Power Pop Review

Power Pop Review Takes to The Airwaves

noreply@blogger.com (MrQwerty) — Tue, 28 Oct 2014 23:58:00 +0000

Yes it's been a long time - it always is - you're probably fed up with the excuses - but this time we have something new & tangible

We have taken our blog to the airwaves and have begun a programme we are calling 'Utterly Timeless'. This affords us the opportunity to feature material which will mix the present with the past to demonstrate that even if you love the pop's golden history of the 60's & 70's there is still much to love (perhaps even more than ever before) about the music of today. Not the commercial claptrap of glossy talent shows, the manufactured boys & girls who over emote in bland, sterile unison - but music that exists in that netherworld below the corporate surface but deserves a dalliance with your lugholes.

Along with our colleague Steven Bate, Mr Qwerty & Debra 47 bring you sumptuous tracks and introduce the new and the interesting in a light-hearted but seriously engaging environment. Steve will also chip in with a little politics to keep us slightly edgy.

Here's our maiden show with playlist

Podcasts will be available soon if you miss the cast or to enable playback of every nuance.

1st Show – Deemed Show Zero - September 3^rd 2014

01. Pearlfishers - Even On A Sunday Afternoon

02. Ron Sexsmith - Believe It When I See It

03. Robert Vincent - Demons

04. Sara Lowes - Back to Creation

05. Cousteau - Last Good Day of the Year

06. Pearlfishers - Jelly Shoes

07. Richard Snow - Middle Class Girl

08. Explorers Club - Forever

09. Kontiki Suite - Hollywood

10. Dom Mariani & The Majestic Kelp - Turn Up The Sun

11. Beck Hanson - Morning

12. Bee Gees - In The Morning

13. Crosby, Stills Nash, & Young - Teach Your Children

14. Karima Francis - Again

15. Autumn Defense - Sentimental Lady

16. Glyn Bailey & The Many Splendid Things - Fleetwood Man

17. Fleetwood Mac - Hold Me

18. Big Head Todd & The Monsters - Hey Delila

19. Halfway - Dropout

20. Graham Parker -Temporary Beauty

21. Squeeze - Up The Junction

22. Lenny Kravitz - American Woman

23. Grip Weeds - Salad Days

24. Fountains of Wayne - Someone's Gonna Break Your Heart

25. Singles - Summer

26. Sly and the Family Stone - Hot Fun In The Summertime

27. Candie Payne - Why Should I Settle For You

28. Diane Dane - My World Is Over

29. Dusty Springfield - Anyone Had A Heart

30. Aislers Set - Hit the Snow

31. Booker T. and the MG's - Time Is Tight

32. Meters - Cissy Strut

33. Boz Scaggs - Mixed Up, Shook Up Girl

34. Billy Joe Armstrong & Norah Jones - Long Time Gone

35. Glen Campbell - Sing

36. Drive By Truckers - Shit Shots Count

37. Deadstring Brothers - Can't Make It Through The Night

38. Rolling Stones - Honky Tonk Women (Alt Take)

39. Daddy Cool - Eagle Rock

40. Rocket Bureau - Along Comes Sam

41. Raspberries - I Can Hardly Believe You’re Mine

42. Flo & Eddie - Afterglow of Your Love

43. Who - I Can't Reach You

44. Not played owing to equipment error: Cousteau - Last Good Day of the Year

Listen to 'Utterly Timeless' Live [Wed 7-10pm UK TIme]

If you like what you hear, please seek out the artists and purchase their recordings directly or from valid sources.

PowerPop Review's Very Best of 2013 Albums – Part 1

noreply@blogger.com (MrQwerty) — Tue, 13 May 2014 15:58:00 +0000

As with many recent years there has been an over abundance of phenomenal music being made despite the fact that a large percentage of it is not being heard via commercial outlets. Those of us who have had rock music as the backdrop of our lives will continue to seek out the music we love despite the forlorn state of the music industry. On a positive note there are more places to discover music than ever before be it via sites like Soundcloud, Bandcamp, CDBaby, eMusic, independent music blogs & streaming music services.

This best of list reflects those particular albums that need to be heard. I had hoped for the list to be posted much sooner than this but I wanted to make sure that it was an accurate summation of those albums that were truly loved in addition to the ability of holding up in future time.

Hope some of you reading this list will fall in love with a musician and/or band's music, seek out their output and support them either by purchasing their music or seeing them perform.

Breaking with tradition, Mr Qwerty & I are publishing our best of lists separately for 2013 – this is mine.

Debra47

Gary surveys the tip of the Top Ten

Top 10 in no particular order

01 Eric Barao - Eric Barao

02 Dark Ocean Colors - Close Enough to See

03 Ulysses - Kill You Again

04 Shake Some Action - Full Fathom Five

05 Jacco Gardner - Cabinet of Curiosities

06 Split Sofa - Coloured Dream

07 Corin Ashley - New Lion Terraces 

08 Groovy Uncle / Suzy Chunk - One Vowel Away From The Truth  

09 Electric Soft Parade - Idiots 

10 Mothboxer - Three

PowerPop Review's Best of 2013 - The Next Ten

And the next ten:

11 Matthew Sweet and Susanna Hoffs - Under the Covers Volume 3 

12 Grip Weeds - Inner Grooves 

13 Chris Stamey - Lovesick Blues 

14 Contrast – A Sinister Flick 

15 Stephen Lawrenson - Obscuriosity 

16 Resonars- Crummy Desert Sound 

17 Mikal Cronin – MC11 

18 Schnauser - Where Business Meets Fashion 

19 Michael Mazzarella -Love In Laureltide Green 

20 House Of Love - She Paints Words In Red

PowerPop Review's Best of 2013 - The Rest

And the rest:

21 Ex-Norwegian – Crack

22 And The Professors – Our Post Mortem

23 Hot Nun – Hot Nun

24 Jo Dee Purkeypile – Messenger

25 Autumn Defense – Ten Full Paces

26 Beachwood Sparks – Desert Skies

27 Elephant Stone – Elephant Stone

28 Wiretree – Get Up

29 Robert Vincent – Life In Easy Steps (De-luxe issue)

30 Higher State – The Higher State

31 Sadies – Internal Sparks

32 The Green Pajamas – November

33 Steve Cradock – Travel Wild Travel Free

34 Brendan Benson – You Were Right

35 Nines – The Nines

36 Grapes of Wrath – Good To See You

37 Richard X. Heyman – X

38 Alfa 9 – Gone To The Ground

39 Any Version Of Me – We Are You

40 Dom Mariani and the Majestic Kelp – Turn Up The Sun

41 8 x 8 – Azalea's Room

42 Dutch Barn – Didn't Suit Me Anyway

43 Brother Kite – Model Rocket

Radio Days - Get Some Action

noreply@blogger.com (MrQwerty) — Wed, 19 Jun 2013 19:20:00 +0000

This is Pop - Yeah Yeah!

Italian Pop Punks Radio Days have regrouped, remodelled and refashioned themselves as something radically different to their original mid 2000's blueprint. The catchy appeal and trademark precision is still strongly evident, but they've blunted the edges of their Ramonesque short snappy pop, relaxed the razor-sharp edges and endings, and replaced it with a purposeful nod, if not march, to a early Merseybeat.

In an attempt for wider appeal to a bigger audience the band have almost wiped the slate clean of the shake 'em up of old and settled for an altogether sweeter and cosier approach - sure you can't blame them - obscurity doesn't pay the bills - but it takes some adjustment. Especially if you revel in their previous identity where they would mix excellent covers like The Beat's 'Rock and Roll Girl' with stellar originals like 'Brand New Life'.

Of course Beatle references have always peppered their work, but perhaps there's a bit more work-a-day Formost & Swinging Blue Jeans than there is Fab Four. Having said all that, there's no denying that their most serious bid for crossover appeal pulls no punches in its clear intentions. Title track and potential single 'Get Some Action' proudly proclaims in its refrain “Yeah yeah yeah yeah ye-ah, one direction, get some action, now” blatantly mixing its Fabs and its cheesy boy bands in one delicious sing-a-long chorus. Certainly the video promoting the same pulls out all the stops – it looks expensive yet not wasteful – it's cutely modern but with retro styling – so maybe it's time for some proper success?

Bandcamp | CD Baby | FaceBook | Twitter

Just Got Back – Examining The Booty

noreply@blogger.com (MrQwerty) — Thu, 06 Jun 2013 01:13:00 +0000

One of the first things we do when we get home from each IPO festival is unzip the suitcases and have a look at the booty. Well not the very first thing but after a cup of tea and a contemplate, the delay in coming down from the high of a week of solid good pop music is certainly eased and extended, and maybe relived a little by taking it all in...

Please click this link to see bigger version of this picture

Out come the clothes, the toiletries and whathaveyous, we burrow down and retrieve every last item – a bevy of CDs which says you have been watching and listening to all this...

We spread out the booty and have a good ol' gaze at what a week of wall to wall music looks like. The CD's are a good gauge of our favourite artists this last week - representing those on the basis of how and what they performed - sufficiently motivating us to prompt parting with good money to further explore the artist and as a memento of the event.

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It's not totally foolproof as there are some for whom no CD's are currently available or we've already purchased the same in advance, however we'll deal with that later. There are others of course who may put on an amazing show but you know that can't be captured on a record and truth be told you'd never listen to the record a second time if you did buy it, so unfortunately these artists lose out.

Anyway, on to our first batch in no particular order other than the way they came out the suitcase, these are the physical CD's we have:

First Row:

Charlestons - Out From The Blue EP

Amazing Kappa - Rodeo Lokomotive

My Buddy Moose - Shine Shine Shine

Dark Ocean Colours - Dark Ocean Colours (Mark Mikel)

Kaela - The Vultures Begin To Sing EP

Second Row:

The Seasongs - Out of The City

Peter Marchant - Peter Marchant EP

Ivan Mudd - Spaceminister

Ulysses - Kill You Again

Mothboxer - Frequency (2011) Mothboxer (2010) 3 (2012)

Third Row:

The Plastic Pals - Good Karma Cafe

Adam Marsland - The Owl & The Full Moon

The Temponauts - The Canticle of the Temponauts

Ben Jones – Retrospective and Echobox

Fourth Row:

Rogue Frequency - Foetal Upon Tiles Part 1

Rogue Frequency - Spat Out By Machines

Dave Rave And The Governors - Ash Tray Makeup

Robert Vincent* - Life In Easy Steps

The Carousels - Sweet Northern Light

Fifth Row:

Rogue Frequency** - Spat Out By Machines

Rogue Frequency** - Foetal Upon Tiles Part 1

The Plastic Pals - Turn The Tide

Boomin' - Original Junkie

Marty Graveyard - Summer Holiday

Mothboxer - Geen (2007)

Sixth Row:

Grip Like Vice - Demo

Thomas McConnell - Stop in the Shade

The Beat Movement - The Warning

Bruise - Little Victories

Fast Camels - Ken's Sad Vice (Single)

CD Notes: * Yes that's right two copies of Robert Vincent, one for a friend we'll be taking to the USA who we know will appreciate his dulcet tones. ** Yes and two copies of Rogue Frequency too, one set we bought and then later got freebies from the band who asked us as fans to pass on to approving friends – we have!

Our Second batch consists of albums we've downloaded since getting home because one of the following reasons 1) we couldn't buy the physical CD as the band hadn't supplied any 2) it was 'only' available as a download 3) it wasn't yet released or 4) demand had outstripped supply and the record 'sold out'.

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Downloaded Albums

Delaplanes - Gypsy Blood

Soupaczar - Ordinary Quite Contrary

Magma Brain - Mystery EP

Typewriter - Indian Love Call

Dark Ocean Colours - Close Enough To See (Mark Mikel)

The Grande - Bleaker Street

Our third and final batch is not quite as comprehensive as we'd wish, because there's more but we wanted this to be a relatively short post so this batch consists of albums which were available to buy from the merchandise table but we already owned a copy and weren't about to buy any more.

Please click this link to see bigger version of this picture

Already Nailed (owned)

Fast Camels - The Magic Optician

The Junipers - Paint The Ground
Kontiki Suite – On Sunset Lake

Ulysses - Everybody's Strange

Dave Rave - Live With What You Know

Steed - A Curious Case of Countless Clues

Kelly's Heels - Playing Into Your Hands
Monkeeman – Jumping On The Monkey Train

Dark Ocean Colours - Patches & Patterns (Mark Mikel)

The International Pop Overthrow is largely a free festival where Promoter David Bash gives 130+ bands the chance to showcase their stuff in 30 minutes bites over a full 8 day week! Most play twice giving the audience two opportunities to see them strut their stuff. By buying the artists CD's we feel it is the least we can do to show our appreciation and to give a little back to the bands themselves. In most cases the CD's are around a fiver, though some are somewhat more, this rarely rises above a tenner. This money goes directly to the artists, no middle man, no extra record company or distributor costs – it feels good – it feels right!

The merchandising table is where it all happens, and central to the system which puts your money where your mouth might be. Manned by Jason it's an essential part of the IPO experience from IPO t-shirts in all sizes to the growth area this year: 'Vinyl'. Yeah lots of bands sporting good old fashion vinyl which is admirable. You can't blame young musicians for wanting to put out a proper record in 2013 can you?
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This has been a prequel or an introductory post in preparation for the report back from the event itself which will follow shortly.

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* Click Here to Sample These Albums

* ...And These One's Too

Have a listen to some of the tracks that reflect a taster of the very best from a selection of the bands mentioned above. If any of the songs grab your attention make sure you search further for the musicians music and support them!!

If you want to investigate these artists further ,their wares are available from all the usual sources, including eMusic, CD Baby or by contacting the bands on their own web sites or respective Facebook pages.
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IPO Liverpool Preview May 2013

noreply@blogger.com (MrQwerty) — Wed, 15 May 2013 11:40:00 +0000

In absence of our usual regular review of last year's Liverpool International Pop Overthrow event we offer instead a preview of some of the very best bands and artists who are appearing this year who we've seen previously and need to see again. Additionally we provide song links to some of the artists who are new to us who we look forward to seeing for the first time.

Boomin' weave pop, punk, rap, bubblegum & reggae into a heady, infectious mix of frankly outstanding proportions. They are a young, loud and irreverent tour de force, they deserve the world at their feet and if it isn't theirs yet we'll be demanding a steward's enquiry. Debbie reckons they sometimes recall the New York Dolls, which is only part of it – their Chocolate is pure pop perfection, their Buckeroo is totally different but not far behind. Once seen live, they cannot be forgotten, which is why we're back for more.

The Fast Camels from Scotland come from a long line of psyche inspired Celts who know how to inject their pop with that extra fun and inspired elementals. You might detect some early Syd inspired Floyd, but we could of course not comment.

With an impressive discography Kelly's Heels demonstrate an impeccable record of superior and intelligent songwriting with more hooks than a curtain manufacturer. Singer/Guitarist Bob Kelly might come on like the Jason King of Pop, but truth be told he wouldn't be out of place with Glen Tilbrook, Harry Nilsson or Pete Townshend as songwriting bed fellows. The band are no slouches either with inspired musicianship and vocal support in the shape of a Mr & Mrs who were born to Bass & Drum.

Italy's Temponauts are interesting cross-over of garage and pop which remind this writer of the Only Ones – not a bad comparison I hear you say – you'd be right! You must hear their new single 'Elsewhere' which is simply marvellous!

