Tag: Arthur Alexander

Arthur Alexander and Parallax Project

powerpopaholic
Arthur Alexander

Arthur Alexander “…Steppin’ Out!”

Arthur Alexander is back after last year’s successful Sorrows reboot “Love Too Late… the real album” and he’s just as immediate with the driving opener “Woman,” a frantic rocker that pulses with energy. The melodic “It’s Not Love Anymore” is essentially a top-notch ballad turned into a compelling rocker. “One Life (Is All You Got)” has a touch of The Who, with a blissful sitar break midway through. Music like “Ashes” and “Humming The Blues in Four” display Alexander’s talent for delivering emotionally charged performances, making it difficult to not feel a strong connection to the music. His vocals are given ample space to shine thanks to the simple yet powerful arrangements.

Arthur also takes on prog rock (“Why Can’t You Come”) and even electro-pop (“A Little Too Much”) with less success, as I think his vocals are better with fewer digital alterations. But “Oh Lulu, Won’t You Be My Girl” is a welcome shot of whimsy, in the form of an old-fashioned dance hall number. A sequel to the Beatles’ “Honey Pie,” anyone?  Overall, more hits than misses. Highly Recommended.

Amazon | Big Stir Records


Parallax Project

Parallax Project “Autologous”

Michael Giblin (The Split Squad, Minus 5) is the main honcho behind The Parallax Project.  The debut was a power pop classic, but after 2009’s I Hate Girls, the band disappeared. This time he’s enlisted Joe Adragna (Junior League/Minus 5) to come back with Autologous (a medical term for being derived from the same individual). Giblin has this biggest hook first with “Put It Out,” a mantra that will be hard to “put it out of your head.” Next, “I’ve Got To Change My Life” is like Ric Ocasek (The Cars), who describes his issues in verses, and the chorus brings it home. “Mary Houdini” is a rich single with classic harmonies and tambourines.

By the second half, the songs deal more with universal topics like heartbreak, disappointment, and becoming older. The guitar ballad “Anything Like Me” is very heartfelt, and the steel pedal tone of “You Were Never There” and “This Is So Easy” recalls Marshall Crenshaw. While not as catchy as the album’s first half, Giblin’s songwriting is better here. The end boasts a strong Who-like theme, “Nobody Cares,” and there are just enough gems here to make this Highly Recommended.

Amazon | Kool Kat Musik

Arthur Alexander and The Orange Peels

powerpopaholic
Arthur Alexander

Arthur Alexander “One Bar Left”

Arthur Alexander is a power pop legend, born in Warsaw, Poland then immigrated to NYC where he helped form The Poppees in the mid-‘70s, often dubbed “The Fab Four Of The Bowery.” They played regularly at Max’s Kansas City and CBGB’s and became the very first new artist signed by the visionary Greg Shaw to his Bomp! Records label. Then he started another band Sorrows in the early ‘80s, signed a label deal with CBS Records and released two albums, before moving to LA to produce other artists. Finally, after all this time Arthur is releasing his first solo LP.

These songs have been collecting for decades, and its great to finally hear Arthur unleashed. He touches on all different genres from New Wave, Blues, Punk, and Rock.“One Bar Left” is a rousing rocker that is undeniably catchy and loaded with energy. Arthur’s vocals are slightly grizzled, but expressive and clearly melodic on “Psycho-Automatic,” with a touch of ’80s instrumentation and solid beat. You’ll hear The Monkees meets George Thorogood on “(She Got Me) Wang Dang Doodle” and Beach Boys guitar and harmonies on the ballad “It’s You.” Yet, its all uniquely Arthur’s sound. And yes, some of this sounds like filler tracks from The Poppees/Sorrows era. And yes, it could’ve used some editing, but enough are keepers here; “Shot In The Heart,” “Ecstasy,” and the Beatlesque “I’ll Get Your Love Someday.” Fans of John Wicks (The Records) and Paul Collins (The Beat) will also enjoy this LP. Highly Recommended.

 

CD Baby | Kool Kat Musik | Amazon

The Orange Peels

The Orange Peels “Trespassing”

The Orange Peels sound shift that began with Begin The Begone continues, as leader Allen Clapp adds more textures into his jangling melodies. Having moved to the Northern California mountains, the entire album has an expansive new wave feel. Starting with “Camera 2,” it has more synth layered into the melody that contrasts with its organic strumming. The guitar influences of John Moreman recede in the distance as those hypnotic synths take over.  “Running Away” and “Room 222” both have a robotic quality, but Clapp’s warm choruses shine through in each case.

“Dawn Tree” boasts floating harmonies and strings that recall Field Music or The La’s. The ambitious title track piles the synth-pop melodies on top of each other and it feels like a futuristic techno soundscape/dance track. Thankfully Clapp hasn’t forgotten how to do power pop, as “All Our Tomorrows” is a joyful guitar gem that boasts a strong hook. While The Orange Peels have always delivered strong material, it has gradually evolved away from its power-pop roots. Fans have grown alongside the band and find it just as hypnotically satisfying. Highly Recommended.

 

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