Tag: Anton Barbeau
Anton Barbeau and Scott McCarl
Anton Barbeau “Power Pop!!!”
It seems few artists who are tagged with a label of power pop want to question the reason why. But not Anton Barbeau. The cult pop figure has been a mainstay of the genre since 1995’s “Waterbugs & Beetles,” and now he’s built an album that both attempts to explain why, and rebel against it. On the title track he states “Puts down your guns, you culture cops, there ain’t no crime like Power Pop.” It’s a commentary that discusses the culture around power-pop (with name-drops like “Yellow Pills”.) Is it mockery? Maybe, but it also seeks answers. The new wave-styled melody starts to define it on “The Sound” with a trippy psyche-pop rhythm that leads to a distorted guitar solo. As long as you don’t take it too seriously, it’s a lot of fun.
Barbeau does vary his sound, the hyper-honky-tonk “Hillbilly Village” and The pastoral piano ballad “The Drugs” is a fun hazy memory of a stoner (narrated by Bob Dylan impersonation). Another song that catches my ear is “Never Crying Wolf Boy” with its synth-laden rhythm, and haiku-like lyrics. “Julian Cope” is about meeting your heroes stoned, and getting all “smiley” with them. There are weird fillers throughout, and the use of 80s-styled synth and percussive effects make some of the album’s second half sound like a 1980s-action movie soundtrack (“Running On The Edge of The Knife”). Overall, a very good album that rewards the listener with some catchy tunes amidst the weirdness. Ironically his last album Oh The Joys We Live For is technically more of a polished power-pop album, but this is also recommended, just don’t expect it to be easily accessible.
Scott McCarl “Play On”
A one-time member of power-pop pioneer The Raspberries, Scott McCarl has remastered his long out-of-print solo album from 1998. Scott joined the Raspberries right before their final album, Starting Over, and you get more of his considerable talent on Play On. While it was long after his time with the band, it proves that McCarl’s knack for Beatlesque power pop hadn’t dimmed in the slightest. Backing musicians include the Rubinoos, Hilly Michaels, and Lux Interior’s brother, Michael Purkhiser.
“I’ll Be On My Way” is about the end of a relationship, along with “Fallin’ In Lovin” which has a flowing melody, and timeless jangle that sticks in your head. “In Love Without A Girl” is a great Raspberries-styled track that stands the test of time. “Go Down Swinging” is a lost country-rock gem that really deserves airplay, and the lost 1970 demo “I Hope” was done prior to joining the band (it’s most likely the track that got him the gig). “Doin’ It Right” is a superior Beatles fan song, and while not everything here is perfect there is more than enough to make this a highly recommended album.
Anton Barbeau and Gary Ritchie
Anton Barbeau “Kenny Vs. Thrust”
Prolific cult musician Anton Barbeau is the melodic dadaist for the 21st century and proves it with his strongest release in a long time. His poetic, freestyle lyrics and unique vocals are supported by solid psyche pop rhythms. It’s tough to categorize Barbeau, but his distinct style falls somewhere between Robyn Hitchcock and Julian Cope. “Wire from the Wall” is a good start with its memorable chorus and tin can percussion, then we get the XTC-meets-The Velvet Underground gem “Beautiful Bacon Dream” brimming with texture and melodic distortion.
“Jingle Jangle” has an obvious 12 string melody that feels majestic and the nonsensical “Clean Clothes in a Dirty Bag” is a slightly goofy rocker that will get you moving. Other standouts include the lush “Back to Balmain,” the quirky and catchy “Popsong 99” and “Mahjong Dijon.” The album title refers to Anton’s backing bands; “Kenny” in the US and “Thrust” in the UK. But I couldn’t tell much difference, as Anton (and the listener) is the winner in this bout. Certainly a highly recommended album.
Amazon | Big Stir Records | CD Baby
Gary Ritchie “Head On A Swivel”
Gary Ritchie is a classic power-pop artist, similar in style to Jamie Hoover or Gary Frenay whose music can light up the room, and lift your mood instantly. The Beatle wig on the cover offers a clue, that Ritchie has a fab sense of songwriting. “Maybe It’ll Be Tonight” does this with a Raspberries-like guitar riff and a chorus that sticks fast to your brain. Next, the title track has echoes of McCartney as it bounces along, and “Emergency Time” is another classic melody with handclaps and punchy percussion.
The album continues to deliver excellent music quickly and cleanly with “Here We Go Again” and “False Alarm.” The tone slows down on the semi-tropical “Lean On You,” but it’s a momentary pause as “Arms Around A Memory,” “Matter of Time,” and “You” are brilliant songs that round out this album. “Record Store” is a great little vignette about trying to pick up a girl at the local shop, and it reminds me a bit of Lannie Flowers. Almost every song hits the mark and after a few spins, it will quickly become your new favorite LP. It’s hard to argue that this shouldn’t be in the top ten for 2020 — and of course, Highly Recommended.
