Lannie Flowers and Cheap Star
Lannie Flowers “Flavor Of The Month”
During the recording of Lannie’s masterful Home album, he would drop a free single each month through the Sypderpop website through 2019. These finely produced demos were designed to lead us straight to Home and were much more power pop in style. Lannie had the entire COVID year to remix these songs to perfection. The hooks here are massive and make it the “missing” piece between Circles and Home.
Every song hits its mark, and the quality of songwriting isn’t a surprise either.”Don’t Make Me Wait” is a great opener, Lannie’s emotional ache comes through in the verses, and the harmony drenched chorus. The brazen psychedelic Beatle-isms are all over the Peppery “Lost In A Daydream” and “Good.” Next, “Summer Blue” has a smooth tempo suitable for the beach, and it’s an easy radio-friendly single. “Where Did All The Fun Go” is a sweet tune about getting back to living for today, and the title track is just as infectious. Another standout is “Anything But Love,” which channels Lannie’s soulful vocal. Since each song was carefully curated as a single, there is no filler here. A quick and easy pick for 2022’s top ten. Very highly recommended.
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Cheap Star “Wish I Could See”
Power pop band Cheap Star boldly ups its game with its latest release. Lead singer Remi Vaissiere and drummer Brian Young (The Posies/Fountains Of Wayne) are joined by Jon Auer (The Posies) and a collection of superstar guests; Brendan Benson (The Raconteurs), Gary Louris (The Jayhawks), Matthew Caws (Nada Surf), Roger Joseph Manning Jr. (Jellyfish) and Mitch Easter. The sound overall is very much in the vein of The Posies, with potency and crisp production style.
The production starts with the understated “Lifetime,” but quickly impresses with its dynamic indie-pop style on “Flower Girl.” Next, a transcendent “You Don’t Want To Change” is a nod to Louris and his style, while “Wish I Could See” is a catchy as hell rocker with fabulous harmonies thanks to Benson. Other highlights include “Holding On,” “Under The Synapse,” and the cool sadness of “What It’s Like.” Vaissiere and Auer’s vocals match well, and the collective musicianship is worth multiple listens. Highly Recommended.
Winter Singles, Freebies & EPs: The Nobility, Whelligan, Brad Marino, Rigbi, Bloody Norah, Ryan Allen, Jay Byham, You’re Among Friends, Rum Bar Records
I waited long enough to restart all my singles reviews, so now it’s time to separate the wheat from the chaff. Nashville’s The Nobility has been leaking singles for nearly a year, so we have the newest share with “No Doubts” bringing to mind a western-themed 10cc, and London’s Whelligan and their single “In Our Name” is full of orchestral majesty and it also merits further study. Brad Marino fresh off his great 2021 LP, is back to banging out great power pop with “Girl, I Want You.” More appropriate to this bleak winter landscape is Rigbi’s emotional “I’m a Mess In Winter” as the sparse beginning opens up to a rich arrangement. Bloody Norah has a great reverb rock sound with harmonies on its single “Shooting Star,” so keep your eyes out for more, like the single “Joy.” Bloody damn good too.
As for EPs, the reliable Ryan Allen moves to a retro power-pop sound for I’m Not Mean, full of echoing vocals, and layered guitars; check out “Count With Me,” and the excellent “Cut Your Teeth.” Jay Byham is a Pennsylvania-based singer-songwriter with a bouncy acoustic “Tick Tock,” classic rocker “Just A Matter of Time,” and the gentle ballad “The Only One,” it’s a solid debut that deserves many repeats on your player. As for Freebies; Cleveland, Ohio’s You’re Among Friends take a very laid back approach on this new release, “Here in the Middle of the Pack” is like a stoner Spin Doctors tune and the melodic funk of “You Know What You Want” will appeal to NRBQ fans. Rum Bar Records has a loaded sampler as a Freebie too, get a ton of bang for your buck and you’ll discover a rocker or two.
Singles
EPs and Freebies
The Power Popaholic Interview: Urge Overkill
Eddie “King” Roeser and Nash Kato of Urge Overkill
Aaron interviews Chicago band Urge Overkill members Nash Kato, and Eddie “King” Roeser about their newest album “Oui,” how the album came about, and what posters they had on their bedroom wall growing up.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.