I’ve been reviewing a lot of retro-power pop lately, so here is another one. Richard Snow is a 33-year-old singer-songwriter from Nottingham, UK who sings, plays guitar, keyboards, bass and percussion. This album is a re-mastered release of his original 2002 UK release. The album is bookended by two wonderful Beach Boys-styled songs (“The Sweetest”, “Coming Soon”) that have that Wilsonesque touch and details worthy of “Pet Sounds.” The we are treated to the wonderful jangle and melody of “Real” that takes cues from R.E.M.’s energetic bounce. Snow’s soft vocals are similar in approach to Richard X. Heyman or maybe Elvis Costello. In some tunes, his vocals do get a bit pushed too far in the background. Things pick up to almost a new wave frenzy with the “Girls on the Tube” and echos of Elvis Costello are definitely on “Hand Me Down My Sunglasses.” The gorgeous guitar lead on “Pretty Picture” take over the song much like Jamie Hoover’s material. The Byrdisan chime continues on “Spiral” and it’s another winner. The haunting “Haphazard” suffers from a bit of over-production and too much echo-effects and is the only misstep here. Overall this is a classic power pop release, Richard uses his influences to form beautifully crafted, catchy original songs. What more could you ask for? Don’t miss it.

Richard Snow Website | My Space | Not Lame | CD Baby | Kool Kat

Justin Levinson burst on the scene with “1175 Boylston” and this is his 7-song follow up. “Bury Your Love” is a bit more mature and his opener “Heavy Weight” is compared to Elton John’s early period favorably. The remaining album takes more of an alt-country lean, like the very Jayhawks-like “Home” and “Bury your Love.” A catchy bit of piano pop in “Daisy May” follows the Ben Folds mold nicely. The remaining songs are classic folk pop. It’s no wonder he will be writing soundtrack musical themes soon. A full departure from the Beatle-isms of this debut, Justin expands his range and the closer “Middlebrook Road” even sounds a little like a young Randy Newman with a much better voice. My biggest peeve is that it’s only seven songs (not quite an album, but too big for an EP). I like this side of him, let’s hope for more in the future.

Justin’s Website | My Space | CD Baby | Not Lame

They say “Imitation is the sincerest form of flattery” and Christopher Earl a.k.a. The Squires of The Subterrain offers a genuine compliment to the Beatles, Zombies, Kinks, and Brian Wilson. Prior to this album Earl was performing note perfect Beatlesque melodies circa 1964-1966 with his last album “Strawberries on Sunday” and now he’s moved a year forward in time to 1967-1968 settling firmly in the “Magical Mystery Tour/Sgt. Peppers” psych-pop era. The title track moves around like a mix tape of several different songs, including a few “Smile”-era Brian Wilson breaks. As a music critic, it’s cool to spot the influences. As a listener, it’s a bit tougher to appreciate because not much of an attempt is made to join together the musical snippets. The album stands along side Olivia Tremor Control and Guided By Voices’ early releases for indie lo-fi psyche-pop. There is a lot of fun to be had here, the track “Alexander Mannequin” hums along in a “I am the Walrus” kind of way, you almost want to sing along in a John Lennon voice. “On the Lawns” is a very strong bass tuba-driven melody and one of the highlights here. Although derivative, it’s enjoyable, like “Concerning Helen White” which will make XTC fans do backflips, with it’s harpsicord and multi-tracked chorus. This doesn’t always work, as “Her Story” is Pet Sounds-styled ballad that becomes labored and forced here. Later on the album, the Beatle imitation gives way to some cool lo-fi noodling, a good example is “Hightop Sneaker” with it’s guitar vibrato and steady beat. “Red of Roses” is a dead-on perfect Gilbert O’Sullivan ballad, and it you are a serious fan of mid sixties pop, you’ll enjoy most of what The Squires of The Subterrain have to offer. Those critical of this kind of quirky pop need not apply.

The Squires Website | My Space

Todd Fancey, guitarist for the New Pornographers puts together his second album using finely crafted orchestration to recreate a soft 70’s pop sound, that rivals the music of Chilliwack, Poco, or Ozark Mountain Devils. With Sean Ashby (review below) helping out and a huge list of others (including a member of the Cowsills on vocals) when you listen to “Schmancey” you are in a total time warp back to 1973. The opener “Witches Night” is a cool Chilliwack-type of tune with nice organ touches and guitars. But we haven’t totally left the new century behind and the next song, “Lost in Twilight” sounds like a great lost Zumpano tune. The vocal harmonies are stunning with Anastasia Siozos voice floating around Todd’s melody like a pillowy cloud. Another great song “Gulf Breeze” continues this pop bliss. Then it’s back to the nostalgic “Blue Star” and then “Fader” brings to mind some classic Hamilton, Joe Frank & Reynolds tune set to the most bizarre lyrics I’ve heard, in other words: an instant classic! In fact most of the lyrics on the album don’t really match much of the songs tone. But if you turn your brain off through half of it – you won’t be thrown by lines like: “This afternoon it feels like dawn/ Butterfly I’m writin’ on/ It’s too late you’re gone.” The remaining album rambles along with excellent tracks like “Heaven’s Way” that play up the Cowsills sunshine pop card. No filler either, as even the horn-filled ballad “Let the Breeze In” is so smooth, you forget that aimless melodies lead nowhere. The whole album goes down like a Pina Colada; Sweet and fruity with a nutty aftertaste. It’s a wonderful diversion that most nostalgic music lovers will enjoy.

Fancey’s site | My Space | Kool Kat Musik | Not Lame

Listen to “Gulf Breeze”

Listen to “Lost in Twilight”