We've seen Robert Vincent grow from an interesting and extra special singer songwriter into somebody the industry is starting now to notice and not before time. It can only be a short matter of the same stuff before his star is catastrophically ascendant.

The Grande blew me away the first time I saw them – country rock complete with aching songwriting, delivery and pedal steel as authentic as any southern US bar band but with that English edge that sets them apart. Can't wait to catch them again this time.

The Junipers are that rare beast, beautifully understated intelligent pastoral pop and roll that engages everytime and always surprises. What they do appears so effortless, but in its absolute beauty and deft delicacy we know this cannot be. We crave the Junipers!

The Carousels like the Grande are that rare commodity - an authentic slice of Americana by way of the British Isles. Also from Scotland like so much good Rock and Roll, in the tradition of class acts like Stealer's Wheel and the Sutherland Brothers the band delivers one Dylan tinged gem followed by a Byrdsian referred cadence, one after another and make it their own.

Ulysses are one of those acts that you can't get enough of. We've seen them 6 or 7 times and are totally hooked on their mixture of Spirit meets Move acid pop mixed with Glam & Glitter, spiked Hendrix rock trio fuzz wah madness. Following their two successful tours with California rockers Rival Sons their new album is a revelation and confirmation of their unadulterated greatness – stadiums can only be just around the corner of country estates in the shires!

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Over 130 bands and artists will join together in celebration of IPO thronging this week. It began yesterday but things really start to sizzle today (Wednesday) and grows even hotter towards the weekend. Here are a few links to tantalise which will hopefully prod you into further investigation. We've mixed some of the bands illustrated here with a few who will be new to us and some established. Don't be a four sided equilateral: be there!

The International Pop Overthrow Track Taster

We Interrupt Our Normal Programming

noreply@blogger.com (MrQwerty) — Fri, 18 Jan 2013 05:20:00 +0000

We interrupt our normal programming to bring you an exclusive...

I can't remember who it was, but it may have been Ricky Gervais, who whilst DJ'ing a show on BBC Radio announced that he was going to do an album review of lets say 'Thomas Leer's Scale of Ten'

“But that's not current” says a sidekick
“Doesn't matter” responds Ricky
“It's ancient” adds the sidekick
“Still relevant though” asserts Ricky

I always liked that reasoning and remembered it, and that's the thinking behind this new occasional series in the blog - during certain moments when the mood appears - we're gonna throw in the odd record which for whatever reason we feel, hasn't got the exposure it should have, so we're gonna highlight it. So what's first? Well, when we began Powerpop Review we prepared a number of reviews that for one reason or another - most likely one of those long delays which if you've stayed with us for any time will just feel like business as usual - we didn't publish as intended.

This then is one of those. We've not added or subtracted hardly anything from it, so please act like it's 2007 in this instance. If you're good we'll add a postcript at the end just to bring things up to date. Here goes then with a well deserved and second bite of the cherry for David Doll...
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David Doll - Headsets For Jets [Not Lame] (2007)

David Doll is a man out of step with current trends - and 50 plus years after the birth of rock 'n' roll it's difficult in the post-millennium era to say what is - but this album is more 'now' than most trendier fare you're likely to meet in 2007.

With the looks of a younger, slightly less nerdy, not so aggressive Elvis Costello — but with the similar intelligent knack for writing hook-filled noirs of modern life - David Doll's cracking melodies and workaday lyrical vision paint him as an everyman for the naughties and beyond.

What might make you doubt this is Doll's clear affection for the past: echoes of the Beatles, Beach Boys, the Monkees, Squeeze, Bowie and Jason Falkner are heard in abundance on "Headsets For Jets". Yet this is not mere pastiche or retrograde fumbling — this is songwriting of the classic kind — and try as one might, you can't deviate from the blueprint laid down by the great and good of the 60's and 70's. That is just craftsmanship and Doll makes it fresh, exciting and very much his own.

Nowhere is Doll's connection with the regular Joes heard better than on "Sleep" which recounts the kind of insomnia which hits many of us sometime in our lives. "I Don't Mind" demonstrates the numbness the end of an affair can result in a strange kind of empty indifference, which is deeply unpleasant but oh so common.

"Comeback Special" recalls The Monkees "Saturday's Child" crossed with the Bay City Rollers without actually sounding like the original reference. Short closer "Independence Day" reminds this writer of those epilogue tracks like "Her Majesty" or "You're Welcome", again without a hint of facsimile. David is just very professional and although new to the game, knows how to pace and construct a perfectly formed album.

There's not one ounce of spare, no also-rans, no filler, no half measures or short-change. Every track is a potential single and each leaves you wanting more. The albums' 12 tracks are lean and hungry and never outstay their welcome. Like a tuned athlete they deliver killer punch after punch.
Prior to this release, David made just one EP, so I think his time has come. In a kinder, better and fairer world David Doll would be massive and your contemptuous, dime a dozen karaoke fodder would be nowhere. Even given the real harsh world we all inhabit, perhaps there is space for some of David's talent — I do hope so.
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On release it seems the album suffered from somewhat of an identity crisis in that an attempt to relaunch the act as a band called Automat resulted in in a number of different sleeves surfacing to dress the brilliant contents. I don't know the precise reason for this, (the track selection remained the same) but I'd love to know more, so if you have any information, we'd be most grateful. Of the new dressings I think my favourite is this one you see here left - a brilliant shellac 78 pastiche.

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As a postscript 5 years on I'm sorry to report that like so many other brilliant independent Powerpop releases, David's album did not ship the units it deserved to catapult him and his band to widespread fame and appreciation. Also he seems to have disappeared off the radar in the intervening five years save a newer track we located on Soundcloud from 2008 which indicate that Mr Doll has lost none of his songwriting prowess.

Found Again

This track plus two others that can be heard on MySpace and appear to come from an album called 'Stephen's Bargain Store'. What became of this, and indeed what David and Automat are doing now we don't know, the my space site information seems quite old - we would love to be assured he's still doing it and that we've not heard the last of the man and his band.

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We can't even tell you where to buy a copy of the album as it seem to be out of print. You could ask Bruce Brodeen as it was his Not Lame label that had the good sense and taste to put the album out, but Bruce wrapped up Not lame a while ago. He now runs PopGeek Heaven so you could ask him there. Certainly do all you can to secure a copy of this fabulous record, even if you read it here for the first time 5 years after the original event!
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Marjorie Cardwell – In Another World

noreply@blogger.com (MrQwerty) — Thu, 09 Aug 2012 22:45:00 +0000

The Dreams of Not An Everyday Housewife

Diagnosed with a brain tumour earlier this year, singer/songwriter Marjorie Cardwell unleashes her début album ‘In Another World’, this month – naturally partially cathartic but more than this, the album explores a number of musical and lyrical pastures with support from heavy friends and family members. Firmly planted in a singer/songwriter territory, it recalls styles from the past but never seeks to imitate. The record maintains interest throughout, deftly produced and decorated to demonstrate a collection of compelling material.

I listened mainly via iPod, but without a playlist which tended to destroy the original programming so I kick off with Track 2 'All Over The World'. This is good but the intended opener:'Hole In My Head' is stronger and addresses Marjorie's trauma head on (so to speak) – without being sombre, in fact hopeful and full of love for those around her, or maybe something beyond? I like the nice production touch of the 'beep beep' hospital monitor which floats in towards the song's close.

Marjorie's singing definitely possesses folky origins and whilst clear and very competent has a pervading ordinariness which as I'm unable to indicate who she might resemble in any comparison, somehow makes her delivery both unique and refreshing in its unpretentious, honest, and open style.

Given her ordeal you might expect a warts and all, bruised and scarred deliverance of material but instead we get an open, reflective, mature view on her life, her husband and love ones which may well uplift the listener as it seems to have done the artist.

The best song for me is 'Not On Your Own' where the melody, harmonies and hook unite to produce the album's most memorable song – this in the old wind-up days would be the single.

Truly a family affair, the record features significant contributions from the laid back DC Cardwell (his 'I Am Still The Same' sparkles on all fronts from his 2010 album 'Some Hope') plus son Samuel on beautiful lap steel and Korg synth.

David (DC) and Marjorie have collaborated on the production which is gentle, intimate and multidimensional without ever being cluttered – in fact quite a joy to the ear.

If I had a criticism it would be more vocal harmonies – when they do appear like on 'Not On Your Own' their strengths lift the whole song and give it an extra edge I feel is absent on some of the other material, making some songs somewhat distant.

I flippantly refer and misquote the Glen Campbell/Chris Gantry classic: The Dreams of An Everyday Housewife in my sub-title to this piece. What I really meant, to further misquote is to suggest that Marjorie in her ordeal conjures the suggestion of Not The Diary of An Everyday Housewife, but in many ways just the opposite: The Diary of an Edwardian Lady but fast forwarded to 2012 perhaps?

Although In Another World succeeds on all kinds of levels, it's very much a feminine album and the words have a poignancy and importance which I suspect will connect more with one half of the population than the other male half. However, it's very accessible and I wouldn't want to dissuade any reconstructed modern man from sampling its delights.

[Available from Madcar Records as a digital download or as CD with two bonus tracks.]

Saturday's Alright For Continuing

noreply@blogger.com (MrQwerty) — Thu, 17 May 2012 07:00:00 +0000

Just to add to the confusion of Power Pop Review's arse about tit presentation, we now finish our Saturday night review from 2011 with three bands we enjoyed immensely but left out from the main review yesterday for no good reason other than we thought the post was long enough. Included is both one of ours and IPO head honcho David Bash's perennial favourites The
Mellowmen for which we wanted to make this separate post.

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Saturday Part 2

When seeing Radio Days, for the first time, it's their visual impact which makes an impression: - four skinny guys, skinny ties, head to toe in black threads topped off with a line of three white guitars – it's impressive. We'd seen the band before but that image from seeing them the first time remains with you for future encounters and psychologically nails the brand as I'm sure they absolutely aware.

The band from Milan (Italy) are a heady mix of The Nerves, The Romantics, and 'Wicked' era Jeff Dahl. In fact they touch all the crunchy Power Pop bases from yesteryear and add a few of their own. Every song is chock full of clean rich harmonies and sharply tailored beginnings, middles and ends. Indeed such is the exactitude of the way these guys play and deliver their material, that for those of us who remember the Prog era with affection, appreciate the rhythmical underlining, criss-cross interplay, false endings and shear precision that you'd be forgiven for imagining you were hearing 'Yes' finishing 'Yours Is No Disgrace' rather than a bunch of pop upstarts from Italy making sure that you'd not forget them.

Always cool with their choice of appropriate powerpop covers, Radio Days this time did a great turn with Elvis Costello's 'Pump It Up' which is tailor made for their urgent exasperating delivery. We were most taken with own song 'My Little Baby' which evokes a 50's throwback more than any other song I've seen them do before.

Lastly, getting close to drummer Paco Orsi for a photo maybe is not for the faint-heated as this powerhouse is maybe the loudest percussionist I've heard on a Matthew Street house kit – phenomenal.
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We've seen The Mellowmen every year since their debut at IPO in 2007. Consistently they have been our favourite artists at the festival for each year for a number of good reasons:

1) In Andreas Nyberg the band possess a remarkably gifted singer/songwriter who although takes his lead from 60's/70's songwriting, it's only because this period represents pop songwriting at its very pinnacle and sets the bar by which all others are measured – he and the band are far from derivative though and very much make the Mellowmen sound unique.

2) They put every ounce of their skill and sweat into each performance – never once producing a lackluster saunter when a frantic gallop is the order of the day.

3) There's no doubt that every member loves what they do and enjoys it at a level I've seen few other artists achieve in performance. Often they seem almost trancelike taking themselves and us to a different place.

4) Their material and rendition of the same is impeccably written and performed but they never lose sight that this is serious fun – they always bring a smile and delight to the faces of their audience and leave you with a show to remember.

On this occasion it was unfortunate but it seemed the band were only in town for one night and had to leave straight after their performance owing to commitments back home in Sweden. This doesn't show in performance nor in the excellent new material they are airing tonight for the first time: 'There Will Be Rain' is a particularly strong contender in its lilting and soaring beauty.

The band haven't released a new record since 2006's superb 'Tomorrow's Sound Today' (revamped in 2007 with 2 extra tracks for the US market). They also left Rainbow Quartz Records in recent years as the label didn't appear to be doing a heck of a lot for them. Meanwhile Andreas Nyberg has been involved with other musical ventures back home. Whilst it's great to see them back at the IPO doing what they do superbly well, we can't help but feel a certain frustration for the guys as somebody seems to applying the brake and it's not the band. You can't blame the public, but somehow you want to get hold of the world at large and say stop listening to that karaoke drivel and cop an ear of this – it's proper music – and you'd love it if only there was the kind of exposure that these chaps deserve!

It was a complete chance thing. I was trying to get a picture of the Mellowmen, but somebody kept obscuring my view. As they moved out of the way I couldn't help but readjust my focus as I noticed sat down in front was IPO organiser David Bash and his partner Rina Barfield sharing an intimate moment whilst his particular favourites, The Mellowmen, launched into another scintilating number.

OK, that's the rant over, meanwhile the Mellowmen deliver two exceptional sets this day, just as if everything in the world is fair and lovely and really we shouldn't get so upset – this is only music we are talking about – nothing too important eh people ;)

Deb was overjoyed to receive a new promo from the band in the shape of a two tracker sampling both the aforementioned 'There Will Be Rain' and the groovy 'Driving on 5' as guitarist Johan kindly jumped off the stage and thrust the prize in her hand. We look forward to when these and other new songs form the backbone of their next record, as would the rest of the world, if they only knew it!!

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Spanish pop band Octubre had brought along a legion of loyal fans from their homeland and sharing the performance of the band in their company certainly heightened the experience more than it would otherwise be.

Often when we've seen a Spanish audience at the IPO in May in previous years they are bundled up in wintertime clothing, but this season's unprecedented warm spell saw them suitably attired like the rest of us in teeshirts and shorts. In fact the band's lead singer/guitarist was uncharacteristically literally dripping from every pore – but then that's the Cavern's deserved sweat drenched reputation for you.

Most songs are sung in Octubre's native language and addressed their loyal supporters in the same, eliciting plenty of cries of approval and recognition from those in the know.

Much of what Octubre present is of the medium-paced pleasant pop/rock variety, but title track from their latest album 'Todo se lo lleva el viento' seemed to stand out with its rising melody and excellent strong block harmonies.

Despite the heat the band put on a good fun show with plenty mock Status Quo guitar pose formations. We purchased 3 CD's and look forward to getting them home for the recorded appreciation of what Octubre are about in the studio.
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For your Your Further Appreciation:

Radio Days - www.facebook.com/RadioDaysPowerpop and
www.radiodays.it/

Mellowmen - www.myspace.com/mellowmen

Octubre - www.myspace.com/octubremusic

On Third Day We Rose... to the Occasion

noreply@blogger.com (MrQwerty) — Tue, 15 May 2012 17:47:00 +0000

It may not seem so to you, but to us, it seems like only yesterday since we were reporting back from the Liverpool IPO 2011.

It may seem somewhat ridiculous to still be reporting on an event that happened some 10/11 months ago, and amazingly we now are on the eve of the 2012 festival, but we started this, so we'll finish. Just because somehow our own lives and events got in the way of us completing our review, we did take notes and photos and somehow feel we'd be letting down both the bands we enjoyed so much and ourselves if we didn't finish what we'd set out to do. So this is our third day and probably the best of the festival for a whole bunch of reasons.

