The Bowery Electric in NYC was host to Spyderpop Records on Friday, Sept. 13, 2019. An array of talented artists came together for an excellent night of amazing live music. The evening started with girl band Slyboots as they introduced a new lead singer, Tiffany Lyons. Tiffany has a powerful voice and what followed was a selection of soulful pop, rock, and even a Stevie Nicks cover! This was followed by long-time favorite Lannie Flowers as he played selections off his new upcoming LP Home looking to hit the shelves in November.
This was followed by Danny Wilkerson (Pengwins) and songs from his self-titled LP which ranked #8 from my top power pop albums of 2018. The band really stepped up here, filling the room with layers of sound, and then for the finale, we had one of the most talented power pop artists ever, Bill Lloyd take the stage. Bill played from his LP, Playing The LongGame #6 ranked in my 2018 albums list. Plenty of guest musicians were in the audience and at the end of the night all the performers took to the stage with a rousing version of Elvis Costello’s “(What’s So Funny ’Bout) Peace, Love & Understanding.” Suprise guest Paul Collins joined the gang on stage at the end. See our Facebook post for a full photo gallery!
Bill Lloyd has been a power pop paragon since his 1987’s Feeling the Elephant, but hasn’t emerged with new original music for a while. To remedy this he signed on to Spyerpop Records last year and put together a cover LP, Lloyd-ering. But now Bill brings us a classic LP that is his best yet. Each tune is carefully constructed, evokes all the right influences, and features guest songwriters Aaron Lee Tasjan, Buddy Mondlock, Graham Gouldman (10cc), Tom Petersson (Cheap Trick), and Scot Sax (Wanderlust).
Opening with the catchy “Satellite” it’s an easy going melody that recalls Tom Petty, then it goes straight to the glorious Beatlesque title track which explains Lloyd’s obvious persistence. Each song is a distinctive treasure, riffs disguise the subtle bass line of the joyous “Make That Face” and they work just as well with the acoustic heartbreak of the ballad “Wake Up Call.” There is a healthy dose of retro-hits like “Go To Girl” and “What Time Won’t Heal,” but when Lloyd rocks he doesn’t fool around. “Merch Table” is a solid rocker about playing live, he sings “It’s been a decade since you bought new music, got rid of all your old CDs/ You want to clutter up the house with new songs like these?” If it all sounds like this, then absolutely. No doubt here, it makes my top ten list for 2018 and is super highly recommended.
Nashville singer-guitarist Philip Creamer is a new force to contend with in the power pop community. His distinct sound gets its style mining classic ‘70s influences, just imagine if Elton John joined Big Star playing The Raspberries. If that sounds like an earful, you are correct. Creamer starts with the epic scope of “Daydreamer,” with its gentle building melody, deep chords, and impressive crooning. And power pop fans will find the opening bridge of “Record Machine” irresistible with its “ooh-ah” bridge, riffs and handclaps that sound timeless. Creamer tends to extend his songs for both dramatic effect and musical variety, as demonstrated on the infectious “Drugs No More” and “Ride or Die.”
The album’s first half can do no wrong, and he starts to spread beyond the Power Pop and Glam genres on the second half. He gets funky on “Magic” where he’s looking for some “real rock and roll,” and dazzles with Queen-like bravado. In fact, there isn’t a weak song on the album, except the overtly religious ballad “White Dove.” Overall another contender for top ten album of 2018. Highly Recommended.
The Dowling Poole takes the whimsy and stagecraft of the first album, Bleak Strategies and turns the knob up to “11.” Willie Dowling (Jackdaw 4) and Jon Poole (Cardiacs) have made quirky XTC styled pop with even more layered narrative elements, as the brilliant opener “Rebecca Receiving” is gloomy song about aging played to a bouncy march in a world “shattered and torn.” The manic tempo continues on “Fight, Fight, Fight” with a twisted organ chiming in on the melodic joy of horns, guitars and “ba-ba” harmonies.
“When She Knows, She Knows” is another example of psychedelic Brit madness and “Vox Pops” is full of high melodic sarcasm, with a nice Brian May-like guitar break midway through. The next several track play out like late-era 10cc with “Hope and Glory” and “Bring Back The Glory” having a dream-like quality. “Whatever” actually goes off into a prog-rock trip, before we circle back to the epic title track, with its swelling chorus of “Barbed Wire On The Chelsea Bridge…” Overall no filler, but its also not as immediately catchy as the first album. After repeat listens, you’ll appreciate every “ba-ba” and pop culture witticism. Highly Recommended.
We all love comfort food. That’s what country-power pop veteran Bill Lloyd released on Lloyd-ering. The goal of a covers album is to introduce the music to those who aren’t familiar with the original and/or make it there own. Lloyd definitely accomplishes this with a very eclectic selection of pop tunes.
The joyful update on the Bobby Fuller Four “Let Her Dance” turns into a much needed Lloyd gem. The key here is Lloyd picks songs that are less familiar to the average listener. Excellent covers of the Byrds “The World Turns Around Her,” The Hollies “Step Inside” and Badfinger’s “Lonely You” are simply perfection. And the instrumental prowess on The Raspberries “Goin’ Nowhere Tonight” begs to be played at full volume. On the ballads, its less so, as both Lennon’s “Across The Universe” and Lovin’ Spoonful’s “Coconut Grove” are songs where the original vocals are more distinctive. Otherwise, this is a sweet collection while we await Lloyd’s next LP full of originals. Highly Recommended.
Here is a sampling of some new singles from Power Popaholic’s picks. Some artists are new and some are old, but they are highly recommended, and deserve to be heard!
Squeeze returns with “Happy Days” from the upcoming album “Cradle to the Grave”
Bill Lloyd “Yesterday” from the upcoming CD “Miracle Mile”
The School “Do I Love You” from their upcoming album “Wasting Away And Wondering”
Australian singer Mia Milan “I Won’t Cry”
New Zealand’s own SA Reyners “The Other Way”
https://www.youtube.com/watch?v=VC8s_vTQqdU
For those looking for Bill Lloyd to return to the power pop genre, as he did with Set To Pop and Standing On The Shoulders of Giants, the wait is over. The new album Boy King Of Tokyo boasts the strongest tracks I’ve heard from Lloyd, starting with the title track about his years as a “gaijin brat” in Japan, with its trademark jangle and solid hook. The chiming riffs of “Buy On Credit” and the solid harmonies on “Let It Slide” are classic Lloyd. Fans of classic influences like Dave Edmunds, Byrds, and McCartney will just eat this up. The stories here are great too, especially “Com Trol” a humorous, but true tale of corporate rock and selling out.
Bill sounds like he’s having fun on the bar room drawl of “Home Jeeves” with it’s twang and beat similar to “Jumpin’ Jack Flash.” The passion of power pop fans are best described on “The Best Record Ever Made,” and its my favorite here, all about that infectious hook. The country roots tracks are great too, notably the magical “Chet’s Right Hand, Man” done in the Chet Atkins guitar style. No duds, and even the slower tracks like “Where Nobody Cares At All” are full of personality. No reason this shouldn’t be part of my “best of” 2012 list.
