Maple Mars “Someone’s Got To Listen”
Maple Mars has been at the nexus of power pop and psychedelic rock, and Someone’s Got To Listen finds Rick Hromadka and his able crew (Steve Berns, Ron Pak, and Joe Giddings) bringing the hooks on then opener “Useless Information,” with a timely warning that we are “moving in the wrong direction.” Then the epic psych-pop, “Gliding” offers grand themes with stadium-sized sound. This approach is also on the expansive 5-minute “Silver Craft.” But Rick can still craft tasty power pop melodies and “Anchors Aweigh” is another great tune.
It gets trippier with “Someone Take The Wheel,” the gurgling reverb contrasts perfectly with the harmonies and the central themes of reflection and transition are beautifully done in “Crooked Smile.” While Hromadka hasn’t approached Maple Mars in ten years, the time away has made the music that much better as a group effort. Songs tend to linger, like the apocalyptic vision of “Goodbye California,” and add to this not a single bad track here. Many thanks to the premiere label Big Stir Records for getting this done. Highly Recommended and an easy pick for my 2022 top ten list.
Big Stir Records | Amazon | Kool Kat Musik
The Bishop’s Daredevil Stunt Club “Please Stand By”
Chicago’s Bishop’s Daredevil Stunt Club delivers the follow-up to 2019’s End Over End. The Cheap Trick influence remains strong here, “Pony Up” has several nicely layered riffs, but feels repetitive. “Hold You Up” and “Silverball” fare much better, with building verses and more fine guitar work. “The Lift” is another highlight, reminding me a little of Extreme. The band certainly knows how to rock, and “Fifty Foot Woman” brings those heavy riffs to the forefront.
However, it does lack the pop hooks, until we get to “Tremor Control II” which also adds some Cars-like synths. This was my favorite song here, and even though “Joni, It’s Not Like That” has an interesting melody, it’s a bit obscure to write about Happy Days characters nowadays. The tone and influences start to shift with “What They’re After.” It starts out fine and goes off into guitar solo indulgence towards the end. The songs also tend to overstay their welcome (most clocking in at over 4:00 minutes). ”Bah Bah Bah” is over 7 minutes long, and while its technically proficient, the suite isn’t that memorable. Overall not a bad album, but you may want to start with End Over End first.