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Saturday

Rudimentary Confusion – Things got off to a great start with Rudimentary Confusion, a band we'd seen just once before, but were happy to see again. With more than a passing nod to the hard rock three piece 60's chic of The Experience or Cream, the band centre around thrashing guitarist and vocalist Matthew Withey who certainly cuts a dash in his Quality Street hat and thinking man's cravat. Half close your eyes and you might even mistake his pixie-like presence for a parallel universe's Johnny Thunders long lost younger sibling.

Although there are powerhouse trio references, RC (as I affectionately refer to them now) merge these obvious ingredients with an altogether Irish folky blues which permeates pretty much of all of their material.

Sample 'Without You Blues', not a million miles away from the traditional 'Whiskey in the Jar' but we have to get to the end before the band finish with one of their best, the reflective 'This Town', a homage to somewhere close to their hearts and features a brash folk/blues, with some frantic guitar pyrotechnics from the aforesaid Matt. RC's recorded output seems mainly to consist of live takes, which certainly suits their persona, but we'd like to see some studio sourced sides to emerge in the near future.

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The Beat Rats – New York visitors from earlier festivals - we never had - but everyone says you must see the Beat Rats – we weren't disappointed. Evoking Hamburg leather clad Bier Keller Beatles with hint of MC5 and that dirty Detroit je ne sais quoi in tow, the band deliver authentic Mersey steeped rock and roll with the kind of infinite appeal to an audience of a certain age and disposition that for many would see them part with their soul and a good deal more.

Having the benefit of nostalgia and more the Beat Rats blend their obvious British Invasion sound with solid roots Rock n Roll and serve it up with a fine honed precision that makes it look so easy – but as their fellow musicians at IPO will attest, making it this good and real, takes years of fine craft and accomplishment.

Whilst not attempting one iota of originality The Rats actually achieve a sound, depth and shear grit that few of the original Beat Bands of the early/mid 60's could attest . Apart from maybe the Stones, the Pretty Things and a few others, many sounded quite innocuous when trying to get as down and dirty as these guys.

Some highlights: the instrumental 'Ratfink' throws surf band chic and Ventures grooviness into the pot. Whilst the cheeky rewrite of all things 1963/4 Beatles 'My Jolana' will have Fab Four fans spotting where they copped a variety of riffs and runs.

The Beat Rats can be found most weeks somewhere in the Big Apple propping up some suitable dive, but for this weekend only, we were glad to see them at the Cavern shaking their thang.
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Fuzzy Halo – I don't know what it is about Scandinavian pop, but this area of the world somehow has captured a major foothold of the genre we love and keeps on serving up the goods. Fuzzy Halo from Stockholm generally keep to a fairly safe modest jangly mid 60's beat scenario for the majority of their 30 minute set, peppered with shy polite thanks in between each number. However they surprise us with 'God Help Us' which seems to mark a more mature turn in their songwriting and reaches beyond the mere Beat Group derivative to introduce twists and turns and diversions which suggests hope for the future.

They continue with 'Long Road' which has a lovely infectious opening guitar figure and a laid back short middle section which continues this more slightly subversive direction. Certainly we are eager to hear them develop further down this more interesting path and maybe an album in the near future if there's not one already?

One slight annoyance on the otherwise groovy smooth running of Cavern Club was the introduction this year of rope barriers and bouncers blocking the stage whilst Fuzzy Halo and at least one other act were on. I imagine this is to prevent people during peak tourist period of charging the stage and posing for photos as some are wont to do. Kind of understandable for a brief moment but do we really need the roping off of the acts that followed when once the tourist influx had receded? Hopefully this blight won't be around in 2012?
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The Carousels make no secret of the fact that they firmly align themselves with the trappings of mid 60's chic as mod bouffant hair and paisley circles abound in amongst the Rickenbacker and Hofner guitars. Make no mistake we are in a folk-pop world here where the neither the Byrds or Starry Eyed and Laughing would be out of place alongside these chaps .

Although, interestingly I think this is their intended focus, indisputably their best song is the distinctively Dylanesque 'Winds of Change' with it's wheezy harmonica and bump and swing tempo. We purchased a demo CD from the merchandise stand but The Carousels promise a proper EP early in 2012 for which we've started saving!

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I've been mildly critical of the Liverpool IPO event in the past which appeared to have included one or two indie orientated artists who might fill an afternoon slot but do not qualify as contributing to the wider Power Pop remit I believe promoter David Bash wisely sets himself. On this occasion I'm happy to report that save a few fringe acts early on in the week that prestigious platforms have been largely occupied by wholly deserving artists. The Beta Rays are one such band that firmly fall in the mixed bag box I plonk Indie acts in. Nothing wrong with what they do, and in fact, establishing themselves as a cut above the usual bland non-descript indie tag the Beta Rays acquit themselves well.

They definitely possess stage presence and a lead singer who knows how to utilize a formidable set of pipes. With material like 'The Girl You Are You Are' (shades of Be Bop Deluxe meets ELO meets The Jags) and 'What Do You Do When You're Alone?' (big, bold and dense) they demonstrate that they qualify themselves as more than fit to fill stadiums of the future with their anthemic yet catchy brand of lightly pop coated indie swagger.
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Moving to the backstage of the Cavern, bigger and more traditional than it's older sibling, it has come to be regarded as the premier sounding post in the world famous venue.

We were delighted to be greeted by the rather wonderful Kinbeats, named so as they are made up of three brothers and a cousin, misplaced from Germany via Kilburn! Their similar construction to the Beach Boys is not lost on us or other fans as their beautiful blend of closely related vocal chords is one of the Kinbeats enduring strengths. I overheard one diehard in the audience venture that they were the best harmonies he'd heard in the Cavern since the appearance some years ago by the fabulous Avenues (now sadly defunct) – a bold claim – but these guys are not short of the mark.

Often they sport rich four part harmonies which are achingly beautiful, including an acapella rendition at one point, mostly though they rely on two part harmonies from front line brothers Arthur and Patrick Ralla, who provide the focal point visually and musically.

Their songs range from soft and gentle to medium pace and relaxed, rarely do they do hard, but when they do, they carry it well and the contrast is quite marked and is mostly revealed in their closing songs.

Our favourites of the set included 'New Morning' which for a moment recalls the Rutles and 'Cheese & Onions' in it's Lennonesque descending pedal note intro and 'Shine On' which has the trade mark harmonies that make the band so beguiling.

(Now known as Wide Sea since they lost a member and readjusted the line-up, and have spent some time supporting the legendary Edwyn Collins on a US and European tour and recording a new album. Their first long player I believe, 'A Place To Call Home' is available now on AED Records and realises the band live and much more.)

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Without warning Ulysses seem to emerge from a sea of feedback and chaos, amid the unprecedented rising temperatures and swampy sweat of the Backstage Cavern to bring us a heady mix of acid drenched cacophony mixed with glam stomp and roll. We had no preconceptions but ladies and gentlemen we were gobsmacked!

They fired off instantly into the infectious 'Eye on You' all chants, stabs and starts, hardly letting up the pace for a minute as guitarist Luke Smyth whacks an insubordinate foot pedal or two before we're into more instability and maybe shades of a Bowie copped riff into the next number. Before long the drummer who we later learn is Shane Maximus (yeah really) takes command of his kit like a herd of unruly cattle, pretty soon he's tamed the toms and demands his stage space. It's rare to see a band in this day and age, certainly one you'd never seen before, to field a set of four different personalities who establish themselves quickly enough for you to form an impression you then keep with you when it's all over.

In some ways they put me in mind of The Who – not that they sound, look or imitate them - it's that identifiable four parts of the whole that connects in a very real way. We did see the band twice (one day after the other) so I guess it's to their advantage that this impression is felt so acutely.

Later the chaps from Bath steam into the memorable 'Why Why Why' which suggests a Steely Dan backbeat, complete with a Skunk Baxteresque guitar solo.

More than any other song 'Sometimes' suggests some of the hallmarks we reckon define important identifiable elements of the Ulysses sound. There's the slightly skewed boogie throb of Hawkwind, then some 70's glam rock fused with the American acid of Randy California's Spirit and the Jimi Hendrix Experience. This mash oozes from out of the craziness and loveliness from every pore and screams Ulysses. I know If I had it – I'd bottle it!

They finish the first time with 'Dark Old Days,' which has occasional flashes of The Move at their peak, then a bit of fairground nonsense, then we are into an acidy jam which culminates with all members bar the drummer hunched around one mic for a percussion extended tag-out (see lead picture).

The second time we saw Ulysses, they finalled with a Beatles cover I've never heard anyone else do – 'The End' from Abbey Road complete with powerhouse tub thumping from Shane and the outstanding 3 Beatles successive guitar solos but this time with only Luke and other plank spanker Tom Satoryal doing the honours. I mean who else covers this song? What an impressive finish – phew!

If I had one criticism, and this is only after an appreciable passage of time has passed, it would be that Ulysses does not capture the excitement and mayhem of their stage performance on record. The fun and frivolity is there, but somehow that controlled chaos, that trying-to-keep-the-lid-on-the-genie is not present. Of course it's early days, and there's plenty of time for all that , and it's maybe a lot to expect after only one album? Meanwhile we look forward to when we next see this incredible revue again. For us this was definitely a major Power Pop Review highpoint and perhaps the IPO band of the festival this year! _____________________________________________________________

How to follow that – well, with something quite different. Longplayer kick off with a killer instrumental – how many bands do that these days?. 'Space Place Cafe' is one part surf, one part Ventures/Shadows and another Allman Brothers 'Jessica' . The Shadow Man as the band called him effortlessly peals off beautiful melodic and scintillating liquid guitar lines, which melt like sticky delicious candy into a satisfying whole. It's a great and startling opening which makes the audience sit up and listen.

The Shadow Man steps up again to lay down a rootsy introduction to 'I Won't Let You Down', a song which although unashamedly pop traditional suggests they've been paying attention in their ELO/Travelling Wilbury lessons. The bands material although in many ways retrograde traditional pop is meticulously executed and their presentation so charming that their set goes by in a breeze.

Although it gives you that deja vu it appeared to reach into the past without sounding merely derivative as is so often the danger in this genre. Clearly enjoying themselves, Longplayer often construe themselves into a Shadowslike guitar thrust and wavy dance which assures them of much audience approval and delight.

Hiding a light under a bushel was keyboard player on stage right, with a formidable voice, strong compositional ability (and a rich pop past) up his sleeve. The main singer/guitarist confided in us later that they swapped duties for stage, as Goran (for that is his name) preferred not to front the band. Clearly this arrangement worked well as we were none the wiser during the performance, only learning of this fact afterward during a relaxing chat.

We purchased Longplayer's album which they kindly autographed, and were not disappointed on getting it home – we strongly urge you to buy a copy – it's one of 2011's best kept secrets.
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Night After the Prom - an almighty surprise awaited us when the penultimate act of the night hit the stage – we hadn't read David Bash's programme blurb in advance so we didn't know what to expect.

Kicking off with The Doobies 'Without Love' led by a sassy Hispanic girl, the band of post Prom Night performers on a high, caught the audience open mouthed as they motored through one great rock classic after another. Their must have been at least twenty performers as singers, guitarists, drummers etc changed pretty much with every song.

It sounds a bit cheesy on paper, and it could have easily been so, had these teens not played and performed the material so well and convincingly. In many ways it didn't seem like we were a million miles away from The Kids From Fame via Glee and as much as those programs are loaded with a cosy cheese that smacks of precocious stage school brats, here something different was seemingly at work.

Bombarded by flabby modern commercial pop: endless talent contest karaoke fodder, unison laughable emoting tepid boy bands by the half dozen, autotuned pyrotechnic kid divas invading eardrums like pesky insects – a bunch of switched-on high school teachers have introduced their students to a time when pop was enjoying its developing purple patch – obviously talented, the kids have embraced their elders wisdom, knowledge and skill.

True these kids were hand picked from a Performing Arts Academy from California, but on whatever level you choose to view it, this was an unqualified success and kudos to the teachers and the performers – this was a joy too good to miss.
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As the clock approached 2pm we chickened out, missing the Sparkle*jets UK for a second time – sad, we really wanted to see these guys ever since we discovered them on an MP3.com CD back in the 90's – but it was not to be.
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We actually saw three more acts on Saturday but are saving them for a part 2 tomorrow, then we are into Sunday's billing.

For Your Further Enjoyment:

Rudimentary Confusion - www.myspace.com/therudimentaryconfusion and
www.facebook.com/pages/The-Rudimentary-Confusion/12186409226

Beat Rats - www.myspace.com/beatrats and
www.facebook.com/pages/THE-BEAT-RATS/8583688585

Carousels - www.myspace.com/thecarouselsuk/blog

Fuzzy Halo - www.myspace.com/thefuzzyhalo

Beta Rays - www.facebook.com/betarays/info and
www.myspace.com/betarays

Kin Beats (now Wide Sea) - http://www.widesea.co.uk/

Ulysses - www.myspace.com/ulyssesgb and
www.facebook.com/ulyssesgb

Long Player - www.facebook.com/pages/The-Longplayer-Orchestra/110079335716482 and www.longplayer.se/

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So Sad About Jan

noreply@blogger.com (MrQwerty) — Sun, 18 Dec 2011 22:21:00 +0000

We interrupt our long and protracted report back from the International Pop Overthrow Festival (yes believe it or not we're still working on it – life's been one hell of a bitch this year) to bring you some sad news.

Whilst away in the USA on our annual sojourn to visit Debra47's family and friends we learnt the shocking and devastating news that Gianfranco 'Jan' Pinto, who played keyboards with our friends, the mucho groovtastic psyche and pop band The June, died suddenly on October 26th.

Jan augmented The June when they appeared live, adding crucial keys and vocals to swell out the band's live sound to approximate the rich, multifaceted swirling atmosphere achieved on record.

Unbeknown to us, Jan, an unassuming figure who mainly conversed with us in his native Italian was not only a major figure on the Italian Rock scene going back to the late 60's/Early 70's, but also as an elder statesman of the Italian scene itself and was not adverse to helping out any number of contemporary artists in his native country, including Perdio, Shout, The Soul Busters Band and of course The June.

Best known (particularly to friends I have into deepest prog) for being the keyboard player/vocalist and composer in the remarkable (guitarless except for bass) Italian Prog Rock band Madrugada. The band made two fascinating albums for Phonogram in the mid 70's, although they began as far back as 1970 when Jan must have only been a teenager. The second side of their self named debut album stands as quite a beacon amongst prog fans, which I recommend you seek out. I have a shaky copy digitised from vinyl, but their 2nd album 'Incastro' can be found in pristine form as part of the gargantuan 'Progressive Italia' on Volume 5 (itself a 6CD set). Find more info on this volume and the rest of the vast collection here.

Not content with having founded one of the premier prog bands of the era, Jan went on to work with Adriano Pappalardo (Aphrodite's Child), Roberta Flack and Brian Auger to name but a few. Interspersed with these high profile gigs were periods of teaching, music programming, arranging and solo work.

The June recognise that a talent as big as Jan's cannot be replaced, so 'live' they will continue with their original core 3 piece line-up. On record the keyboard parts will be played by Chris Raven (as they always have been).

