There is just so much music out there that I can get to, but I will make it as easy as I can to pick worthy stuff. An easy pick is Pop Boomerang‘s Marching Out Of Time compilation – a name-your-price download. The label is closing soon, so this is one of the last comp LPs they will do, and its a damn good one; check out the opener Little Murders “Wait ’til Summer,” The Wellingtons “Soda” and the fantastic Her Majesty’s Finest (feat. Kate Duncan) “Shake Yer Popboomerang.” Denmark’s own Tommy and The Rockets give a tribute to Record Store Day with “The Hottest Store In Town,” fans of the Ramones will eat it up. The Chords UK gives us a sorrowful “White Van Man” while Jack Skuller changes his sound with a dynamic beat on “Watercolor Rain.” Gordon Micheals channels Billy Joel a bit on the memorable “Hey Doreen.” Finally, the talented Kai Danzberg will finally “Get It Right” a terrific hook-filled single.
April March (Elinor Blake) has done it all. A talented animator (Pee Wee’s Playhouse, Ren & Stimpy), she worked with tons of talented musicians from Ronnie Spector to Brian Wilson. Since her debut in 1996, she has touched nearly every genre of music from punk, jangle rock, and disco to psychedelia. April has worked with French songwriter-producer Bertrand Burgalat and is a huge fan of ’60s French pop.
Released as a vinyl-only in 2021, In Cinerama has April’s light unassuming vocal getting its real power when her overdubs create those powerful harmonies that are woven into each song. “Lift Off” is the first ray of sweet sunshine with harmonies and horns leading the way, overlapping each other. “Rolla Rolla” is a minimalist gem with Mehdi Zannad’s Caribbean-styled rhythm. “California Fall” is a slow tempo and layered melody that grows in complexity with a distinct harp and percussive backdrop. “Runaway” borrows a bit from those ’60s girl groups, and “Born” is another gorgeous track that reaches stellar heights. No filler here and highly recommended.
After Dave Cope and the Sass were spotted on my radar in 2019 with his self-titled release, he decided to dig into his archive of early tracks to set up his newest album Julee. Sass really sounds like a lost classic from the peak of the 60’s British Invasion; The Kinks, The Small Faces, and specifically Roy Wood and The Move.
The title track is uncanny and would’ve been a big hit in that era. The Lennonesque piano starts “Let Me In,” but his vocal cadence and chord shifts are all Jeff Lynne. The marching rock of “Topsy Turvy” is another standout, and “Lost With You” is a McCartney-meets-Ray Davies slice of heaven. The era slowly moves into the 1970s by the album’s mid-point with “I Got Your Letter” and “Moonraker” which reminded me of late-era Marc Bolan. While some of the ballads feel a bit overdramatic, there is no filler amongst its 11 tracks. It hits my nostalgia sweet spot just right. Highly Recommended, and it slips into my top ten of 2022.
Tamar Berk quietly asks for a moment on “Your Permission” to speak frankly; and as we descend into her mind, it’s accompanied by melodic piano and impressive overlapping harmonies that build up to a peak by the end of the song. “Tragic Endings” is a brilliant hook-filled song full of deep truths, sounding somewhere between Liz Phair and Suzanne Vega. It’s an intimate self-examination after the unexpected death of Berk’s father, and the oppressiveness of living through Covid isolation. Recovery from this trauma is examined very clearly in “Hoping This Day Won’t Kill Us,” she is “going through the motions” of life just to “keep going.”
The low breathy whisper of “You Already Knew” is a bittersweet memory of her last meeting and “Sweet Relief” is a dreamlike monologue that’s full of soulful twang that is both compelling and inspiring. But it’s not all downbeat, “Alone Tonight” is a hopeful look forward with a sweet guitar break after the main verse. “Real Bad Day” is purposely hard-rocking, and the thoughtful “Dandelions in My Flowerbed” is a power-pop tune that bounces through your head. The warmth and authenticity of Tamar’s songs are matched by her obvious talent. Highly Recommended.
Boston band Speedfossil is an energetic bunch. Led by Garret Vandermolen (singer/songwriter) and supported by Michael Scotti (bass/vocals), Dan Jordan (guitar/vocals) & Hector Saint-Hilaire (drums)they open things with “Luckiest Man in the World” sounding like a hybrid of The Smithereens and The Cars, it’s the quick chorus and guitar shredding that hook you right away. It slows considerably for “Rag Doll” and “You Got A Lot of Nerve,” thoughtful tunes about your partner’s sexual ambiguity, the latter boasting catchy hand-clapping verses.
