What can I possibly say that hasn’t been said about the “smartest” Monkee, Michael Nesmith. I’ll pull a quote from one of my favorite music writers Bob Lefsetz who said:
“So when it was over, Nesmith was the only one who had any traction as a musician. Dolenz stayed in TV, Jones went to legitimate theatre and Tork faded away, but Nesmith had the First National Band, and consensus was they were good, and credible, which was quite a leap if you consider his start in the public eye as a member of the Monkees.”
Here is his first hit song by himself, a rare version of “Different Drum”
It’s taken me some time to process the loss of Mike Nesmith. I have been lucky enough to interview him a few years ago for the Ernie Kovacs Award.
As for his work in the Monkees, a TV show about an imaginary band … that wanted to be the Beatles, he helped turn this “fake band” into a real one. By May of 1967, Headquarters proved to the world that these guys were real musicians with great songs. To honor him, please listen to the music that made this a uniquely American band that has stood the test of time, and long outlasted those early naysayers of the music press. Rest in peace, Papa Nez.
So I let loose the flow of Christmas music again! We start with a re-release The Kut‘s Christmas Single “Waiting for Christmas,” while the reliable Kai Danzberg has two great singles; firstly the jingle-jangling “Making It Shine” and then the energetic “Could’ve Been You” featuring Andy Patchell (and it’s a FREEBIE!) Next, we deck the halls with Librarians With Hickeys and The Incurables, courtesy of Big Stir Records where you’ll find more goodies. Two more new singles are out; Ken Sharp‘s “Mr. Sun” seems to channel the late Davy Jones and Italy’s power-pop powerhouse Radio Days returns with “Mercy Baby” and “1998.” Both are impressive singles, and how could we forget Lefty, Rocky, Zeek and Smokestack (aka The Weeklings) with “Christmas Day” which has an Elvis Costello/Beatle vibe! Enjoy. We have 3 more weeks of last-minute reviews before our year-end countdown!
Never say never. That should be the motto for bands that recorded music but never thought it would ever be heard, much less released. Paul Averitt formed Doublepluspop in the late 90’s/early 00’s with Jon Lenzer on guitar, Mike Bowman on bass, and Neil Saunders on drums. After recording a pile of songs the band split up and Averitt assumed it was over before it even began. But last March, an audio engineer found the ADAT tapes and “rescued” them from obscurity, and here we have that “lost” debut.
The opener “Stumblin Back” has a dominant riff that engulfs the song above all else. But “The Dark Inside” and the anthemic “Here’s To The Losers” have a bit more personality, similar to The Velvet Crush (without the harmonies). An early standout “My Verona” has a catchy ascending chorus, and “Everyone” adds harmonies to this potent mix. The guitar parts in some of these later tracks recall Matthew Sweet, especially on the excellent “Coincide.” It’s clear this band would’ve been signed by Not Lame Records, had it come out when it was recorded. Other winning tracks include; “If I Wasn’t In Love,” an epic rocker, and a cover of Todd Rundgren’s “Couldn’t I Just Tell You.” It makes this one a highly recommended album that belongs in your music collection.
So how does a Beatle-obsessed rocker let off a little creative steam? Rick Springfield got together with some old friends, brothers Matt and Gregg Bissonette (who’ve both played with David Lee Roth, Ringo Starr, Jeff Lynne, and Elton John) and they wanted to let their Beatlesque flag fly free. They concocted a “secret” band called The Red Locusts, and built a bunch of pseudonyms for themselves, and released this gem in May to much buzzing excitement. Influenced by The Beatles, Jellyfish, Electric Light Orchestra, Big Star, The Raspberries… fans of Machine Gun Kelly need not apply.
The results are dynamic and satisfying for power pop fans. “Under The Rainbow” is a melodic celebration that rewards with each listen, it’s a bright melody with excellent musicianship and production akin to ELO’s best. “Another Bad Day For Cupid” continues the fun, with a sweet jangle, and then it slows down for the blues shuffle of “Deep Blue Sea.” It grabs the sitars for “Glow Worm,” a neo-psychedelic five minutes that compares well with Andrew Gold’s The Fraternal Order of The All. The songs have familiar musical reference points, but these are still original and unique melodies, and that’s what makes it so good. The vocals strain a little on the corny “Love is Going To Save The Day,” but it’s played so sincerely, it works. “Miss Daisy Hawkins” is a cribbed sequel to “Eleanor Rigby,” and Rick adds as many Beatle-isms as possible in the lyrics. Each song is so finely crafted you’ll need to hear it several times, as you peel away each initial influence. For musicians and listeners alike, this is a mutual guilty pleasure (but there is no reason to feel guilty). This is also high on my top ten list for 2021. Super Highly Recommended.
Spain has always been a hotbed of power pop, even Kurt Baker set up residence there. One of my favorite Spanish language power pop artists is Hank Idory, and he returns with a Sentimental Jamboree. The gorgeous chord shifts in “Nadie Sabe Nada” (“Nobody Knows Anything”) is a ballad that will move you even if you don’t know the language. Officially releases in January 2022.
Here is a playlist that features my favorite power pop en español. If you don’t see an artist that belongs here, just let me know and I will add it. Over 600 songs! Sin inglés. ¡Solo en español, por favor!
LA’s Brothers Steve return with a harmony-laden sophomore album. Starting with “Get On Up” it has a fizzy, catchy chorus that reminds me of The Hudson Brothers jamming with Sweet. While the ’70s influences are a starting point, it’s the band’s enthusiasm and talent that crosses the finish line. Jeff Whalen (vocals and guitar), Steve Coulter (drums), and Jeff Solomon (bass) got their start in the legendary band Tsar, and then Os Tyler (vocals) and Dylan Champion (guitar, vocals) joined the brotherhood to go all-in on power pop.
“Next Aquarius” adds an acoustic strum that the electric guitar riffs latch onto and the Jellyfish-like whimsy of “Mrs. Rosenbaum” is a tale that gently shows off their skillful three-part harmonies. But the stickier glam rock of “Wizard of Love” and “Electro-Love” are potential hits that are designed to get you dancing and hitting that repeat button. “She Will Wait” goes back to the acoustic, and here it feels like an outtake from a Beach Boys Party! Then the party continues into the bubblegum sing-along “Sugarfoot” and “Better Get Ready to Go.” The album is rounded out by mid-tempo chamber pop “Love of Kings” and the layered vocals of “Griffith Observatory.” Not a dud in the bunch. In fact, the album is so accessible and fun, it’s nearly impossible to argue against it. Without a doubt, one of the best power pop albums this year. Super Highly Recommended.
Patric Westoo returns to his power-pop roots with his latest effort Phooey! as it recalls Chris Stamey, R.E.M., and The Plimsouls with its catchy jangle on the opening gems “Sliding Down A Ladder” and “Make Believe.” The echoing beat of “Waiting On A Letter” is another winner with its bluesy guitar flourishes over the dense jangling rhythm. The late 60s psyche-pop influences are still there with the catchy “Out This Door,” but the best song here is the bouncy gem “Bloody Mary Me Marie” about meeting a girl at a chance encounter. The chorus echoes out the lyrics and the instrumentation is top-notch here.
The album’s second half doesn’t match that effort, but it still contains great songs like “Not Anymore” and “Genie In Bottle Alright.” The songwriting here is another strength under the surface, as the lone ballad “The Simple Kind” shows a maturity to Westoo’s storytelling ability. This album is a grower that requires a few spins before it sinks in, and it’s worth the effort. Highly Recommended.