Jan's passing leaves a big gap in Italian Rock and the lives of his friends, nearest and dearest – he will be sorely missed by all who knew and loved him.

Links
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Jan's own website: http://www.gianfrancopinto.com/

The June on MySpace: http://www.myspace.com/thejuneband

The June on Facebook: https://www.facebook.com/pages/The-JUNE/288144107878461
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And Now The Magic Really Begins...

noreply@blogger.com (Power Pop Review) — Wed, 22 Jun 2011 11:06:00 +0000

Onward for our second day at the Liverpool International Pop Overthrow Festival 2011 (and the fourth actual day of the festival itself) and things begin to heat up as we invade the weekend space with more choice acts in one day than you could shake a ridiculously large stick at.

We saw around 15 acts today, 2 of them twice and one we've omitted as some weeks on we've forgotten what they were like and failed to make any notes at the time. Oops...

We will combine reviews where we saw an artist more than once and indicate thus: (x2 ) - but we'll comment as though it were one performance, with some deviations, naturally.

We can heartily recommend Garcia's Restaurant on Victoria Street for a great breakfast and a good start to the day.

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Friday

Cardinal Jack – Things began much earlier than the previous day with a post brunch stroll into the Cavern Pub and a chance to have a look at a bunch of young upstarts from London who regale under the collective moniker: 'Cardinal Jack'. Whether this non de plume is due in part to some veiled repressed Catholic upbringing is never disclosed. This didn't prevent our enjoyment of the music however. One is first struck by their youthful energy and mettle, but more than that, and uncompromising sound which all at once both repels and endears you to their message of 'bang, bang, shout, fall over' (their words).

Their angular, stop/start motion, rhythmical song construction is often a front for attractive melody lines which waft in and out of consciousness and particularly come together on songs like 'Green Eyed Boy'. Even more so is the hit laying in wait, the insistent 'Moving' which is particularly enticing. Think frantic early new wave, with nods to Pere Ubu, Talking Heads, XTC and the Kaiser Chiefs and you're part way there, yet their own slant sets them apart from any convenient reference point I can summon your way.

It's worth mentioning that this band also sported the most impressive collection of guitar effects pedals I've ever seen, hence the accompanying snap says as much about them as any traditional representation might.

Cardinal Jack's debut album is imminent which you can pre-order from their website (address below) but catch them live too, for the complete experience.

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Charge of The Light Brigade – impressive name from these Canadian colonials who conjured visions of David Hemmings in Tony Richardson's 1968 film of the same name, all epic swashbuckling, psyche moustache and red tunic a flowing. In many ways you could level the same Charge (groan) at the the interesting musical furrow they have chosen to broadcast to an unsuspecting world.

Unfortunately stripped down to a mere two piece (Vocals, Guitar and Bass) I couldn't help thinking we were being robbed of the full experience that their multifaceted songs demanded. There are plenty of musical twists and turns, and lyrical recounts of fatalistic and predetermined desperate relationships, to keep the observer keen and interested, but in some ways this was way too demanding of their slightly relaxed and mixed lunchtime audience.

Yet, trying to interpret the basic presented sketch and imagine the full canvas, the attentive listener would be able to fill in some of the blanks.

Crying out for a drummer and more punctuation, but the best songs did manage to shine through, particularly the choppy/then smooth and most immediate: 'Young Love' but also:'Last Door Down' and closer 'Desdemona' (not the Marc Bolan song)

The band also chose a cool cover with a version of Springsteen's 'Atlantic City'. Although not a particular 'Boss' fan, Debbie enjoyed this reference to her home state and memories of her Mom, who loved the allure of the New Jersey playground.

We look forward to see COTLB in full regalia in the near future.
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The Spanish band The Seasongs were up next who we'd seen before but with a slightly different line-up. They cut quite a dash with tall guy Oscar Granero, all flailing arms, white Fender and chirpy tenor, augmented by his more regular sized compatriots, the rhythm section . There's a kind of ragged garagey quality to the trio's mix of psyche and angry punk, all fed through the Madridian metropolis.

Things are generally thrifty and sharp. For example, not outstaying it's welcome at all was 'Your Fun Is Coming To An End' which starts out like classic 1966 Who but has a gritty New Wave vibe which grabs the ear but is all over in about 2 minutes flat.

Changing the mood, the Gaelic lilt of 'She Was a One Eyed Girl' touches so many bases – we detected Bowie and Suede in the verses, set-off against the folky infectious “la-la-la” refrain.

We didn't nab the name of band's last song, but amid the air of fuzzy, squealing feedback came some nasty-but-nice tearing runs from Granero to bring the performance to a frenetic conclusion.
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All the way from Amsterdam, The Kik appear before you like the world simply froze in 1965. They light up the stage with cheeky chappy persona, infectious broken English quips and self effacing charm. Guitarist and lead vocalist Dave Von Raven wins over the assembled throng quickly, they seem utterly charmed by his personalty as much as the music that underpins it.

Like a slightly more dangerous Gerry & The Pacemakers they tell us 'It's Gonna Be Alright' and Ladies & Gentlemen – that turns out to be the case, with bells on!

They soon carry on with their new single 'My Eyes Are Still Dry' with it's totally seductive Hollies recalling chorus, it's an absolute winner!

Although they have their feet firmly planted in 60's Beat territory, and if that's your thing you will surely love it, yet there's a modern freshness which makes their sound and presentation as fresh as a proverbial daisy!

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The Jooles – are vivacious, young and groovy, like The Archies cartoon come to life. Even their names make you think you're flicking through the pages of a teen mag from pop's golden age – meet: Daria, Alex, Chris, Katha & Richie.

Charismatic, blonde, attractive vocalist Daria oozes a naive chutzpah which nimbly connects with every member of the audience, as she continually gestures and eyeballs everyone in turn – yeah she's talking to me, or maybe it's you – no but really it's me.

Visually striking they make you sit up and take notice but with the sound they make too. Kicking off impressively with wah-wah chuka guitar and fizzy hi-hats ala 'Theme from Shaft' you just know this is gonna be a groovy roller coaster ride – and it is!

Often funky, sure and connected, with a hint of cheesy exotica, they put everything into their performance and their half hour on stage goes by in a convivial whoosh.

Jooles are nothing but fun with no hint of the solemnity of life – a benign yet innocent wet dream for both sexes delivered straight from their home in Berlin - to your door.
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Night Parade – What is it about Night Parade that is so engaging? Well as one person said to me as the final chords of 'Demons' were fading away “It's The Voice”. Indeed she had hit the nail squarely on the head. Singer and songwriter Rob Vincent possesses that rare gift - a most unique and unusual singing voice – a sound that makes everyone who hears it, just stop whatever they are doing and want to listen – it's like we're all in trance – as if it was magic!

I'm not usually given to such flights of fancy or audacious claims – but “It's The Voice” basically says it all. Well that and the strength of the material.

No disrespect to the rest of Vincent's band, and this probably pisses them off no end, although they are the perfect support for his songs; without him they would be just another band from Liverpool, and they probably know it.

Having said all that, put Vincent with an orchestra or bunch of session players and you would most certainly lose something. Like when the late, great Gerry Rafferty entered his most successful but MOR bland period, it's so easy to ruin a good thing with an unsympathetic setting. So Night Parade as a collective should hang on to that Je ne sais quoi they own and don't mess with formula.

I first saw Rob Vincent last year when the band were a surprise addition to the Saturday IPO line up; I was mesmerised admittedly, but couldn't shake the image of Greek songbird Nana Mouskouri from my mind! Although Rob sounds nothing like the cosy 60's folk warbler – something about his signature horn-rims and perceptible tremolo conjured this image from my childhood watching the said superstar on my Gran's TV when we visited her and my Grandfather in sunny Hastings-by-the-Sea.

I think the band opened with wonderfully titled '50 Stone Lover' which has quite a lot of instrumental interplay, only the keyboard was missing from this live version. They continue on through 'Havoc' a superb piece which alternates half paced verses with a massive driving chorus as the song progresses to conclusion.

In between songs Vincent tells us nothing about their content or inspiration, most of which have single word titles. There's a hint of anthem in their panoramic demeanour as each tumbles forth like wrath or anger from some higher source. Particularly evident in the aforementioned 'Havoc' - it's exciting building repetition “I'm gonna wreak...” is a case in point.

Normally I don't go for a bundle of anthemic songscapes, but can forgive him somewhat as the strength of his songwriting and honest delivery is truly beguiling, the epic stamp seems not to offend not a jot.

Rob announces before they go, that should you want to find out more about Night Parade, that they can be found in all the usual places: MySpace, YourSpace, HisSpace, TheirSpace, FaceSpace etc.

The group finished with 'Demons', one of Vincent's strongest songs, leaving the audience somewhat spellbound and wanting more. We definitely hope to see them sooner, rather than wait another year.

Mr & Mrs Qwerty are indebted to Margi, superfan of the band, who introduced us to them last year and runs a website in celebration and to promote the combo at www.lovenightparade.co.uk
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Honeybug – One of the greatest highlights of the IPO around two years ago was seeing the magnificent Honeybug for the first time in all their glory – a 7 piece featuring guitar, bass, drums, keyboards, a 3 piece vocal trio, and at the helm: Nigel Frayling Kelly, a tour de force, piano playing, lead singer / composer / arranger throwing out one gleaming piece of lightly buttered soul infused soft rock song, after another.

This time Nigel was showcasing the stripped down economy sized edition of just himself and two of the three-piece backing vocalists. This was fine, I imagine they all fit compactly into one 4x4 with room to spare, rather than the articulated lorry required for the full 7 headed Monty.

Nonetheless, maybe this time they could have done with the heavy artillery as not only was the Cavern Pub packed to bursting at around 7.15pm, but there were a few folk in from the Loud Obnoxious Crew too, giving it plenty of heckle and vocal intrusion. Debbie and I were late so we didn't experience the full brunt of the broadside, but needless to say one thing a soft rock 3-piece with piano and harmony vocals don't require is input from the loud of gob and soft of brain.

By the time we got there it had mostly died down but was still extremely packed and pretty sweaty. There was standing room only and we weren't even able to get a clear picture of the stage, which is why we are indebted to Alan of Cavern Photos for the use of his picture (incidentally from a different show).

The thing we were struck by this time hearing Honeybug in this more transparent form, was not the excellent bob-on harmonies, of which were uniformly super-trouper, but how much Nigel sounds like a combination of Stevie Wonder and Neil Sedaka (particularly in his 10cc days). Only being able to hear and virtually not see the performance I was able to pinpoint the examples (in the links above) which most illustrate this realisation.

This is high praise indeed as previously I was more aware of the great soft rock parallels in arrangements, overall sound and larger ensemble effect which pointed towards Curt Boettcher, Sagittarius, Millennium, California, Association, Harpers Bizarre, Merry-Go-Around, Turtles etc.

All this is still apparent, but the aforementioned lead vocal parallels were a new facet, previously unrevealed.

But what of Honeybug themselves, after nothing more than the paired down Naked Songs EP release in two years, the next 12 months promises a heavy release schedule of all manner of goodies from all corners of the ensemble big and small. Debbie and I for one (or is that two?) cannot wait!
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The Suns - have at times a gentle wide-open-space west coast sound, not a million miles away from some of the Pub and Prog bands of the 70's. This is nicely demonstrated by the closing number 'Soul Desert'.

We particularly dug 'The New Normal' the title song from their latest album - it's a great melody with an expansive feel and nice memorable hook. Particularly with the feel, it reminds me of something else, maybe The Jam or The Teardrop Explodes, I just can't put my finger on it, so maybe its all theirs, as the references elude me – anyway I'm still singing it now some weeks on, for which they should be justly elated – I know I am!

Although the band are good, we were later disappointed to learn that having seen the band during an earlier slot, we missed their fuller and perhaps greater performance when they were to be joined by new lead guitarist Carl Phythain. For this reason we hope we get the chance to see them again next time at IPO or somewhere else on tour with this new line-up.
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The Breakdowns – meet: Joe, Matt, Adam & Owen Breakdown from downtown Nottingham, but their hearts and minds reach right across the Atlantic to the classic New York of the Dolls, the Ramones and any other kind of trashy pop bubblegum references you can think of, but most of all they put me in mind of Boston's own sublime Real Kids. Like The Jooles earlier these guys yearn to be two dimensional in a 3D world – hooray for cartoon pop!

We had almost forgotten we'd seen The Breakdowns once before at the IPO in 2007 when I guess they were still wet behind the ears, so it was an unexpected surprise to see them some four years on still chasing the trash aesthetic, but hitting the target pretty much every time.

Not since the 70's have a British band so embraced the sound of young America, and even then it was very much the West Coast sound, whereas the Breakdowns definitely take their lead from the East Coast and from the end of that decade.

Joe Breakdown certainly looks the part, all renegade rock'n'roll threads, low slung guitar and wasted physique.

They may resemble an Anglicised Johnny Thunders Heartbreakers but 'Don't Write Another Love Song' has more than a passing resemblance to the other Heartbreakers – Tom Petty's band' and their 'Anything That's Rock and Roll's Fine' with perhaps a nod to Green Day's Warning' itself a cop from the Kinks 'Picture Book'- all good points of reference though.

Affectionately known as Los Breakdowns (their new album is on Spanish Label Rock Indiana ) the band unashamedly wear their influences on their collective sleeves: 'Summertime Twist' is Ramones via trashy Beach Boys, whereas 'Roll Over Record Fair Blue' is a clear homage to grandaddy of them all Chuck Berry.

Completely unpretentious, the band carry no extraneous fat. Like the Ramones there are no guitar solos, no unnecessary drum fills or rippling runs from the guitar or bass. Save the odd blast of bluesy harmonica, there's no dressing, the Breakdowns are as lean as their leader Joe's gangly frame and as mean as his biker bandanna and trilby hat!

A note to the combo before we close, a cover of the Real Kids 'Common At Noon' would suit them like made to measure glove, please indulge me!
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Nigel Thomas (x2) from The Foxes was appearing solo as the band's drummer had sustained an injury which prevented him from being able to drum. Rather than cancel, Nigel hopped on a train and landed with guitar in hand ready to deliver his solo variation on the Foxes catalogue.

Nigel was one of the few artists we got to see twice. This can often happen with simultaneous events and the multiple appearance programme of the IPO at Liverpool.

As a consumer this can be a fine balancing act, choosing acts you definitely want to see at least once, avoiding a few you might prefer not to see at all (generally there are very few in this category) and catching the odd one a second time, either by accident or design. Things fell reasonably well into place this particular Friday allowing us a second chance to see the Foxes front man.

We arrived only knowing a smattering of Foxes songs, but it was clear that many of the elements present in the material transferred well to Nigel's sole presentation of the same. We did miss the harmonies and some of the subtle light and shade that make the experience rather sweeter, but the heartfelt honesty, cards-on-the-table intimate soul searching and lyrical pieces on offer connected very well with the audience in the small familiar club environment.

In recognition of the venue, rather than do a Beatles cover, Nigel chose to perform a song the Fab Four themselves had covered in the shape of Smokey Robinson & the Miracles' 'You Really Got A Hold On Me'. Although his version was adequate, I felt it was an ill choice. Not only do the lyrics sound quaintly old fashioned in 2011, but the original song contains lots of musical space and vocal interaction from the Miracles, leaving Nigel's version sounding oddly empty and bereft.

