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Popland - Groovy
Alongside partner-in-pop Tim Nolan, "Groovy" is a
more than delightful mixture of both out-and-out hop-rockin’ treasures
("There She Stands" is no less than Spector-by-way-of-Searchers, complete
with SoCal64-styled vocals) and gentle, acoustic-guitar-propelled wonders
("Here," "Past Tense" and especially the Townshend-esque "Beautiful" are the
kind of powerfully understated works only Phil Angotti and Scott McCarl seem
to excel at these days). Don’t for a second believe it, then, when this disc
kicks off with a blasphemous little ditty called "Never Liked The Beatles":
Popland DO wallow waist-deep in all things Fab, and as a result have produced
a record which can stand proudly alongside either of those "Yellow Submarine"
albums!
Meanwhile, fellow pop-savvy scribe David Bash, hand-in-hand with the more
than good folks at Del-Fi, have issued a second superb collection
commemorating the annual International Pop Overthrow festival out L.A. way.
Not surprisingly, each of "IPO 2"'s twenty-one-track discs offer evidence in
abundance that four-minute songs in the key of "D," complete with hooks the
likes of which you don’t mind in the least having stuck to the back of your
neck, surely are abounding clear ‘round the globe. I mean, really: (in
order of appearance) Jason Falkner, Grip Weeds, Idea, Elliot Kendall,
Jellybricks, Matt Bruno, Jeremy, Nerk Twins, It’s My Party (recorded in
Full-Dimensional Mono!!), Twenty Cent Crush. And, of course, Cloud Eleven. "Nuff said," as I believe the expression is.
Graciously submitted by Gary Pig Gold
["Popland": KAMCO Records, 2-A Cambridge Road # 04 - 04, Singapore 219679,
Republic of Singapore]
["IPO 2": Del-Fi Records, Inc., 8271 Melrose Avenue, Suite 103, Los Angeles,
CA 90046]
THOM MacFARLANE - Gone So Long
Gone So Long, the second full length release from New Jersey native Thom MacFarlane covers a spectrum of pop and rock influence that spans over 3 decades. While the overall sound of Thom's work is a distinct mid-tempo, acoustic guitar driven formula of pop-folk-rock that recalls the style of Freedy Johnston (another New Jersey native), some tracks such as the rockabilly fueled/Buddy Holly inspired 'Ball and Chain' have a distinct 50's flair and others, such as the album's token cover of the Byrds' 'I'll Feel a Whole Better', have drawn obvious inspiration from 60's and 70's pop. A singer/songwriter/soloist in true DIY fashion, Thom has played nearly every instrument himself, with the exception a solid bass backbone from Harry Kopy and drum work from Joe Bank and Blondie drummer Clem Burke. Proving himself as a truly versatile musician, Thom has infused the clean, stripped pop sound with ample doses of piano, organ, horns and other colorful instrumental splashes. Although the unwavering 4/4 tempo and absence of stark sonic texture wears a little thin on the variety scale, Gone So Long is an album rich with solid songwriting and a distinct appreciation for ageless pop musical elements.
THE WEDDING PRESENT - Singles 1995-1997
What decade celebrating an unprecedented dearth of indie rock would be complete without a compilation of unreleased tracks from one the UK's most influential indie/emo rockers The Wedding Present. "Singles 1995-1997" represents a bevy of material recorded between (you guessed it!) 1995-1997 including various 7" singles/EPs and tracks for an unreleased "mini album". The album also finishes off with two previously unreleased live tracks recorded in 1996. Formed in 1985, The Wedding Present set sail immediately for all things unconventional in popular music; unsurprisingly, they've garnered a loyal underground/college-radio driven following.
The "Singles..." collection represents no new twists on the proven WP formula: David Gedges' droning vocals have a sing/speak punctuation not too dissimilar to early 90's poetic gods The Blue Aeroplanes. The music has a thin and separated feel which is befitting of the indie/emo influenced approach, yet at times the sparse sound lacks passion and comes off as contrived or uninspired. The potential for energy is more evident on such tracks as "Drive" a catchy, frenetic rocker that carries an early New Order inspired riff and forays into a more melodically-structured territory. Perhaps the banner track for all things unconventional is the group's unwittingly campy cover of the Cheers theme "Where Everybody Knows Your Name". Drink up!
