Great Tributes: Paul McCartney, Jimmy Campbell and Andy Gibb

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Ram On

Fernando Perdomo & Denny Seiwell “Ram On: 50th Anniversary Tribute To Paul & Linda Mccartney’s Ram”

For the 50th anniversary of Ram by Paul & Linda McCartney, producer and multi-instrumentalist Fernando Perdomo joined with Denny Seiwell, the original drummer with Paul McCartney & Wings, who performed on the original Ram to create this stellar tribute. Joined by more original Ram players like David Spinozza (guitar) and Marvin Stamm (flugelhorn) they included Davey Johnstone (Elton John Band,) Will Lee (The Fab Faux,) and a collection of stellar singers.

From the opener “Too Many People” featuring Dan Rothchild you get a faithful adaption, but with all the sonic details in keeping with a modern recording. Each track is meticulously produced, each note lovingly, accurately re-created. My faves include; Pat Sansone (Wilco) on “Ram On,” Bebopalula on “Uncle Albert-Admiral Halsey,” Timmy Sean on “Monkberry Moon Delight,” Rob Bonfiglio and Carnie Wilson on “Long Haired Lady.” But there is no weak link among any tracks. This is everything you want in a tribute. Highly Recommended.

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Ex Norwegian and Friends

Ex Norwegian and Friends “Sing Jimmy Campbell”

You would be forgiven if you couldn’t recall Jimmy Campbell. A brilliant singer and songwriter for many Merseybeat bands; The Kirkbys, The 23rd Turnoff, and Rockin’ Horse, as well as solo material. Ex Norwegian and several other collaborators do a great job making Jimmy’s music less obscure. I was only familiar with The Rockin’ Horse, a great “lost” Beatlesque band, but the songs here speak for themselves.

Joe Kane (Dr. Cosmo’s Tape Lab) and Roger Houdaille (Ex-Norwegian) get the Rockin’ Horse single “Yes It Is” perfectly. Roger collaborates with a number of others and most of the tunes are not instantly recognizable (a good thing.) While not slavishly accurate to the originals, it makes for a great introduction to Jimmy’s songwriting genius. My faves include; Jim Camacho on “Don’t You Ever Think I Cry,” Edward Rogers on “You’ll Break My Heart In Two,” Mark Johnston on “Spending All My Money, and Arthur LaMonica on “Paris, You’re In Paris.” Highly Recommended.

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Ram On

Various Artists “Higher Than a Mountain: The Songs of Andy Gibb”

Curry Cuts is back with a new compilation, and as they often take the road less traveled, it leads us now to the lesser Bee Gee brother Andy Gibb. The late Andy Gibb was a rising star in 1977, rivaling his brothers with multiple top ten hits during that time. There are plenty of tributes to The Bee Gees, so this is a fresh look at Andy’s songwriting (with brother Barry’s help.) The tribute mostly removes the disco gloss from some of these songs, concentrating on the melodies.

The Pop 4 does a great job with the familiar “(Love Is) Thicker Than Water,” and the arrangements are tweaked just enough. Greg Pope keeps that great bassline for “I Just Want To Be Your Everything” and even though the falsetto is lacking, he effectively double-tracks the vocal. The most radicle interpretation is The Test Pressings which turn mellow “Why” into a Cheap Trick-styled arena rocker. In a few cases, it’s harder for artists to re-create those magic moments; Sparklejets cannot replace Olivia Newton-John on “I Can’t Help It.” However, most of these songs work fine and a few actually improve on the original, like The Armoires version of “Words and Music.” Highly Recommended.

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Rooftop Screamers and Bill Lloyd

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Rooftop Screamers

Rooftop Screamers “Next Level”

Musician/drummer Mike Collins (Throwback Suburbia) was very busy during the pandemic, as he’s written a lot of songs and set out to release them. He collaborated with a huge contingent of prominent guest artists, who provided the vocals to make Rooftop Screamers feel a little like a mixtape with a variety of pop, hard rock, etc.