By the time he got to his second set, he dropped the Miracles tune and replaced it with the Hard Days Night Song: 'Things We Said Today'. This was far more successful, even bringing one particular fan to her feet, who proceeded to dance around the floorspace much to the onlookers delight.

Performing with just vocals and acoustic guitar in a chiefly electric band environment is a tough call, yet it was visibly apparent that Nigel's clear, thoughtful and touching songs with the personality to match, easily moved his audience, both the tourists and the IPO faithful alike.

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David Reid – You wait for two front men with acoustic guitars who carelessly lose their drummers, then two come along at once . And so it was with David Reid, normally front of house, lead vocalist and songwriter with superb Peterborough combo The Contrast was also appearing solo, having lost his drummer to temporary but debilitating illness.

Ever the trooper, Reid turned up all black except for a fetching white sport jacket and only a nylon classical string guitar for companion. What was he going to do with this I wondered, not having seen a nylon string guitar in a rock context since the heady days of the 70's band Audience when the charismatic Howard Werth thrashed a similar instrument within an inch of its life with his deft finger-work?

Fans of The Contrast who've enjoyed their regular spirited and energetic sets may have arrived and been disappointed to find only David Reid alone on stage. Yet they needn't have taken umbrage, as those of us who enjoy his unusual voice and alternative view of the world, would have delighted in his interesting take on familiar Contrast songs.

Beginning with Underground Ghosts (from The Contrast's last album God of Malfunction) Reid delivers this and next song Pocketful of Fear as if they were fragile children being unleashed into an uncomfortable universe.

Much more restrained than the usual frenetic Contrast submissions, each song is accompanied by Reid's faintly picked nylon strings but are immediately recognisable, even in this alien form.

Debbie experiences a particular poignant moment when David introduces his next song, a cover of Jimmy Webb's 'Wichita Lineman'. Most people will recognise this as one of Glen Campbell's crowning moments. In David Reid's hands it takes on quite a different interpretation, but gives Debbie a lump in her throat as it was one of her late Father's favourite songs.

David trawls further back through some more from the Contrast back catalogue before finishing with a final cover of David Bowie's 'Heroes', a song that sits very well with Reid's special kind of delivery.

Although I don't think he does this kind of thing very often, for fans, it was fascinating to see the singer/guitarist out of his normal comfort zone, thrust into an unfamiliar environment delivering his music in this bare and intimate way. Based on the tunes strong melodic content and the uniqueness of his voice, the material transcended the stripped down presentation to reveal something intangible – a new shade of Contrast.
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The Dirty Royals – from Oxford, were punchy, lively and upfront. Their witty and intelligent in-between song patter was a breath of fresh air – we were most amused.

Apparently the line-up was one guitarist missing, as always, what you don't know, you don't miss, so for us leader Simon Williams carried both the evening and all the extra guitar solos just absolutely fine – Simon we didn't notice!

Their dry humour pervades even through the song titles, surely a band can't take themselves too seriously with titles referencing already established evergreens such as 'I'm in Love' (Beatles) 'Respect' (Aretha, Erasure) and even 'There's a Riot Going On' (Sly & The Family Stone). So their collective tongue is firmly planted in their collective cheeks.

Has there already been a song called 'Josephine'? I expect so, but it didn't stop our appreciation of the same. With lovely nur-nur opening riff and “put 'em up” refrain it's a great little memorable tune which stays with you long after catching for the first time.

It's difficult to succinctly sum up their music style in a nutshell, suffice to say it has most of the ingredients that will enthuse your average powerpop fan, so we say thank you to the Dirty Royals.
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Although a Friday we made it an early night in preparation for traditionally the big day, tomorrow. In so doing we missed a band I'd wanted to see for many years, but rain checked once again regrettably, the Sparkle*Jets UK.
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For Your Further Endeavour:

Breakdowns - www.myspace.com/thebreakdownsband
Cardinal Jack - www.myspace.com/cardinaljack
Charge of The Light Brigade - www.myspace.com/chargeband
Contrast - www.myspace.com/thecontrasttheband
Dirty Royals - www.myspace.com/dirtyroyals

Foxes - www.myspace.com/thefoxesband

Honeybug - www.myspace.com/honeybug

Jooles - www.facebook.com/thejooles
Kik - www.facebook.com/thekikmusic
Night Parade - www.myspace.com/nightparade
Seasongs - www.myspace.com/theseasongs
Suns -www.myspace.com/thesunsbanduk

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Trouble At Mill: Recent changes with the way Blogger implements its interface has given bloggers like ourselves a serious set of unfathomable obstacles and erratic unpredictable output.

This has resulted in not only in our latest post looking like its been in a nasty accident, but also a phenomenal waste of time and energy trying to fix the same. We will shortly be moving to a new address under our own domain name, with the level of control we need to bring you the best content in a consistent readable format. This has been your friendly neighbourhood PowerPopReview Team, slightly miffed and worse for wear but with yours and our collective interests at heart!
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Normal Service Will Be Resumed As Soon As Possible

noreply@blogger.com (Power Pop Review) — Wed, 22 Jun 2011 09:41:00 +0000

You don't want to hear a bunch of excuses do you? No, so we'll apologise and say if you've visited this space in the last 12 hours and seen all kinds of strange appearances and then non-appearances and now this - you'll get the idea that we're experiencing one or two technical difficulties. Have no fear just as soon as they are resolved we'll return with our next installment of our review of the Liverpool International Pop Overthrow 2011. Thanks - don't go away now!

Welcome Back My Friends To The Show That Never Ends

noreply@blogger.com (Power Pop Review) — Wed, 01 Jun 2011 20:26:00 +0000

My husband and I have never been disappointed when we have gone to the annual Liverpool International Pop Overthrow Festival and this year was no exception; indeed it would be fair to say that this one turned out to be probably the very best we have ever attended. This is due in part to the broad mix of bands and artists from all over the world, and the great friends and acquaintances we've made over the years at the event. This particular year was the 9th year running for Liverpool – kudos to promoter and all round IPO guru: David Bash – in a year that has seen artists possibly harder to contact (MySpace decomposing to some extent) he surely did his homework.

For those of you who have attended the event on a regular basis there was the return of many favourite bands in addition to quite a few new surprises. As in the past the ambiance of the three venues, Cavern pub and club (with its 2 stages) enhances the experience of hearing such wonderful music. You have the rich history of the Cavern plus the semi-fanatical music lovers of this festival combined with the worldwide tourists who have made the trip to see the legendary Beatles birthplace. We've been to the same festival in New York also, but none approaches the fun, diversity and draw of Liverpool.

In the past we've only been able to attend 1 to 2 days of the festival but this year we decided to spend as many days as we could due to the very rich bill being sported this year. Now having stayed for most of the festival, we know there is no way we will ever only attend for a short spell. In total we ended up seeing over 40 bands and although at the time it seemed like the merry-go-round would go on forever, in reality it was all over far too quickly.

Upon arrival, the sky was blue, the birds were chirping. I was practically running to Matthew Street in my excitement to get there. Mr Qwerty was close behind with his camera to capture the moment and beyond...

Liverpool International Pop Overthrow Festival Review 2011

We will combine reviews where we saw an artist more than once and indicate thus: (x2) - but we'll comment as though it were one performance, with some deviations, naturally.

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Richard Snow & the Inlaws (x2) - We were late to the Cavern Pub, the scene of our first concert. The room was uncharacteristically busy for the late afternoon and the IPO schedule, but we were pleased to see it so. Obviously our first artist Richard Snow was responsible for the healthy draw.

We had missed Richard at previous IPO's and Debbie in particular was familiar with his last album and we were both eager to see this talented singer/songwriter and his band. He was chiefly featuring songs from his forthcoming third album: Am I Really That Boring?

First song I remember was Middle Class Girl which was dedicated to Margi (audience member and fellow midlander). The recorded version is swelled out sonically with semi-lengendary figures: powerpop luminary and Brian Wilson Band member: Nelson Bragg, along with singer/songwriter and star ascendant Anny Celsi - quite a coup for Richard and delight for our ears. Not that the heavy friends were present on this occasion, but Richard and the two members of his band all sing and make a sound big enough you'd swear there was at least an extra phantom member or two! From it's catchy " GIRL/Girl" call and response intro it arrests the listener from the very beginning.

Richard songs are full of melody, ringing Searchers/Byrdsian guitars and beautiful pin sharp harmonies. His somewhat ironic tales of real life are often insightful and can hit a truism many of us can recognise – on 21st Century he sings “21st Century sucks and blows... - ...it's modern life I fear” – too true mate!

Next up is the pretty If You Don't Rescue Me, with its Paul Simon fingerpick and wonderful Beach Boyslike tag out.

Stop Your Crying echos a slight 'Don't Fear The Reaper' figure but takes it off in a different direction with another lovely call & response vocal so beloved by Snow and us fans of vocal harmony.
The past occurs again in Take Me Back Home Again where Snow explains the double edged sword of looking youthful “When I was 18 I looked like I was 10”.

Last and best, the show stopping number from the new album is title song “Am I Really That Boring?” with its infectious twiddlly opening riff, almost Claptonesqe, and Joe Jackson type shouty vocal. Snow then goes on to list a set of scenarios which I guarantee will have most of you nerdy/anal pop types identifying with 90% of them – Mrs Q & I exchanged several glances of recognition even on first listen. You can check it for yourself here.

Richard Snow has an intimacy and spareness of expression that captures common experiences and relates them with candid honesty, plus a rare gift for melody, harmony and hook. He connects well with his audience and sometimes you might think, we've found the British Marshall Crenshaw – Ladies and Gentlemen – this is a good thing!
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Sara Lowes - After some technical difficulties (yes unusual keyboard set-ups can be a pain in amongst a sea of predominant guitar bands in a festival situation) Sara's stunning songs came as a complete surprise – we had no idea what to expect.

A bit of piano noodling begins her set – I thought she was still messing about – suddenly this changes gear and gives way to a solid crunchy riff recalling early Steely Dan – turns out this is the leading track from her new album 'Back To Creation'. Later there's a suggestion of Chicago in the anticipation of some phrases as the drummer plays also some brass (how?). Listening to the album somewhat later, it becomes apparent that Sara dresses her arrangements with fabulous brass intervention a la Chicago/Blood,Sweat &Tears. Fans of this most creative period of pop/jazz grooviness will definitely enjoy Sara's twist on the fusion.

There's always a danger with female singers who practice open heart surgery about their life and loves to stick them in some cosy sub-folk category. Although we detected some strong traces of Renaissance in their airiest of phrases, there were also equal parts Andy Pratt, Ben Folds and even Traffic – very fine company indeed.

Onwards and Sara introduces 'Something I Don't Know' a song closer to classic white soul than anything else she has played thus far. I've always admired artists that are not tied by genre – great stuff.

It turns out that Sara is originally from Barnoldswick but based in Manchester and studied classical music, plus she has done quite a lot of session work for the likes of the fab Micah P Hinson, King Creosote, Jim Noir and The Earlies. Thus she's quite the seasoned pro, which belies her seeming young innocence and modest presentation – I hope she doesn't mind us saying?

IPO often surprises us – Sara was one of the first to make us sit up, take notice and appreciate the eclecticism. One to watch definitely.

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Eskimo Blonde (x2) – It may have been my imagination but there seemed to be a buzz in the air, an anticipation during the set-up period for these guys from Aberdeen, Scotland. An act that we were fortunate to get to see twice across two days. First time, on the Cavern big stage they prove that they are a force to be reckoned with – our second look later confirms that the intimacy of the Cavern Pub is far more comfortable, as the band relax and connect with their audience when they can see the whites of their eyes.

With no nonsense they are soon ready and kick off with Something for the Weekend a song that cops the riff from Bad Company's 'Feel Like Making Love' but far more puts me in mind of the excellent early 70's London hard rockers Stray.

Effortlessly, they soon slip into the next number 'Happy' where a great thump and grind riff starts things off as soon the chorus escalates to a soaring hook line. The band follow that enduring line of outfits influenced by the unfussy classic rock of the mantle laid down by Free but also encompass the now sadly defunct but brilliant Moke and the great Canadian band Cry of Love. Eskimo Blonde are our next great hope to occupy this space.

Lead vocalist Mike Laszek has a great edgy rasp to his voice; in the high points he elevates this to a controlled whine which soars above the back line to accentuate the all important hooks. Complete with blonde spiky hair, he cuts a fine outline against the Cavern backdrop; close your eyes for just one moment and you can hear a young Bryan Adams at his creative best.

Mike has strong support from the rest of the band, led by their slightly nerdy looking lead guitar player, but he belies his bespectacled demeanour and delivers a constant stream of interjecting rips and runs complimenting their sharp and infectious riffy tunes.

The band's penultimate song begins with a Talking Heads' 'Psycho Killer' bass line but develops into a full scale AC/DC style four on the floor rocker. Called Trip it's a definite stage high point. They finish with a new song harshly and ironically christened by their leg pulling home audience as 'Shit' but is in fact currently titled Heaven Almighty. It's a great finish to a great performance.

Eskimo Blonde deliver a very polished, confident and powerful set, chock full of bump and grind riffs and infectious choruses. Highly recommended and definitely one of the IPO highs in what proves to be an exceptional year!

Advice: Take a trip and try to see It their way

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“We're the fill in band” announced besuited Corner Laughers (x2) singer/guitarist KC Bowman as he stepped up to the microphone. The first band I've ever seen at the Cavern proper not to be introduced by IPO head honcho David Bash or his partner Rina Bardfield. Indeed they were the fill in as they were unannounced on the programme. We later learn that the charmingly named Corner Laughers are an alter-ego of billed combo Agony Aunts, which are normally fronted by Karla Kane and Angela Silletto and augmented by various powerpop aristocrats such as Chris Von Sneidern. However tonight, all the way from the Bay area of San Francisco we get the Agony Aunts (albeit with Karla Kane at the helm) posing as the Corner Laughers.

Clear? No, OK never mind, what about the music? The Corner Laughers were not surprisingly, completely unknown to us. They seem to inhabit that narrow but delightful chasm left by the likes of the great Dan Hicks & his Hot Licks crossed with jug band appeal of The Lovin' Spoonful. Depending on your Point-Of-View, their brand of good timey western swing delivered with suitable quirkiness on ukulele & mandolin by the aforementioned waif-like bespectacled vocalist Karla Kane and her assembled bunch of equally whimsical similar sailors, is totally engaging. However, its fun and frivolity on the outside hides the lyrical underbelly, where we are recounted tales of myths, betrayal, ancient history and lets not forget: jerk-off boyfriends!

The second time we saw the band, later in the evening was as Agony Aunts (as billed). In many way the Corners although they are much more accessible to your actual Powerpop fan with their skew on Beatlesque melody and song structure, their inclusion of plenty of 7ths and diminished 5ths and all round R. Crumb & his Cheap Suit Serenaders references makes you realise just how very interchangeable the two bands are.
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We had seen The Anydays before but such was their improvement over the last time we had done so, we barely recognised the fact. Hailing from Oxford they completed the night for us by delivering a sharp concentrated set of mod-u-like crunchy songs in an assured and deliberate fashion. Leader Drew Atkins, every inch the rock star in Lou Reed shades, red wasp-like hooped shirt and Chelsea boots, announced songs in a nonchalant, sometimes unintelligible insolence, which went well with the territory.

The audience, at this time of the night, strongly represented by the tourist fraternity (The Cavern naturally attracts many unconnected to IPO visitors from all over the world) seemed to treat the band with an undeserved disinterested indifference, which frankly amazed this writer. Somebody was tired and it wasn't the band.