RICK HARPER - Hoot
Has anyone reading these words not already fallen head-over-ears in love with
the musical magic of Kentucky’s veteran "pop spaceman"? Then here’s ANOTHER
chance: Eleven new tunes fresh from the home studios of Rick Harper that, as
always, never fail to twist and turn that idiom often so carelessly referred
to as Rock into wickedly delightful, always dumbfounding new forms. And
unlike his previous disc - the long and more than colorful career
retrospective known as "RickenHarper" - this new Hoot sheds hitherto
unimaginable clearview onto a couple’a Bert Jansch and even Byrds tunes
(Rick’s take on Gene Clark’s "So You Say You Lost Your Baby" in particular
rings nothing short of miraculous, while "Lover Of The Bayou" absolutely
wallows in the kind of swamp John Fogerty, for one, only seems prepared to
dip a well-placed toe into every now and then these days). Still, the true,
fine stars across this album are Rick’s own compositions: "Light Of Love" is
just about the most expertly constructed song the man has yet to produce
(WHAT a master of the mixing board Rick is!) and "On Sundays I Leave It
Alone" deserves to spend the rest of its natural life presiding all over
"contemporary" Country radio.
About halfway through the proceedings, "Hoot"
gets kinda lushly tense - not to mention invitingly dark - with the "Salty
Tears Can Sting" / "Can’t Trust Nobody Blues" / "Bucket Fulla Brains" trilogy
of happy, harmonious horror. This kinda hurt-fest can get cloying when left
in the wrong hands, but Rick’s tongue’s forever deep in cheek, I’m pleased to
report, especially on the ratched, gut-buzzing "Bucket." Detour completed,
the truly remarkable "Sing" continues your ride (quintessential Harper!)
followed by one indisputable, drop-down MASTERPIECE entitled "Mantra" (a
ten-minute-plus left-base epic which brings to mind the other-worldly
songwriting of Beach Boy Carl during his "Holland" days …but even that sells
this monstrous creation quite short). Whew! Gush all you care to, then,
over comparative light-weights like the new Wilco or Lucinda: HERE, I
guarantee to you, is the honest-to-gawd, not a single note or word wasted or
misplaced Real Thing and here’s where to get it Right Now from:
Graciously submitted by Gary Pig Gold
ED JAMES - Meet Ed James!
Well, to anyone old enough to remember Capitol Records’ old album number
2047, the title of this CD will provide your very first clue and then some.
But lest anyone be tempted to dismiss "Meet Ed James!" as but the latest in a
thirty-year line of Beatle retreads, listen again: The baker’s dozen-worth
of tunes herein, several previously appearing on some of the planet’s most
reputed new music compilations, total no less than forty-three full minutes
of pop, rock, and even pop-rock at its hookiest, happiest, harmony-drenched
finest. Yep, from the very first bars of show-starter "Here We Go" through
the final power-chorus of "How Was I To Know," "Meet..." hurls itself crazily
yet confidently atop a Romantics-at-Ramonespeed fervor throughout, yet with a
fine ear never less than paid to lyrical and especially vocal detail.
To
whit, "The Face On Mars" and "Say You Do" would sound absolutely stunning on
the nearest stage (note to Ed: GET A BAND TOGETHER ALREADY!), while "Green
M&Ms," to cite but the most obvious example, sports a killer construction
worthy of the jingle dept. at Mars Food fer goshsake (which reminds me:
someone get "Hold On Me" to the musical director at "That ‘70s Show" FAST).
But it’s "Who’s Gonna Tell The King," a wholly realized, absolutely gorgeous
3 minutes 37 of musical majesty, which proves best that Ed, "just a guy on a
mission to write the perfect song" as he himself admits, certainly hasn’t
made many missteps on his worthy quest. Indeed, unlike the majority of such
home-grown, one-man-band productions, "Meet Ed James!" sounds fabulously full
and stunningly rich throughout no small feat indeed with one hand forever
tied to the Overdub button. But really it’s the SONGS (dammit) that are most
impressive by far. As well they should be, by the way. As a result, you can
count me as way MORE than simply "impressed," and I just bet you all will be
too.
Graciously submitted by Gary Pig Gold
[JAM Records, 3424 Wedgewood Drive, Portage, MI 49024]
FOO FIGHTERS - The Colour and the Shape ****
For those about to rock….please salute the "Colour and the Shape", the fresh new aural assault from former Nirvana drummer Dave Grohl. For those that were pleasantly surprised by Grohl's power pop songwriting prowice on the Foo's 1995 self-titled debut, the "Colour and the Shape" won't disappoint. Many of the same elements are at work here, including catchy slow verse/power chorus song structures, double-barrel guitar and of course, Grohl's trademark maniacal drumming. Recently departed William Goldsmith, brought in tow with former Sunny Day Real Estate bassist Nate Mendel, is credited as the Foo's drummer, however he only appears on half of the album's two mellowist tracks. The real meat of the album's drums were provided by Grohl himself. Also added to the sonic mix on "Colour.." is former Germs guitarist Pat Smear who has helped bring guitar to even more of the forefront than before.
