Urge Overkill and Tom Shotton
Urge Overkill “Oui”
Urge Overkill, led by Eddie “King” Roeser and Nash Kato, are two Minnesota native sons who took their name from a Parliament song, formed in 1984. The band occupied a unique space in the music universe; combining elements of arena rock, power pop, and grunge, they never neatly fit in a single genre. Their cover of Neil Diamond’s “Girl, You’ll Be a Woman Soon” was used in Pulp Fiction and got them on the map nationally in 1992. The follow-up album Saturation brought hits “Sister Havana” and “Positive Bleeding” to radio airwaves, but the band couldn’t capitalize and split up after a few years. They reunited 16 years later, with the impressive Rock and Roll Submarine, a nice return to form. Roeser and Kato continue to prove to be survivors with Oui ten years later.
An unexpected cover of Wham’s “Freedom” leads, and it’s wonderfully suited to these times as the duo makes it their own. The riffs are just as sharp, but the band’s younger swagger has been replaced with the grizzled wisdom of age. While the melodic content is understated, it still comes across on “A Necessary Evil” and the riff-heavy “Follow My Shadow.” Instrumentally and lyrically the band still has the chops that moved fans with “How Sweet The Light.” The anthemic heavier rockers that tell a more complex story are good (“Litany,” “Prisoner’s Dilemma”) but it’s not balanced by anything lighter. Overall a good album that continues the UO comeback story. Definitely check it out.
Tom Shotton “Forever Home”
Another one from last year that slipped by me, Shotton’s a fine talent from South London singing and songwriting in the mold of Harry Nilsson and early 80’s Paul McCartney. This album hasn’t gotten the attention it deserved, and with his earnest vocal, he breezes by the gorgeous chorus on the piano pop of “Hold On To The Best Times,” and “Back Home” is another contemporary pop melody that darkly references “Dancing in the Street.”
Another melodic gem is the gentle “Hear the Babies Talking” with its shifting chords, layered harmonies, and jazz sax. The album’s centerpiece is a dour ballad “What Becomes of The Broken Hearts,” a dramatic cry for help that goes on a bit long at over six minutes. And in a directly opposite mood comes, “Oh Angelina!” a bouncy theme worthy of an 80’s TV sitcom, and here the horns dominate. The songs lose steam after this, but Shotton has proven that he can write catchy melodies that resonate. Overall a great first impression, and music that deserves to be heard.
Great Tributes: Todd Rundgren and John Fogerty
Assorted Artists “Someone/Anyone? A 50th Anniversary Tribute to Todd Rundgren’s Something/Anything?”
Guitarist Fernando Perdomo is on a roll, so let’s keep it going. In 2021 he created a 50th Anniversary edition of Paul and Linda McCartney’s Ram which was approved and praised by Paul himself. Now he’s organized a group of artists to pay homage to Todd Rundgren’s ahead-of-its-time 1972 classic Something/Anything. It was with this album Todd proved to the world he could play any genre from power pop, blue-eyed soul, psychedelic rock, and more. It lends itself to a variety of interpretations from this eclectic group of performers.
Louise Goffin’s version of “I Saw The Light” is faithful, but a unique vision. Tiny Demons featuring Bobby Strickland leans heavily into the Motown funk style of “Wolfman Jack.” Another faithful version that adds to the original is “It Takes Two To Tango” with Nezrok, Dennis Diken, and Chris Bolger. Fernando (with Jordan Rudess) is in his element with “Breathless” and its multi-layered instrumental guitar goodness. The pop hook of “Couldn’t I Just Tell You” by Marshall Crenshaw is measured, and clear. There are tons of great versions of your favorites, and some weirdness (Adrian Bourgeois). Get it on Bandcamp.
Assorted Artists “Commotion: A Tribute to John Fogerty and Creedence Clearwater Revival”
Adam Waltemire produced this tribute to the CCR and its unique brand of countrified rock, blues, and soul. Norman Kelsey’s version of “Commotion” is a great deep track (from Green River) to open things up. Joe Giddings slick version of “Down On The Corner” gives it more of a pop shine, similarly, that crisp production with the Popdudes “Have You Ever Seen The Rain.”
The tortured “Effigy” is lifted by the haunting vocals of Gretchen’s Wheel; a perfect fit here. Jason Berk’s “Up Around The Bend” is another fine faithful version. But in some cases, the Southern-style is completely absent on “Out My Back Door” and “Fortunate Son.” And the Yorktown Lads turn “Green River” into a Beatles song! It’s a mixed bag as with most tributes, but there are more good interpretations than passable ones. Get it on Bandcamp too.
Elvis Costello and Tom Curless
Elvis Costello & The Imposters “The Boy Named If”
I was ready to count Elvis out after the mess that was Hey Clockface and Spanish Model– and thankfully I was wrong. This is a man with a mission, and with The Imposters, he delivers the goods. He looks back on his youth, as the title is really “The Boy Named If (And Other Children’s Stories)” and he sounds great here on the opener “Farwell, OK.” with a big call back to his early sound from the late ’70s. You will hear many callbacks to past works, and that’s part of the fun.
The tortured autobiographical title track is both melodic and biting emotion works over the haunting arrangements. Lots of highlights; “The Difference,” “Paint the Red Rose Blue,” “Magnificent Hurt,” and “Mistook Me For A Friend,” which references his big hit “Pump It Up.” Great storytelling, with jazz, funk, blues bits sprinkled all over. Many songs here require study and repeat listens to get the full story. I never put Costello in the power-pop category as an artist, but he’s had some really catchy hits in the past and this album relights that fuse. What a great comeback (IMO) and brilliant return to form.
Tom Curless “Person of Interest”
Tom Curless approaches this album differently, without supporting players and everything done himself (except the sweet mixing by Nick Bertling.) Starting with a very Foo Fighters-like “Scare Tactics” its full of crunch and angst, but things lighten up with the wonderful “Street Kids” a grooving power-pop melody full of overlapping harmonies.
The influences here are varied as “Something for Nothing” has Genesis meets The Police vibe, and the chorus is both catchy and inspiring. “Silent Partner” has a little David Gilmour, and there are plenty of great songs here; “Soar High,” “Call Time,” and “Take My Hand.” Curless always has a unique point of view and a knack for earworms, and this album has enough here to make it highly recommended.