Nonetheless, they didn't allow it to affect their performance and continued with a great animated elan.Their best song blew off our socks, called Tambourine from their just released new album 'Move'.

You should buy it, and we look forward to seeing The Anydays again soon.

We'll be publishing our review of the next day at IPO (Friday) in a few days time.

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For Your Further Delectation:

Agony Aunts - agony-aunts.bandcamp.com/album/greater-miranda

Anydays - the-anydays.208records.co.uk/

Corner Laughers - cornerlaughers.com

Eskimo Blonde -myspace.com/eskimoblonde

Richard Snow – richardsnow.co.uk/

Sara Lowes - saralowes.co.uk

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The Best Albums of 2010

noreply@blogger.com (MrQwerty) — Mon, 21 Feb 2011 02:00:00 +0000

Yes I know we're very late, but if the Brits, the Grammys and even the Oscars can hold out this long into the new year to spill their collective beans, why can't we?

For the first time we’ve actually included a best of the best. The albums featured in our jukebox above represent our solid gold favourites, and for one reason or another stand above the rest in 2010. However in keeping with previous years, the entire 116 hand picked albums are laid out in non competitive alphabetical order and we make no distinction between them. Simply, these are our 116 favourite albums of 2010 and we recommend all of them to any discerning fan of Power Pop, Alt Country and Essential Rock music of the final year of the noughties. Recognizing that you are seeing virtually all those mentioned in our blog for the first time, we are including a few mini-reviews where we think necessary, for your added appreciation. A number of Sub-Lists follow the main album run, but first here are our Best 116 Albums of 2010:

78 Saab - Good Fortune (There are reminders of REM, Hoodoo Gurus and The Church, but these Aussie guitar drangers take you in all kinds of spaces and never leave you without a proverbial paddle. Already on their 4th album, these guys must surely break through eventually?)
Aaron Fox & the Reliables - Late Too Soon (Perfect accompaniment to a day spent driving around in the car with the windows down. Songs encapsulate a yearning for times gone past. Singer Fox has the perfect voice for the mood of his introspective and infectious material)
Aberfeldy - Somewhere To Jump From (Token UK Folk/Rock entry #1)
Agony Aunts - Greater Miranda
American Hi-Fi - Fight The Frequency
Apples In Stereo - Travellers In Space & Time (Continued quirky grooviness)
Autumn Defense - Once Around (In common with a number of albums this year, this evokes another time and almost seems the very antithesis of the turbulent times we live in)
Backyard Tire Fire - Good to Be (Grade A+ Roots Rock)
Bellowhead - Hedonism (Token UK Folk/Rock entry #2)
Bellrays - Black Lightning
Ben Patton - Kaboom! Wow! Summertime! I Love You! ("I Paid For My Ticket I Expect You To Rock Me" - Ben nails it!)
Ben's Diapers - Up In The Mountains
Biters - Hang Around (Retro punky, but with gusto)
Bleu - 4
Blitzen Trapper - Destroyer Of The Void
Blue Giant - Blue Giant
Blue Van - Love Shot
Bodeans - Mr Sad Clown
Broken Promise Keeper - Poptimized (Wish we'd thought of that title)
Buckcherry - All Night Long
Butch Walker and the Black Widows - I Liked It Better When You Had No Heart
Cabinessence - Naked Friends
Candle Thieves - Sunshine & Other Misfortunes
Charles Jenkins And The Zhivagos - Walk This Ocean
Charlie Watts Riots - Long Story Short
Chatham County Line - Wildwood
Chris Corney - Sans Everything (Aching mournful melodies from The Ravines front man)
Contrast - God of Malfunction (A career best for this Glam/Prog/New Wave/Pop concoction)
Coral - 1000 Years
Coral - Butterfly House
Crowded House - Intriguier (Understated grower is elegant without being earth shattering)
Darker My Love - Alive As You Are
Decemberists - The King Is Dead (One good reason to wait till the year actually ends before you compile a best of list. Their breakthrough album)
Devo - Something For Everybody (Pleasant surprise from these hardy perennials)
Dom Mariani - Rewind and Play (Requisite purchase for fans of Someloves, Stems & DM3. Stripped down, alternative takes on stand out songs from his earlier career. One of the coolest CD covers featuring a reel to reel tape deck. Both of us owned these in youth for superior quality, when we bothered about these things, before the advent of the compressed digital sound.)
Doobie Brothers - World Gone Crazy (Deserved nostalgic mention for old time's sake)
Doug Powell - The Apprentice's Sorcerer
Drums - The Drums (Yes it's a little bit indie, but we won't hold that against it, will we? )
Dwight Twilley - Green Blimp
Dylan Leblanc - Paupers Field (Outstanding new talent)
Edward Rogers - Sparkle Lane
Eels - End Times (Phenomenally prolific, and consistently brilliant. 2 Albums this year)
Elephant Stone - The Glass Box
Elvis Costello - National Ransom
Elvyn - The Decline (We were particularly struck by the innocence of the lyrics which recall a simpler time. These are songs that linger for quite some time after hearing)
Ex Norwegian – Sketch (This is not an easy first listen and to the band's credit, the songs take time to grow. Repeated listening certainly pays dividends for this quirky eclectic bunch of tunes to fully sink in the consciousness. Strongest track is the excellent 'Seconds')
Family of the Year - Songbook
Farrah - Farrah ("My baby doesn't get it all"... nuff said)
Figgs - The Man Who Fights Himself
Gay Blades - Savages
Genuine Fakes - The Striped Album
Gin Blossoms - No Chocolate Cake
Goo Goo Dolls - Something For The Rest of Us
Graham Parker - Imaginary Television (Living proof that angry young men don’t always mellow with age, they often get angrier and can continue to deliver work as good as their best and earlier success)
Greg Pope - Blue Ocean Sky
Grip Weeds - Strange Change Machine
Guster - Easy Wonderful
Hanson - Shout It Out (Ignore at your peril as this is their most assured volume to date)
High Dials - Anthems For Doomed Youth
Hoodoo Gurus - Purity of Essence
Imperial State Electric - Imperial State Electric (Recalls glam and shouty 70's Powerpop like no one has before them and makes it theirs)
Joe Reyes - Worry Row
Joey Sykes - Joey Sykes
John Grant - Queen of Denmark (Quite remarkable, frank, sometimes brutal, brilliant and breathtaking)
John Hiatt - The Open Road
John Holk & The Sequins - If You See Her (Exquisite melodies, effortless delivery with a gorgeous lustre)
John Mellencamp - No Better Than This (You couldn't wish for a more authentic rootsy masterpiece - superb)
JP, Chrissie and the Fairground Boys – Fidelity (The pairing of the lovers works as their voices compliment each other. Chrissie retains that sublime voice so diehard fans will be satisfied)
June - Green Fields and Rain
Justin Currie - The Great War
Justin Townes Earle - Harlem River Blues
Kula Shaker - Pilgrims Progress (As close to return to form as damn it )
Len Price 3 – Pictures (Surely world domination can't be too far around the corner for these noisy Londoners on their 3rd outing?)
Lloyd Cole – Broken Record (Pure Americana from this Ex-Pat Scot and here he finally finds his voice)
Lovetones - Lost
Magic Kids - Memphis (Don't be fooled by more than the occasional nod to Beach Boy innovation and arrangement, here beats a heart of pure nerdy dedication to multilayered pop on so many levels rewarded by repeated listens)
Magnetic Fields – Realism
Marc Cohn - Listening Booth 1970 (Finest covers album since Def Leppard's very different but unsurpassed 'Yeah!' in 2006)
Mark Bacino - Queens English (Mark takes us on a whirlwind tour of every classic pop singer/songwriter we've grown up without stealing from any of his (or ours) idols (apart from maybe Harry Nilsson, but nobody else does and maybe should?). However Mark very much makes this his own. This almost perfect pop album only narrowly missed our Jukebox Top 16, absolute best of the 2010)
Mt Desolation - Mt Desolation
Neil Young - Le Noise (The shaky master returns to delight on this minimalist but satisfying offering)
New Pornographers - Together (Contrary to popular opinion builds on past glories and surpasses them)
Nushu - Hula (Unashamedly retro but it couldn't be any other way, could it?)
OK Go - Of The Blue Colour Of The Sky (Where our Powerpop heroes breakout the straitjacket and embrace a kind of Prince meets Tommy James & The Shondells netherworld - refreshing & quite brilliantly seductive)
Oranjuly - Oranjuly
Outrageous Cherry - Seemingly Solid Reality
Parties - Coast Guard (A Jangle indulgence par excellence)
Paul Weller - Wake Up the Nation
Pernice Brothers - Goodbye Killer
Pete Molinari - A Train Bound For Glory (On paper it shouldn't work, but somehow it does, and wonderfully so)
Posies - Blood/Candy
Richard Barone - Glow (Kind of harks back to the 80's without being shameful about it)
Robyn Hitchcock - Propeller Time (One of two great releases this year)
Romeo Flynns - Masque of Anarchy
Rooney - Eureka
Sally Seltmann - Heart that's Pounding
Secret Powers - Lies and Fairy Tales
Seth Swirsky - Watercolor Day (Simply more greatness from Seth)
Silver Seas - Chateaus Revenge (Beautiful songs and arrangements)
Skeleton Staff - Solipsism (Cartoon Glam Rock, but so much more)
Smash Palace - 7 (Their Seventh is our Smashie favourite to date)
Solar Bears - She Was Coloured In (Somewhat sexy electronica)
Summer Fiction - Summer Fiction (The best summer album we ever got to hear in December)
Tame Impala - Innerspeaker
Taylor Locke & The Roughs - Grain & Grape (One of 2 releases in a 12 month - phenomenal)
Teenage Fanclub - Shadows
Thee Wylde Oscars - Right Yeah
Three Hour Tour - Looking For Tomorrow
Tim Lee 3 - Raucous Americanus
Trashcan Sinatras - In The Music
Treefight For Sunlight - A Collection Of Vibrations For Your Skull (Demands you sit up and listen)
Volebeats - The Volebeats
Well Wishers - Post Modern Romantic (Echoes of an urgent primitive Shoes vibration verging on classic status)
Winter Gloves - All Red
Young Veins - Take A Vacation
Zombie of The Stratosphere - Ordinary People

The Best Mini LP/ EP / Singles of 2010

Always a strange one, when is it a bit more than a single or slighty longer than an EP? What constitutes a Mini-Album, how long is a piece of string? Anyway, as it turns out the following also delighted but are in some way shorter in length than a recognisable LP duration.

88 - No One Here (EP)
Blackpool Lights - Okie Baroque (EP)
Elephant Stone - The Glass Box (Mini Album)
Fountains of Wayne - Song Of The Passaic (Single trackd download)
Hives - Tarred and Feathered (EP) (What happened to promised album?)
Jackdaw4 - Retrospectacles (EP) (For the title alone!)
Jim Noir - Zooper Dooper (Mini Album)
Jonny - Gloria (Free EP)
Kyle Andrews - Kangaroo (EP)
Luxury Liners - Believe (EP)
Pierces - Love You More (EP)
Parnetheon Huxley & Kyle Vincent -Dirty Girl (single)
Thea Gilmore - Teach Me To Be Bad EP (Title track is sheer bliss)
Two Wounded Birds - My Lonesome (single)
Winterpills - Tuxedo of Ashes (Mini Album)

The Best Reissue/Remasters of 2010 (must include new material to warrant mention)

Tom Petty - Damn The Torpedoes [2 CD Deluxe Edition] (1979)
Riley - Grandma's Roadhouse (1971) (Never got proper release at the time, blindingly, brilliant, crunchy, choogling and unpretentious Country Rock from the peak period)
Badfinger - The Apple Remasters (1969-73)
Monkees - Head (1968) (Deluxe)
Louie & The Lovers - The Complete Recordings (1970) (Released perhaps last year, but a fine archaeological discovery in any year, particularly 40 years ago when it first trickled out)
I See Hawks In L.A. - Shoulda Been Gold 2001-2009 (Packed with enough new material to entice even the biggest fan, from, along with Jayhawks, the best Country Rock band of last 2 decades)
Tommy Keene - You Hear Me: a retrospective 1983-2009
Church - Deep in the Shallows (30th Anniversary Singles Collection)
Black Crowes - Croweology (In fact more essential than the plugged in stuff)

Overlooked from 2009 (Not heard till 2010)

Plasticsoul - Peacock Swagger (A favourite amongst the cognoscenti but did not hit our collective eardrums till 2010, yes, now we know what the fuss was about)
Train - Save Me, San Francisco (Golden Gate Edition) (Not sure when this appeared but this band have been consistently excellent since their first appearance - this contribution is no exception)
David Nail - I'm About To Come Alive (Alt Country excellence)
Dog Eared Moonlight - Milk & Honey Band (Sometimes slight but completely engaging songs really hit the mark.The album seems to have reached a new level of maturity that earlier Milk & Honey Band records do not possess)
White Buffalo - Hogtied Revisited (Privately released, easy to miss, but impossible to ignore when once heard - brilliant)
Terry Adams - Holy Tweet (NRBQ Driving Force, delivers his best solo to date - superb songwriting, but what do you expect?)
The Pines - Tremelo (Understated, and quietly beautiful)
Luke Jackson - And The Some... (Luke Jackson rocks... but gently - Luke's 3rd & best to date is a collaborative and not unformidable effort between the man himself and his beloved Swedes Christoffer Lundquist and Robert Kirby (string arr). These gorgeous arrangements, the interplay and sumptuous dressing is never too lavish and beds in nicely especially in the more gentle tracks - and it's here where I feel Luke excels. Best songs are stunning opener 'Come Tomorrow', would be McCartney/Brian Wilson instrumental '1970s Kids TV Show', and my fave 'A Little Voice'.)

Honourable Mentions

Willie Nile - The Innocent Ones (Almost great)
Steve Miller Band - Bingo (A guilty pleasure in 2010?)
Brothers Streep - Suitable For The Whole Family (We mentioned them last year and their album delivers the promise we heard in their 'off the wall 'Anna Paquin' single we loved from back then.)
Jason Falkner - I'm OK, You're OK (Of course it's Jason and, we love you, it's brilliant, but this really dates from 2007, so why these erratic releases and odd territory restrictions?)

Disappointments

Kings of Leon - Come Around Sundown (Faves who have let us down. Touring with U2 seems to have produced an unnecessary merging of KOL with the aforementioned band's anthemic stadium blandness to produce something we already have and don't require any more of thank you.)

Ali Campbell - Great British Songs (A great voice undermined by a karaoke wander through the classics, shouts desperation.)

The End Rant
We may publish very infrequently, but that's not to say we don't spend a lot of time and put a lot into what we do choose to put here. This article hasn't appeared till the last day of February 2011 but a good solid four months has gone into its preparation.

The main intention of this year’s best of list is not to simply demonstrate our impeccable taste in music, and this fact whilst unavoidably true ;-), we are happy to reveal that our primary purpose is that in parading a cavalcade of interesting and perhaps new titles into your radar, is the hope that you might be sufficiently motivated to investigate further, both those you may already know and those less familiar in the pursuit of something new and excitingly different. Today's music industry is in a horrible mess, we don't have to tell you that, you know, and if what we laughingly used to call The Majors (although nobody selling records in the first 100 years of its existence, still is doing so today) aren't gonna do it any favours then it's up to you and us to support the artists we love by supporting them directly by buying their music through their own websites, and the likes of Reverbnation, eMusic, CD Baby and independent record retailers (whatever's left of them).