Salt and Richard X. Heyman
Salt “The Loneliness of Clouds”
This is a power pop supergroup that skipped under the radar, so you should check it out. Salt is a French-American band born in 2016 during sessions for a Game Theory tribute in Abbey Road Studios. The band was formed around Ken Stringfellow (The Posies, REM, Big Star), Anton Barbeau, and Stéphane Schück, all collaborators and friends of the late Scott Miller, despite never having met. Quickly joined by Fred Quentin and Benoit Lautridou they set about recording an album. Influences range from the Beatles to XTC, REM and Game Theory as it feels like progressive rock filtered through a pop lens.
The swirling guitar chords of “A Song For Jerome” are matched by Barbeau’s strong vocal presence, the instrumentation is highly layered as the chorus sticks with you. Another gem, “Plastic Future Plans” recalls ’80s pop rock, accented by Lautridou’s strong drumming and the angular guitar chords. “Blast With Happy Guru” has more of a Posies influence, with a touch of John Lennon. Some brilliant guitar work is highlighted on “Eastern Colors,” but as we continue forward the complex instrumentation supplants the melodies (“Shiny Leather Sun”) as things sound more like a psychedelic jam session. Despite this, a majority of this album is catchy and worthy of the label: Highly Recommended.
Richard X. Heyman “Pop Circles”
The venerable Richard X. Heyman delivers his newest solo LP, Pop Circles with an eye on the past, but a focus on the future. RXH is an exemplary solo artist who has been very productive over the past decade with both his solo work and The Doughboys. “Guess You Had To Be There” is an appreciation of pop’s past in the ’60s with richly composted strings (Thanks to Julia Kent and Chris Jenkins) and a steady bass line (Thanks to his wife, Nancy Leigh ).
The vintage jangling sounds throughout the album are well utilized to give his music a timeless quality and Richard’s vocals are strong and steady. “Action Screams Louder Than Words,” has an urgency and conviction, along with a solid solo guitar break. The romantic mid-tempo songs are also a big highlight, “As Love Would Have It” and the piano-led “Marlena” stand with RXH’s best work. Some of the more casual pop, like “A New Light” has echoes of Todd Rundgren and the harpsichord rolls and harmonies on “About Time” makes it a pure joy to listen to. While not every song resonates as well, a majority of them do. Overall, this is a triumph. Highly Recommended.
Oberon Rose and Anton Barbeau
Oberon Rose “Tell Me About It”
I was extremely proud to have Oberon Rose play Power Popaholic Fest a few years ago, and now Tommy Oberon takes his band and ups the ante on a brilliant sophomore LP. Older rock influences (Beatles, Pink Floyd) are happily played alongside newer ones (The White Stripes, The Flaming Lips.) The opening title track is an infectious rocker that shimmers to life with its flowery production and psychedelic flourishes. This is followed by “No Stranger” as it continues to impress with its driving rhythm and sing along chorus.
Tommy’s guitar solo is truly amazing on the epic ballad “Life In A Box,” one of the best tracks here. The flashes of experimental alt. rock concepts like the ambitious march of “Battle Hymn (Of The Magi)” work so well, you can sense the band is firing on all cylinders here. And it isn’t afraid to change tone on “A Place In The Sun,” and get pastoral on “The Way To Avondale” with its gentle harmonies. The band closes out with the very Sloan-like “Drawn and Quartered” and the slow-burning finale “Twice Bermuda.” Strong work from Tommy Oberon, with Chris Listorti (bass)and Mike Keyes (drums.) Not only highly recommended, but it makes my top ten list for 2018.
Anton Barbeau “Natural Causes”
While Barbeau is a prolific and tireless musician, picking through his catalog for the good stuff can be challenging. But on Natural Causes, it’s easy — as “Magazine Street” is a jangling pop treasure, with a strong bass line and hook in the chorus. “It’s The Coffee That Makes The Man Go Mad” has Anton’s quirky lyrics and instrumentation with some nice harmonies. Some of these tunes are from his past catalog of work, but there is a good amount of polish in the production that makes this his most accessible album in years.
“Disambiguation” and “Magic Sandwiches” both are good distillations of the Barbeau artistic aesthetic, and I like to compare it to Adrian Belew in some other universe. Not everything here sticks, but enough does. More standouts include “Just Passing By” and “Down Around the Radio.” This is the Anton Barbeau that I’ve been waiting for.