We start with the fine “Buckle Up” sung by Tim Smith (Jellyfish) and it really soars during the chorus. The piano mid-tempo “Our Lucky Night” sung by Keith Slettedahl is a bit more Russian folk styled than I’m used to hearing from him, but it remains a good song. Ken Stringfellow (The Posies) nearly disappears into the rocker “One Wish” and “The Ladder” featuring Rob Daiker sounds like a lost hit from the 1980s.

Cy Curnin (The Fixx) does a great job with “Shifting Tides” and it’s a big highlight. Another winner “After The Fire” sung by Stephanie Schneiderman is a wonderful collaboration. Collins actually does a great job singing “Couldn’t Ask For More,” but it’s his only vocal performance here. I understand that bringing in big “name brand” musicians will often get your album press attention, but Collins’s songwriting is really good, and sometimes the singer doesn’t do the song justice. Overall a good album with some great highlights.

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Bill Lloyd

Bill Lloyd “A Selection of Power Pop 1985-2020”

This is a great primer to the uninitiated on the greatness of Bill Lloyd. Many songs go back to his solo recordings over the past 40 years, remastered and still sounding pretty fresh. From his debut Feeling the Elephant (1987) we start with “This Very Second,” “Nothing Comes Close,” and “Lisa Anne.” These songs established Lloyd as a power-pop force alongside Crowded House and The Smithereens at the time. The rising guitar leads continued with “The Man Who Knew Too Much” and the under-rated “Alright” which subconsciously seems to be a comment on his music (“it came out alright this time.”) from Set to Pop (1994).

His lighter pop ranges from the fun “Kissed Your Sister” to the easy-going gem “Better Left Alone,” he penned with Jamie Hoover (of The Spongetones.) The few tracks are remakes of “I Went Electric” and “Out of The Picture” which are much improved, with the latter tune evoking The Smithereens even more. “Mistakes Were Made” is another great song that delivers Lloyd’s philosophy with style. If this is the gateway drug to all things Lloyd, it’s a sweet start. Hopefully, a newbie will be encouraged to indulge in Bill’s past catalog. Great stuff that deserves to be heard and Highly Recommended.

Amazon | Bill Lloyd’s website

May EPs: The Martial Arts, Cliff Hillis, Dropkick, Old Town Crier, Joe Dilillo

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The quirky under-rated Martial Arts does what it does best. Brilliant modern pop in “Guilt By Association” and “Bethany” with memorable choruses, and “The Wild Humdrum” is a Sparks-like gem that is just too much fun. Cliff Hillis gathered his “Brunch Sessions” inspired by this past year of social distanced shows, and I just love the acoustic version of Nik Kershaw’s “Wouldn’t It Be Good.” So UK band Dropkick has been super busy this year, dropping a Greatest Hits LP, and releasing expanded editions of their first 2 LPs. A FREE sample of “Obvious” is here for you to pick up. Old Town Crier aka Jim Lough makes us an old-fashioned blues pop EP; “Don’t Go” is a keeper. Unsung heroes are what power pop celebrates, and we should celebrate long-time producer-engineer Joe Dilillo coming from behind the soundboard to the microphone with “Loser Girl,” a great ballad with help from the Lickerish Quartet. More details on Joe at 50thirdand3rd.

Brad Marino and Ramirez Exposure

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Brad Marino

Brad Marino “Looking For Trouble”

It took a few years for Brad to find his “groove” but he’s effectively taken the mantle of his old band The Connection, and made it his own. After a cautious debut, his former bandmate Geoff Palmer came out swinging with a louder, faster, punkier LP in 2019, Brad has effectively and literally “evened the score” with this album. Everything you ever loved about The Connection is on display and it’s got plenty of hooks, crushing riffs, and a variety of styles.

The bluesy guitar riffs open up “Even The Score” as Brad takes his “troubles in stride” and is “taking on the haters and trolls.” Even better is “Taillights Fade,” the catchy verse-chorus combo will stick in your head for days, so don’t be surprised if you find yourself singing along. Title track “Looking for Trouble” is another winner that has just the right amount of twang as it recalls The Georgia Satellites. Marino also doesn’t take himself too seriously as “Local Show” is a funny look at small venue shows (“which means nobody will go”) and I have personally heard that cheap nerd narrative in the last half of the song. The instrumental “Tripwire” is a nice tribute to guitar gods Duane Eddy and Dick Dale. Overall, there is not a false note here, every track rocks! This album is a contender for my top ten in 2021 for sure. Highly Recommended.