Grohl has proven himself once again to be adept songsmith with a keen pop sensibility on the Colour and the Shape. He has the power to make what could be almost predictable, uninspired power pop tunes shine and explode in your face with an usual uniqueness that is often lacking in the multitude of other guitar-based bands. If the periodic throat-wrenching screams on the album distract even the most melodically discerning listener, rest assured, they're short enough to bring the listener back into what is a memorable, well-assembled batch of songs.
REDD KROSS - Show World ***
"Show World", Redd Kross' long-awaited follow-up to 1993's pop treasure "Phaseshifter" has undoubtedly brought a sigh of relief to those devout Kross fans who have been waiting impatiently for this new release. In many respects, Show World picks up where Phaseshifter left off nearly 4 years ago with the band's familiar thick guitar assault, soaring harmonies and singer Geoff McDonald's raspy, Lennon-esque drawl.
The band's line up has remained virtually unchanged with guitarist Eddie Kurdziel and drummer Brian Reitzell rounding off the McDonald brothers' pop powerhouse. Notably absent is Keyboardist Gere Fennelly who is resigned to various guest spots on the new album.
The upbeat guitar-driven formula is used to its full extent on Show World and coupled with the band's familiar and sometimes over-used musical stylings, tends to make some tracks mesh together. Cleaner and more polished sounding than its predecessor, Show World meanders haplessly through the power pop landscape with opening schlocky rock anthems "Pretty Please Me" and "Stoned" to more poignant and memorable tracks such as the toned-down, clap along "Follow the Leader" and the driving, yet beautifully kinetic "Teen Competition". Other stellar tracks include the hummable, pure pop gems "Mess Around" (slated as the next single) and "Get Out of Myself", co-written by brother Geoff's wife and Go-Go Charlotte Caffey.
While Show World may not ride the same musical crest as its predecessor, it is by no means unworthy album. It showcases the band's penchant for tight, showy power pop that the McDonald brothers first mastered over a decade ago and hopefully, with their current allegiance to the Mercury label, will help bring Show World to a wider, more accepting audience.
MATTHEW SWEET - Blue Sky on Mars ***1/2
You may already have heard or read about Matthew Sweet paying homage to the pop cliché on his latest album "Blue Sky on Mars". Sure the melodies and the arrangements seem a bit familiar, but this is straight ahead power pop we're dealing with, not prog rock or nuclear science. Despite the familiar ground Sweet is trampling on, nearly every tune on Blue Sky is a concise and hummable pop gem. Stand out tracks such as Behind the Smile, Over It and the fantastic pop anthem All Over My Head ring close to the wonderfully memorable tunes of 1995's 100% Fun, so much so, they practically seem as if they were recorded as outtakes. While less notable tracks blend into the mix, Blue Sky's opening tracks Come to California and Back to You fall face first into the "Name That Riff" category. Even the intro to the album's current Single Where Do You Get Love will have you swearing your hearing Cheap Trick's "Surrender" for the millionth time.
Critical comparisons aside, Blue Sky on Mars is a delightful and thoroughly listenable album. There is no lag time here; with the longest track clocking in at just over 4 minutes, Matthew Sweet has mastered the short and concise pop idiom to near perfection.
Thom MacFarlane - Gone So Long
International Pop Overthrow (Vol. 2)
The Wedding Present - Singles 1995 - 1997
Rick Harper - Hoot
Ed James - Meet Ed James!
Foo Fighters - The Colour and the Shape
Redd Kross - Show World
Matthew Sweet - Blue Sky on Mars
Toad the Wet Sprocket - Coil
Top 10 Picks for 1997!
POPLAND - Groovy
INTERNATIONAL POP OVERTHROW (Vol. 2)
It’s always a delicious surprise indeed when it turns out that friends, fans,
writers and/or supporters-in-general of a specific (musical) genre or cause
turn out to be amongst their favored idiom’s most exemplary practitioners as
well! Such is more than the case with world-renowned pop enthusiast Kevin
Mathews. From his virtual home base in deepest darkest Singapore, I kid you
not, Kevin’s been championing -- all over the Internet and then some -- his
special kinda pet sounds for many years now. And now he’s put his vocal
chords where his mouth is!
popland@pacific.net.sg
info@del-fi.com
[HiVariety Recordings, 214 Bliss Avenue, Middletown, KY 40243]
rknhrpr@aol.com
web81@charweb.org