But when it gets it right like in “My Christmas Wish” – it’s a breath of fresh air and Frank’s honest sweetness comes through. This is a guy that just loves this kind of music and it shows – he played at The Baggot Inn in NYC and mentioned “If I’m capable of playing Carnegie Hall, then I want to do that. If the best I can do is a street corner in Edinboro, PA, then I’ll do that, too.” He certainly has talent. Fans of innocent sweet pop will overlook the lack of self editing here and revel in the quality melodies and musicianship.

Frank’s Site | CD Baby | Itunes

Readymade Breakup "Alive on the Vine"

Last year I reviewed Readymade Breakup’s debut album. I was impressed then, and they suffer no sophomore slump. In fact, the group has raised the bar and jumped over it. The rousing opening on “One by One” is full of great energy and Lead singer Paul Rosevear turns it into an anthem along the lines of U2 and Squeeze. Then you can groove to the Abbey Road guitar riffs of “Honey, you might be right” with a McCartney-like vocal wailing (somewhere, Lenny Kravitz is kicking himself that he’s not doing this kind of music anymore). The songwriting is steadier here and less of the debuts stylistic shifts, terrific bass-driven leads are all over the album. A perfect example is “Surrender” that plays like Glen Tilbrook backed by Jason Falkner. The mid tempo songs are mixed well between the heavier rock, so the album flows nicely from one style to another effortlessly. This is followed by the Queen-like ballad “I Don’t Mind” minus Brian May, but Rosevear gives his best performance. Another standout is “Stretch Your Head” with it’s 70’s rock ethos and blues falsetto. The Freddie Mercury style continues on “Quiet” and the band gets quite a smooth groove on the soulful gem “Ugly” which recalls Badfinger. It ends off on a high energy note with the “Back To The Bubble,” a rousing tune that recalls the Faces and Rooney combined. With not a single dud here in a very tight set of ten songs, this is crunchy power pop at it’s best. It also makes it easy to recommend as a top ten for 2008. Don’t miss it.

My Space | Itunes | Not Lame

Listen to “Talking To Myself”

Starling Electric "Clouded Staircase"

Based in Ann Arbor, Michigan – The self release of group Starling Electric’s debut record, Clouded Staircase, was back in 2006. The band has since been signed by Bar/None Records, who are re-releasing the album. the driving force behind it all is Caleb Dillon, who wrote everything and plays almost everything. The band has a pure indie pop sound similar to classic Guided By Voices with elements of Beach Boys instrumentation and bits of prog poking though. “The St. Valentine’s Day Massacre” starts you off with hard electric guitar riff and Dillon’s floating Pollard-like vocals. Then the first of three-parts “The Clouded Staircase” opens with a very SMiLE like mix of piano and acoustic guitar playing, with some backwards looping for effect. This comes to a head on “Camp-Fire” which resembles Sean O’Hagen’s High Llamas with steady and catchy organ and banjo touches. It continues to get better, “Black Ghost/Black Girl” is classic 60’s pop similar to Pete Townshend’s “Who Sell Out.” By mid album the sunny ‘70s pop comes out on “Clouded Staircase Pt.2” with some wonderful piano, in a style similar to Tony Bank’s early Genesis. This bit of pop combination melts together perfectly. As the album continues Dillon’s vocals begin to resemble Nick Drake playing for Marillion on “New Era.” The folk prog influences come out more on the albums second half, with “Two Dreams” resembling early Genesis ballads, with dreamy flowing acoustic guitar. Add to this a wonderful instrumental “British Boots” with a gorgeous Rickenbacker rhythm. Posies/Big Star frontman Jon Auer gave it high praise as well, “Startling and superlative orchestral pop that reminds me of why I fell in love with music in the first place…” and I tend to agree. An amazing album that deserves a Top Ten nod.


Amazon | Starling Electric Web Site | Not Lame | Kool Kat Musik

https://www.youtube.com/watch?v=g74LAyJh4dk

 

Ed Harcourt "The Beautiful Lie"

Sometimes a non-power pop album really gets my attention, and surprise – it’s from a major label here. I never really knew who Ed Harcourt was, although he did advertise this album on “Adult Swim” last month. Hailing from Sussex, England his style is a piano based modern alternative rock. Ed Harcourt could be described as the UK’s answer to Rufus Wainwright; a talented singer/songwriter who tends to be the critic’s darling, yet has always lacked the attention of the mainstream. This album is an amazing find and should break him into the publics view, with mini-operatic melodies, like the sprawling “You Only Call Me When You’re Drunk” and the heartbreaking croon of “Late Night Partner.” The bombastic “Revolution In The Heart” is where the styles of U2 and Coldplay meet in the middle. So dark and tortured, if you love The Eels and Mark Oliver Everett, this album is a no-brainer. It remains his “poppiest” album from what I’ve read, and I guess that’s why I was so impressed. Now I will look at his back catalog… but this is a great place to jump on the bandwagon.

My Space | Ed Harcourt’s Web Site

The Caesars "Strawberry Weed"

Reviewed by Mike Z.
Strawberry Weed forever? That’s overstating the case, but this is still a great disc. The first track, “Fool’s Parade” bears comparison to early R.E.M., but is thankfully not nearly as morose. The following cut, “Waking Up” begins simply, and even though it gathers a nice head of steam, the chorus “That’s alright/ I’m alright/ ‘Cause I can see, I can see baby, we can do whatever/ We are free to go, we are free to go wherever” stays firmly within the genre. Track 3, “Boo Boo Goo Goo” best exemplifies melodic rock. I swear I wrote a song in eigth grade with the same chord progression. The lyrics are simpler than even anything I essayed, yet this tune has a great hook and deserves a listen. At this point it is good to note that none of this material will send you scrambling for your good earbuds. The lyrics are all discernable and I am certain that this Swedish act does not include a single word with more than two syllables in it. This is a party disc and doesn’t try too hard. The effect is mostly sublime. The title track examines the poppier side of The Caesars, with an opening reminiscent of The Cure and a chorus possibly influenced by Love and Rockets. The middle parts of Strawberry Weed showcase The Caesar’s knack for airy harmonies and sweet lyrics that don’t stand out too much. “No Tomorrow” borrows from “Just Like Tom Thumb’s Blues”, if you can believe it. The only reason I point out all of the influences is to stress that The Caesars have an eclectic sound and considering there’s only so much you can do with a pop song’s structure, they have the good sense to borrow from the best. None of their material is derivative, however. They have an ability to make each song their own. Those of you with keen memories might remember that The Caesars had a song featured in a commercial for the first iPod Shuffle. That song is not on Strawberry Weed, and that’s a good thing, because it is a poor representation of their abilities. The songs on this disc are much more hard-driving and none of the goofy instrumentation is there, either. There is also available a 2 disc expanded version of Strawberry Weed, but I have not listened to it.

My Space | itunes | Insound (2 disc version) | Not Lame

Listen to “No Tomorrow”