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Ramirez Exposure

Ramirez Exposure “Exit Times”

Víctor Ramírez better known by his stage name Ramírez Exposure, is a Valencia, Spain- based, DIY pop singer/songwriter. Victor’s influences are rooted in the sixties, but he’s not a retro artist. Exit Times has plenty of hook-laden themes displayed throughout. His sound is somewhere between David Brookings and Secret Friend.

Victor’s double-tracked vocals are distinct on the richly detailed opener “Bridges and Roads.” Next, the title track layers two guitar rhythms and drums together as Victor imagines white sand beaches just beyond the Pandemic timeline, but the best track here is “The Rituals” a love song that bounces along to an infectious call-and-response chorus. Next, things mellow a bit as the next several tracks have a dream-like thematic quality, and “Dalingeria” is another standout here. The end single “Dysfunctional Girl” feels like a bonus track, with a sweet guitar riff to send us off. It’s a grower that demands repeat listens with headphones. Highly Recommended.

Amazon Singles: Dysfunctional Girl | Exit Times | The Rituals

The Legal Matters and Your Academy

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The Legal Matters

The Legal Matters “Chapter Three”

There are very few artists I know that consistently come out with great music (Nick Piunti and Sloan are good examples) and The Legal Matters is one of them. The Legal Matters is essentially a supergroup, featuring Andy Reed, Chris Richards, and Keith Klingensmith. In Chapter Three, the band’s songwriting takes center stage, as the sound is pretty nailed down with crisp, perfect harmonies akin to America or late-era Beach Boys. At their most dynamic, the melodic “Light Up The Sky” is everything that makes The Legal Matters a power-pop powerhouse. “Independence Well Spent” is a Jellyfish-like study in contrast of light and dark moments in the instrumentation, and “The Painter” is about creativity and inspiration within the mind of the artist and it features some great hooks in the chorus.

Brilliant uplifting music is the band’s stock-in-trade, but they don’t stay in that lane. “Pain” is a challenging ballad, written from a unique point of view where “I need the pain to know I’m alive.” Another highlight is the bouncy “Please Make a Sound,” with a compelling, urgent chorus. They go off-script again for “The World Is Mine” and it plays like a perfect stage villain theme, it’s not overtly political but you get all the clues in the lyrics. Not a note of filler, but the challenging nature of some songs further expands the band’s stylistic range. The songwriting process itself is the subject of “A Memory of Sound” chock full of sonic goodies, and it ends with the angelic harmonies of “Passing Chord.” Highly Recommended and another predictable top ten pick for best album of 2021.

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Ex Norwegian and Friends

Your Academy “Your Academy”

Jonny Norris, bassist for Memphis power-pop band Crash into June reconnected with guitarist Chris Gafford and drummer Dan Shumake, both of whom were spending time with the most recent reincarnation of The Scruffs. After agreeing to play together again they recruited lead singer Brandon McGovern, who recently toured with Dwight Twilley. Guitarist Adam Hill, a bandmate of Brandon and Big Star Archivist joined as the final member of the group. Their goal was nothing less than the resurrection of Memphis power pop glory.

While Your Academy boasts a lot of talent and a fine pedigree the opener “Why Don’t We?” is fairly generic, sounding like the Gin Blossoms mixed with The Well Wishers. “Heaven Knows” is a better tune, and namedrops a lot of musicians from “Chris Bell” to “Guided By Voices,” plus it’s got a solid hook. The Big Star influence is felt on “Sunrise,” and “Better Alone Together” is about Alex Chilton’s relationship with Lesa Aldridge. The songs seem to check all the boxes (ringing guitars, driving melodies) but they don’t really stick in your head for long. A solid standout; “Talent Party” is a great tune about Memphis garage bands of the 1960s (with more music trivia in the lyric). “Bluff City,” boasts strong guitar work and drumming, and “Our Love Matters (TCB)” is a little pandemic-inspired song with a Lucky Charms reference. Some of the production here also feels a little too compressed and could’ve been expanded more (like on “Sunrise.”) Overall, a good album that deserves to be heard.

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