Some bands even ask their fans to help fund their next recording venture by pledging their support in advance for some exclusive kick-back on the records eventual release, such is the difficulty of the cashflow situation in some rock 'n' roll camps. However if this works and can help to keep your faves afloat, why not?

In addition to direct support you might want to add your muscle to the few remaining music magazines that are still in existence. Big Takeover always turns out a quite remarkable review and article laden magazine, several times a year. We recently discovered a UK magazine 'Shindig' that focuses primarily on garage rock which we both quite appreciate.The magazine reminiscent of the short lived and now much defunct 'Strange Things Are Happening' has the same deluxe feel and attention to detail and presentation.

Lastly, as well as purchasing the music and magazines we highly recommend joining the recent music network for veteran rockers: Rock and Roll Tribe If you value intelligent discussions that take in all manner of genres and occasional fun leading questions, then this site should interest you. There are now over 1,200 members from all kind of backgrounds including some musicians themselves, industry shakers and mere mortals like ourselves.

This finale piece to our Best of 2010 has been a bit of a rant, and I imagine
we are mainly just preaching to the converted, but you know that we simply care about the continuation and the further exploits of this thing we all love, so take heed and put your money on the nose of the music we adore.

End Of Summer Blues

noreply@blogger.com (Power Pop Review) — Sat, 11 Sep 2010 11:55:00 +0000

No one likes seeing the end of summer especially in England where sunny days are never at a premium.With the ending of one season comes the dread of the shorter gray days and the unending rain.On a positive note due to my lack of posts lately here is another play list of songs which happen to come from all the bands I've discovered in the past few weeks. The songs might not fall under the aegis of powerpop like other music reviewed here in the past but nevertheless my intention is that some of you discover some new bands that you wouldn't have otherwise found.

For those who are possibly wondering where the review of Liverpool's IPO Fest is it will still be posted even if it's a bit late.

Enjoy the play list! For those who don't have access to Spotify my apologies.

August Discoveries 2010

Here's a brief overview of some of the bands whose songs appear on the play list.

The Blue Van hail from Denmark.Their sound seems to be more reminiscent of a gritty blues sound from the 70's. Those of you who were fans of Free should like this track which comes from the CD Dear Independence which was released in 2006.

Not sure how I could have missed the music of Baby Woodrose who coincidentally come from Denmark also! This particular song could have come from a best of garage mix from the late 60's. Those of you who favor that particular genre should thank me for this gem.

Next is cover of I Had Too Much to Dream Last Night originally done by The Electric Prunes. So impressed with Davie Allen and the Arrows that I've included 2 tracks here.

If you enjoy pristine harmonies and songs that only improve with age like a good bottle of wine next track by the Straw Dogs will satisfy. One can always wonder how such a good band with 5 albums to their name can fall under the radar but many of us have exposure to such a plethora of music both old and new, some overplayed and undiscovered.

Last 2 songs on the play list from Josh Pyke and Or, The Whale also fall under the category of alt-country.

Feel free to leave comments if you particularly enjoyed any of these songs and please above all support these musicians.

Sizzling Summer Powerpop Playlist

noreply@blogger.com (Power Pop Review) — Tue, 27 Jul 2010 15:21:00 +0000

Ages since our last appearance; real life has gotten in the way again. Until the next post which will be our review of Liverpool's International Pop Overthrow Fest in May here's a playlist of some favorite tracks from 2008 - 2010. Apologies to those who don't have access to Spotify.

1. Let's Go - Stephen Lawrenson
2. Pray For Delay - Anne Soldaat
3. Couldn't I Just Tell You - Matthew Sweet and Susanna Hoffs
4. Twice If You're Lucky - Crowded House
5. Up Against The Glass - Botticelli's
6. Quit - Benjamin R
7. I'm Not A Kid Anymore - Sloan
8. Close To the Sun - Grip Weeds
9. She Revolves - Quarter After
10. Second Scene - Gurus
11. Here We Go Again - The Galaxies
12. Don't Ask Me Love - The Madd
13. A Whole Lot Better - Brendan Benson
14. If I Could Break Your Heart - Oranjuly
15. Change - Young Veins
16. The Sun's Gonna Shine In the Morning - Dennis Diken with Bell Sound

Sizzling Summer Playlist

God of Malfunction - The Contrast Come Back To Life

noreply@blogger.com (Power Pop Review) — Sun, 11 Apr 2010 15:48:00 +0000

What's it like in a few words? The Searchers meet Smithereens whilst Prog meets Pop

The Contrast can always be relied upon to provide the listener with an album chock full of great ideas, signature harmonies and sonic goodies without any particular quirks other than maybe singer/writer David Reid's downbeat vocal and affected pronunciations (moon becomes m'herne for example) which sits suitably at odds with the confectionist appeal of his opulent hooks. Although the pick and mix is changeable from one album to another, with gems dotted here and there, there's no doubt that the highpoint to date was 2005's 'Forgot To Tell The Time' where the band had finally made the record they'd been threatening for the previous five years since their debut in 2000.

Five years on the band has reached somewhat of a career hiatus with only 2007's less distinguished 'Underground Ghosts', a label change to Steve Van Zandt's Wicked Cool, plus an excellent but really (for fans) water treading compilation 'Perfect Disguise' to occupy. What's important now is whether in 2010 their new album builds on the promise of that career high of five years past or are they merely languishing in the skids?

We commence with a laugh, a hollow reedy synth arpeggio echos Rattus Norvegicus IV period Stranglers as an insistent chorus rams the catch right home and seriously connects by the time you give the opener its third airing.

Next, the first and correctly chosen single 'Coming Back to Life' says Blondie so much I can almost hear the Debbie Harry cover haunting us impossibly from 30+ years ago - Underground Ghosts indeed. Definitely one of the strongest tracks on the album - a Farfisa-ish poppy organ drives a groovy short little mover to its logical conclusion enough to make you want to press the repeat button in an instant.

The third slice 'Take Me Apart' is classic new wavish 2 1/2 minute pop single material, but also takes in an early 60's Gary U.S. Bonds vibe. Beautifully dressed, this has got all the important ingredients in one glorious concoction - a lovely, wobbly short sharp guitar solo, fab bop-bop-shoo-wop backup vocals and great drumming as is customary on all Contrast records. Undoubtedly, this should be the next single.

Elsewhere on our imaginary side 1 'I Am An Alien' betrays some Prog allegiance as the distinct application of the antique theremin apes the same in Uriah Heap's prominent whistling howl in 'Sweet Lorraine', whilst 'Gone Forever' has the Searchers written all over it with guitars all a-jangle and amazingly this screams "This should be the third single!"

Turn your iPod over and with title track 'God of Malfunction' we are right back in Prog land. Harmony guitars open, giving in to riffy lurches which seem to musically check Aqualung era Jethro Tull in a multitude of characteristics - only the flute is missing - even the subject matter is right on target. Nice one.

Moving along, 'Better Than They Seem' visits the Beatlesque psyche period somewhat via XTC and all who sail in her. 'She's A Disaster' sports nice synth/guitar interplay a-la-raga rock and majestic, controlled, crushed drum fills from the incredible Thorin Dixon, who comes on like a caged Keith Moon.

Tussling between the Prog and the Pop 'Thought You Were Strong' emerges as a late favourite all riff heavy but more light alloy than heavy metal - thankfully!

I've not commented on David Reid's lyrical content - I may be doing him a disservice here but I think he'd be the first to admit that he uses language for its sound and effect rather than its meaning, so I've long since tried to figure out what he might be trying to say to us - if anything.

However, the grand finale piece 'False Admission' grabbed my ear first time around more for a little lyrical trick before the music gripped on subsequent plays. We start with a nice dragging walking pace - an attractive guitar figure introduces the song and each verse. Impending drama is hinted as the song grows into moderate movie epic proportions, returns to walking pace and peters out to subdued feedback. As you begin to appreciate the song construction overall the lyrical trick staged around the title which rhymes 'False Admission' with both 'badly written..' pause and then also 'fiction' becomes less apparent, as do the lyrics themselves.

In my introduction I posed the question of whether the band was hitting greater highs or merely resting on past glories. After 10 years and 6 albums and little commercial feedback, it must get more and more arduous to keep pulling rabbits from hats. Well, I'm glad to report that the break, the move to a new label and the superb CinemaScope production of strong advocate and mentor Little Steven have made a difference. It's very much evident that on this album the Contrast's strengths have been expanded, highlighted and squarely aimed into a record which will prove to be their most polished, accessible, and best yet.

Finally, there's gonna have to be a hundred or so better albums this year for 'God of Malfunction' not to end up on the Powerpop Review Best of 2010. You owe it to yourself to invest and give this hardworking band a well deserved place in the first division. Get 'God of Malfunction' - Out this Tuesday 13th April
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Cover: The album cover particularly recalls the prog sleeves of Roger Dean with its spindly long legged elephants not a million miles from their large eared flying cousins which adorned Osibisa's first 2 or 3 albums from the early 70's. Perhaps David Reid harbors some deep rooted Prog pretensions from his youth as do these two writers?
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In our reviews I = We - where we basically both listen, inwardly digest, write separate reviews, then merge the two in the first person.
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Hear the first single 'Coming Back To Life' on the band's own website.

Discography:

God of Malfunction - Wicked Cool Records 2010
Perfect Disguise:Introducing the Contrast - Wicked Cool Records 2007
Underground Ghosts - Rainbow Quartz Records 2007
Forget to Tell the Time - Rainbow Quartz Records 2005
Fade Back In - Rainbow Quartz Records 2004
Wireless Days - Rainbow Quartz Records 2002
Mystery #1 - Rainbow Quartz Records 2000

The Best Albums of 2009

noreply@blogger.com (MrQwerty) — Sun, 31 Jan 2010 19:15:00 +0000

With a mere 3 posts in 2009 (and even now - still fashionably late) you'd be forgiven for thinking we wouldn't be in a position to list our favorites of the year. Well, despite some major upheavals in our personal lives which definitely impacted our ability to appear here on a regular basis, our ears have not been shirking their honeyed duties. As a result, we bring you a bumper round-up of what we believe to be not only one of the best years of the decade, but also the perfect end to one of the best decades since Rock 'n' Roll first flickered into existence.

In a year where the mainstream music industry on one hand is piling the dung heap higher than ever with evermore glossy karaoke TV talent shows and on the other still failing to address the licensing and territory issue which threatens to drag it even further into the mire, choosing to have governments and clod-hopping authorities turn music fans into criminals rather than provide the download culture with a comprehensive reasonable, universal and fair solution - which surely is within their power alone to provide - the alternative/real music industry is turning out better and better music in greater numbers than ever before.

Hundreds of great albums were released this year, making it difficult to keep up with the onslaught. Quite a few appearances from old faithfuls were mostly welcome: Superdrag, Tommy Keene, Von Bondies, Cheap Trick, Terry Anderson, Green Pajamas, Ian Hunter, Mother Hips, NRPS, NGDB, Parallax Project, Mother Hips, Willie Nile, Kyle Vincent, and Naomi Star amongst them, but overwhelmingly, the majority of names were brand new (or almost new) to us - long may it continue.

In keeping with previous years, genres blur and it's hard to say what's pop and what's not. So we present a variety of lists which cover our chief area of taste but also others which for one reason or another, beg inclusion. As usual, these-are-some-that-we-have-loved, so we can't put them in any kind of order, except alphabetical. However, we have numbered them for convenience sake.

The Best Power Pop Albums of 2009

All Star United - The Good Album
American Suitcase - Pillowsky
Andy Lehman & The Night Moves - Lowcountry
Anne Soldaat - In Another Life
Ben Folds Presents - University A Cappella
Benjamin R - The Other Side Of Nowhere
Bigbang - Edendale
Biscuit - Cinnamon Fade Out
Bishop Allen - Grrr...
Black Hollies - Softly Towards The Light
Blame Ringo - Lucky Number 9
Bob Evans - Goodnight, Bull Creek
Bob Mould - District Line
Bobby Emmett - Learning To Love
Brendan Benson - My Old, Familiar Friend
Campbell Stokes Sunshine Recorder - Makes Your Ears Smile
Cass McCoombs - Catacombs
Casper And The Cookies - Modern Silence
Cheap Star - Speaking Like An Elephant
Cheap Trick -The Latest
Chris Richards - Sad Sounds Of The Summer
Cornershop - Judy Sucks A Lemon For Breakfast
Creede Williams - After The Letters
Dashboard Confessional - Alter The Ending
David Brookings - Glass Half Full
David Mead - Almost And Always
Deleted Waveform Gatherings - Ghost, She Said
Dennis Diken With Bell Sound - Late Music
Dexateens - Singlewide
Dolly Rocker Movement - Our Days Mind The Tyme
Duckworth Lewis Method - The Duckworth Lewis Method
El Goodo - Coyote
Eric Knox - Top Ten
Everclear - In A Different Light
Fate Lions - Good Enough For You
Films - Oh, Scorpio
First In Space - This Is Not Here
Fun - Aim And Ignite
Glenn Tilbrook And The Fluffers - Pandemonium Ensues
Gourds - Haymaker
Greater California - All The Colors
Howie Day - Sound The Alarm
Humbugs - On The Up Side
Ian Tanner - Things Never To Say Out Loud!
Jason Falkner - All Quiet On The Noise Floor
Jeff Litman - Postscript
Jeremy Miller Band - Way Too Fast
Jet - Shaka Rock
Johan - 4
John Brodeur - Get Through
June - Magic Circles
Junior League - Smile Shoot Smile
Kyle Vincent - Where You Are
Leftovers - Eager To Please
Lovetones - Dimensions
Madd - Are Pretty Quick
Madness - The Liberty Of Norton Folgate
Marc Carroll -Dust Of Rumour
Mark Cronk - Playing Katchup
Martin Carr - Ye Gods & Little Fishes
Matt The Electrician - Animal Boy
Meat Puppets - Sewn Together
Michael Carpenter - Redemption #39
Miles Nielsen - Miles
Mika - The Boy Who Knew Too Much
Minky Starshine - Unidentified Hit Record
Minster Hill - Capturing Clouds In A Bottle
Mockin' Birds - Spread Your Wings
Morningwood - Diamonds And Studs
Naomi Star - Through The Eyes
New York Dolls - Cause I Sez So
Official Secrets Act - Understanding Electricity
Orange Peels - 2020
Parallax Project - I Hate Girls
Passports - Is It True
Peter Holsapple & Chris Stamey - Here And Now
Pogo Pops - Where The Action Is
Pronto - All Is Golden
Pugwash - Giddy
Reno Bo - Happenings And Other Things
Research Turtles - Research Turtles
Resonars - That Evil Drone
Riverdales - Invasion Usa
Riverwinds - Riverwinds
Roger Klug - More Help For Your Nerves
Secret Powers - And The Electric Family Choir
Scott Warren - Quick Fix Bandage
Shazam - Meteor
Sheer - Here And Now And Long Before
Solly - You Know What You Should Do
Sons Of Great Dane - Why Ramble
Spiral Stairs - The Real Feel
Spongetones - Scrambled Eggs
Spongetones Present Jamie & Steve - English Afterthoughts
Stephen Lawrenson - Somewhere Else
Stereophonics- Keep Calm & Carry On
Stellastarr - Civilized
Strangefinger - Into The Blue - Remarkable?
Soundtrack Of Our Lives - Communion
Summer Set - Love Like This
Surrogate - Popular Mechanics
Taylor Mills - Under The Surface
Telepathic Butterflies - Circle Man
Tody Castillo - Windhorse
Tommy Keene - In The Late Bright
Tomorrows - Jupiter Optimus Maximus
Train - Save Me San Francisco
Tripwires - House To House
Two Hours Traffic - Territory
Valley Lodge - Semester At Sea
Von Bondies - Love Hate And Then There's You
Webstirs - So Long
Wheels On Fire - Get Famous
Wild Bores - Wild Bores
Willie Nile - House Of A Thousand Guitars
Wiretree - Luck
Yeah You's - Looking Through You