Garret constructs a variety of memorable melodies, including “Disconnected,” a mellow, but dispirited theme about the gradual breakup of a relationship. Overall some great tunes here; check out the classic rock riffs of “The Verge,” “Pieces of Eight” and the kick-ass finale “Count Me Out.” The production and musicianship are also superb throughout. Highly Recommended.
While London band Emperor Penguin’s sound is rooted in late ‘60s UK psych and ‘90s Britpop, they’ve updated the music closer to what 21st-century audiences expect. Starting with the heavy fuzz emo and beats of “Desdemona” it then settles into the catchy “Sputnik Sweetheart,” a love song about a Russian space satellite. The brilliant narrative of “You Don’t Know What You’re Missing” is like a joyous mix of XTC and Smash Mouth, about a dysfunctional marriage. “Motorway” is a jaunty tune with happy Sgt. Peppers horns following our hero down a British highway. And the “Queen of Power Pop” Lisa Mychols joins the boys for the duet “Let Me Take You On Holiday,” continuing the positive vibes.
The stylistic diversity of songs and subject matter prevents any predictability. “Fran Times a Zillion” is a unique “sports team chant” for New York photographer Fran Lebowitz (?) and you take it all in. And not a note of filler here, and these are all songs where details emerge on multiple listens. The richness of the experience makes this one both highly recommended and a check box for my top ten list of 2022.
James Hall is back with the addition of Corey Knafelz on drums, keys, and guitar on a new Shake Some Action LP, and just in time for the warmer weather. Wide Awake is neo-psych-pop at its finest, with a wicked jangle and the right amount of echoing reverb, mixing influences from the late ’60s through the ’90s into something very appealing. “Paint You A Picture” is the expansive opener, meant to be cranked up with the car windows down. The title track has Hall’s harmonic chorus drifting across the dense rhythms, as with the steady follow-up “Crash Through Or Crash.”
Hall successfully constructs these songs with ringing Rickenbackers but takes great care not to repeat himself. “Night Train to Munich” can resemble The Ocean Blue, and “Don’t Take It Out On Me” warps the guitar sound almost like U2. Add to this no filler, and the variety helps make this one of my favorite SSA albums. Added faves here include “Angel of Night” and “Overboard.” Highly Recommended.
Terry Carolan has had a long musical career under the radar, but when old friend Gary Littleton asked him to contribute songs for a compilation album for the pop magazine Audities, Carolan delivered “Solo Rita” a simple Beatlesque tune that proved to be popular with the Not Lame crowd. Carolan did end up playing with Raspberries bassist, Scott McCarl for his solo LP Play On, played IPO in 2002, and eventually joined power pop band Blue Cartoon. Over the years he has released several solo LPs that reflect his talents including Heirs of Fortune.
Flights of Fancy brings back “Solo Rita” and adds similar power-pop gems. “The World Keeps Turning” is a more sophisticated melody about repressive feelings that hits all the Beatle-isms at over 4 minutes. The slow jangle of the ballad “I’ll Go Home (Elysian Fields)” name drops “Penny Lane” and “Strawberry Fields” in a dreamlike state, which encourages you to tune out and re-live the past. It’s the majestic bittersweet ballads that ring true here, the Lennon-inspired “Fade” and the slice-of-life gem “Watching Me.” As a bonus, Carolan is offering this album as a free download on his site. Don’t let it pass you by.
Musician Trevor Blendour (aka Trevor Treiber) takes the 1960s-era rock and roll playbook and makes it his own with Falling In Love. Similar in style to Johnathan Pushkar, but Trevor’s sound sticks closer to Buddy Holly, as opposed to The Beatles. The music is short, sweet, and addictive. Starting with “I Don’t Mean Maybe” it’s got the bouncy rockabilly guitar lead and Trevor’s bright vocal. “Falling In Love” and “Carly Please” are stuffed with overlapping choruses, the latter especially memorable with a big melodic hook that reels you in.
Some compositions clearly take inspiration from early ’60s teenage tragedy songs like “Win Back That Girl,” “Him Instead of Me,” and “Tough Guy.” Trevor updates the sound for today’s audience by dialing up the tempo to punk proportions on songs like “Another Guy” and “Cold Heart.” If there is a criticism here, it’s that several songs sound alike and blend into each other. Style shifts like “Rena” and the Elvis clone “A Paradise” are welcome but few and far between. However, there is no filler here, and all 13 tracks shine. Highly Reccomended.