The Best Alt Country/Roots/Organic of 2009

1220 - Killin' For A Livin'
Andy Lehman & The Night Moves - Lowcountry
Avett Brothers - And Love And You
Ben Folds Presents - University A Cappella
Ben Harper& Relentless 7 - White Lies For Dark Times
Blue Rodeo - All The Things That Are Left Behind (2cd)
Boo Hewerdine - God Bless The Pretty Things
Bottle Rockets - Lean Forward
Brad Peterson -The Ductape Album
Brian Jay Cline - Nashville Tracks - Maybe
Brother Trucker - The Flyover
Calico Brothers -Tell It To The Sun
Carbon Leaf - Nothing Rhymes With Woman
Chris Isaak - Mr. Lucky
Chris Knight - Trailer II
Chuck Prophet - Let Freedom Ring (2009)
Clarks - Restless Days (2009)
Cracker - Sunrise In The Land Of Milk And Honey
Cross Canadian Ragweed - Happiness And All The Other Things
Deadstring Brothers - Sao Paulo
Dinosaur Jr - Farm
Don Gallardo - Sweetheart Radio Revolution, Etc.
Elvis Perkins - Elvis Perkins In Dearland
Gilded Palace Of Sin - You Break Our Hearts We'll Tear Yours Out
Gloriana - Gloriana
Gomez - A New Tide
Grand Atlantic - How We Survive
Hot Dogs - Nothing But A Bad Day
Ian Hunter - Man Overboard
Ike Reilly - Hard Luck Stories
Jason Isbell - And The 400 Unit
John Fogerty - The Blue Ridge Rangers Rides Again
John Wesley Harding - Who Was Changed And Who Was Dead
Jon Allen - Dead Mans Suit
JTQ - New World
Karima Francis - The Author
Kasey Chambers & Shane Nicholson - Rattlin' Bones
Kings Of Convenience - Declaration Of Dependence
Kingsbury Manx - Ascenseur Ouvert!
Leaving Tx - Late Gettin' Started
Lemonheads -Varshons
Levon Helm - Electric Dirt
Locksley - Be In Love
Low Anthem - Oh My God, Charlie Darwin
Maplewood - Yeti Boombox
Megafaun - Gather Form And Fly
Michael Martin Murphey - Buckaroo Blue Grass
Minus 5 - Killingworth
Mother Hips - Pacific Dust
Nanci Griffith - The Loving Kind
New Riders Of The Purple Sage - Where I Come From
Nitty Gritty Dirt Band - Speed Of Life
Paolo Nutini - Sunny Side Up
Pines - Tremelo
Pinto -Short Songs About Konging
Quantic And His Combo Barbaro - Tradition Intransition
Refreshments - A Band's Gotta Do What A Band's Gotta Do
Rhett Miller - Rhett Miller
Roger And The Rockets - Walking Band
Sam Baker - Cotton
Scott Miller - For Crying Out Loud
Sister Hazel - Release
Statesboro Revue - Different Kind Of Light
Stereo Deluxe - When The Party's Over
Terry Anderson & The Olympic Ass Kickin Team - National Champions
Thea Gilmore - Recorded Delivery
Them Crooked Vultures - Them Crooked Vultures
Timothy B. Schmit - Expando
Tom Caufield - The Times Are Never So Bad
Train - Save Me San Francisco
Uncle Kracker - Happy Hour
Webb Wilder - More Like Me
Western States - Bye & Bye
White Lies - To Lose My Life
Wilco - Wilco (The Album)
Wrinkle Neck Mules - Let The Lead Fly

A Dozen & 1/2 Fab EP's From 2009

Chris Richards - That Covers That
Codaphonic - Edison's Rival
Cobbwebs - Demos
Greg Pope - Pete
Honeydogs - Sunshine Committee
Jeremy Nail & the Incidents - EP
John Brodeur -Slutty Nurse
Josh Abbott Band - Brushy Creek
Joshua James - Sings Songs
Leisure Society - A Product Of The Ego Drain
Mini - Must Try Harder
Paul Westerberg - The Ghost Gloves Cat Wing Joy Boys
Riffbackers - Sometimes
Rooney - Wild One
Sloan - Hit and Run
Syrups - Hear Here
Tearaways - Knackered
Whiskey Dawn - Dear Nashville

Special Mentions for 2009
Big Star - Keep An Eye On The Sky [Box Set] - Essential Box Set Of The Year for the brilliant but unappreciated Archie Bell support set alone - a 1000 musicians smile in ironic recognition!
Brothers Streep - Anna Paquin - Greatest Comedy Song With A Power Pop Flavor from these young gifted South African satirists
Bruce Springsteen - Working On A Dream - Bruce's single is perhaps the Most Pop Thing he's done Since 'Hungry Heart' - more like this please Bruce.
Clay Broome - Sunscreen Secrets - Clay, I love this! - When does it get official release?
Clem Snide - Hungry Bird - Consistently Great Singer/Songwriter still delivering the goods
Noel Gallagher - The Dreams We Have As Children - Fave Live Album
Prince - Crimson & Clover - Fave Bubblegum Cover of the Year
Jayhawks - Music From The North Country - Most welcome Anthology of the Year
Jon Boden - Songs From The Floodplain - Best UK Folk Album of the Year
Chris Smither - Time Stands Still - Best US Folk Album of the Year
Sadies & John Doe - Country Club - Great New Partnership
Avenues (From Leeds UK) - The Saddest Demise Of A Brilliant Band
Booker T Jones - Potato Hole - Best Fabulous Return
Graham Coxon - The Spinning Top - Massive Change Of Direction Award goes to Graham for his embrace of something like Nick Drake bedsit country
New York Dolls - Cause I Sez So - Favorite Re-Emergence
Spinal Tap - Back From The Dead - Welcome Re-serving of the Year
Richard Lloyd - The Jamie Neverts Story - Best Hendrix Covers We've Heard all Decade
Tragically Hip - We Are The Same - Favorite Canadians of the Year
Wolfmother - Cosmic Egg - Best Trad Hard Rock Album

We've largely sidestepped tributes, compilations and reissues - not that there weren't some great examples of each, bur we had to draw the line somewhere. Looking forward to more great music in 2010.
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Going Down To Liverpool To Do Something

noreply@blogger.com (Power Pop Review) — Mon, 08 Jun 2009 21:31:00 +0000

Yes it's been a while, but we're back again, after some period spent on the non blog life for a while - apologies, we won't let it happen again!

One of the advantages of being able to attend Liverpool's International Powerpop Overthrow Festival is experiencing a plethora of powerpop bands from a pool which is truly international (as the name implies) encompassing musicians the whole length of Scandinavia, many parts of Southern Europe, regions of Asia, the USA and the UK etc, in intimate, cosy surroundings like the Cavern. Any serious music fan will already know how important the Cavern was in terms of rock music history and that musical heritage is still being carried on by the 175 bands that performed last week or so at the IPO Fest.

Since we could only attend the festival on Saturday, Mr Qwerty and I will be highlighting the bands that impressed us the most that day. This particular year the festival took place not only on the back and front stages of the Cavern but also across the road at the Cavern Pub, and round the corner at the Beaconsfield and the Grapes. Since the last 2 places mentioned are fairly close it wasn't impossible to catch the bands that we wanted to see, but a bit hectic, not helped by some skewed scheduling at the further venues, which resulted in us endlessly catching the last song by one band or another for the first two hours we were there.
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One such band was Slumberjet (think a little XTC, a little Neil Finn but like neither really other than that knack with an adventurous melody) who we caught for two and a half numbers at the Beaconsfield where the Irish 3-piece were delighting an audience of 2 or 3 interested parties and possibly the pub pooch. This embarrassing turnout must have been due to the crazy scheduling. We'd actually turned up to see the Romeo Flynns, but they didn't even leave the airport owing to some UK entry faux pas. Anyway Mr Q was very impressed with Barry O'Brien's slighty off-centre take on hooky, sometime pastoral psyche pop, and managed to catch them for a few more songs later when they played the Cavern main stage. Recommended is Barry O'Brien's own EP Spark, the 3 songs on the bands MySpace. Can't wait for a fully fledged Slumberjet Record. Soon I hope! More information on Slumberjet here: www.myspace.com/slumberjet
 The first band to send our collective thumbs aloft were the Edinburgh ensemble Honeybug. This 7 piece fit into an unusual and select niche only previously reserved for the likes of Curt Boettcher (Sagittarius, Millennium California, & Association), Harpers Bizarre, the Merry-Go-Around, the Turtles and Yellow Balloon.

Their harmony drenched soft pop, the level of sophistication and interweave is an awfully rare beast, even in the phenomenal world of powerpop. Thus it was truly a delight to experience their aural brilliance for the first time, from the delightful first song 'Time' which featured just Ni's piano and the bands glorious voices, to 'Anything For You' from their Naked Songs EP.   Although their own material is very strong, it's arguable whether the real highlights were their crowd pleasing rendition of Jellyfish's 'That Is Why' and later and even better known, the Buggles 'Video Killed the Radio Star.' Both were nigh on perfect, particularly the Jellyfish cover which was frankly awe inspiring.

We are indebted to Debbie's Twitterfriend, Anne Marie for the recommendation and an introduction to main man Nigel Frayling-Kelly. Explore more at www.myspace.com/honeybug

You wait for years for new, well crafted soft harmony pop, then two come along at once.

Piano led by Yani Martinelli, Navy Blue too have a level of sophistication and command of the medium that impresses immediately. The material often recalls the mini symphonies and welded multi-strand short pieces of the Smile-era Beach Boys, the experimental touches of Harper's Bizzare, Ben Folds and Todd Rundgren. I even hear references from as far afield as Harry Nilsson and amazingly, Stereolab. But Madrid's Navy Blue make it all their own, in a rich melle of gorgeous flavours.

The band possess two excellent lead vocalists in the charming Yani Martinelli and lead/back-up singer/percussionist Angel Gago - a finer set of pipes than you could ever wish to meet. Their new album 'At Home' is as charming and seductive as they are. Investigate more at www.myspace.com/navyblueproject

Mini moved through the club like a clean waft of fresh air, delivering a tight set of dynamic, twisting, turning songs of love lost and unrequited, set to flawless and tasteful, inventive instrumentation.

The material flowed smoothly and effortlessly for half-an-hour of relentless entertainment. The band connected well with the audience and lead singer (and drummer) had oodles of charisma, with bags to spare. Also, great to see a band with two lead singers plus strong vocal harmonies and back-ups - all band members sing - and perform like their life depended on it. Their cover of Cliff Richard's 'We Don't Talk Anymore' was a showstopping demonstration of just how great a powerpop song this was. Mini did the 1980 #1 Alan Tarney penned hit total justice and didn't shortchange us at all when they included all the vocal pyrotechnics of the original, delivered with stunning and appropriate acrobatics!!

Mini were new to us but we will go away with nothing but admiration for their standout song 'Since Yesterday' - a tremendous showcase for the incredible vocal performance and quality of lead singer Scott Richardson and guitar of the Gary Davies. The song has an expansive sound which takes in both Macca (Circa 'Band on The Run') and Stevie Wonder (Circa 'Innervisions/Believe When I Fall In Love') with a dose of psychedelia to tag out with. Unmissable.

Mini's EP with a nice self-depreciating title of 'Must Try Harder' should be purchased immediately - find out more about Mini: www.myspace.com/soundofmini

If memory serves, almost one week on, I believe Smash Palace opened with the superb career high 'Steal Her Thunder' from their 'Over The Top' album. A wickedly perfect soaring slice of pop psychedelia that recalls both fellow New Jerseyites 'The Grip Weeds' and (of course perfect PP reference) the Byrds

Although the crowd wasn't huge, Smash Palace can't realise their almost legendary status as the wonderful 'Juliet To Me' (from both the 1st album & the fully realised/rounded version which graces 'Over The Top') was requested by audience member. Leader Stephen Butler seemed genuinely humbled by the fact that some people in England might know their stuff when he asked "How do you know that song?". "Cos I bought the album when it came out" replied the English guy. Yeah Stephen that makes at least of two of us - and I'm sure many more!

The band (formerly the main shakers from the obscure, rare & underrated 'Quincy') continued with 'She' (From the last album 'Everybody Comes & Goes') and a very nice cover of the Beatles 'Hey Bulldog' in recognition of their being at the Cavern. Personally I can't believe how far they've come from that now passe sub U2/New Romantic sound of 1985's 'Living On The Borderline'. www.myspace.com/smashpalace and www.smashpalacemusic.com/

Unfortunately due to switching from one venue to another we were only able to catch 2 songs by Peter Parker, which was a real shame. His break speed guitar work welds Chuck Berry to Marc Bolan, and chugs and splutters like no other. An arresting spectacle, Parker jerks and quirks like a man who’s eaten tourettes tablets for breakfast. He’s only one man, and although great, I think fronting a band would serve him well. The songs available at www.myspace.com/peterparkerrocks and MySpace Vids are gloriously hooky and blew these writers away.

Radio Days, an Italian band from Milan, made a visual statement soon as they appeared - all clad in all black, thin ties, skinny frames and a front line of white guitars. The Band had fabulous stage presence and unstoppable energy! Their set was over way too quickly for us.

These guys had definitely done their powerpop homework. They performed brilliant covers of both the Rubinoos "I Want To Be Your Boyfriend" and a sublime Paul Collins' Beat: 'Rock 'n' Roll Girl'. These covers perfectly placed their own songs which revisits the best in the short sharp shocks of bands like the Romantics, the Ramones, Green Day and of course, the Beat. www.myspace.com/radiodays

  My husband and I were pleasantly surprised to find out while doing research for this article that the origins of Irwin Starr from Denmark date back to the excellent Shiner 22. Who? I hear you say, but we had discovered the music of Shiner 22 many years ago (one and a half brilliant albums in 'Mint' and 'Where's The Catch') and often wondered what had happened to them.

Amazingly they still have a web site www.shiner22.net/ but main man Fjeder (aka Pete Shiner) now leads Irwin Starr, who were superb BTW. Their song 'Sally Can't Wait' is as solid a gold piece of powerpop if ever you heard some and remained the high point of their hot and sweaty set in the bowls of the Cavern Pub. The audience was a little thin on the ground but was frequently peppered by streams of scantily clad young women on a night out, a sight which thrilled the band enough to make up for the paucity of numbers and provided a few laughs for us in the audience and the band at the irony of the whole thing. See Irwin Starr's Facebook page

Peter and the Penguins are able to capture the essence of Beatlesque harmonies, melodies and song structure without sounding totally derivative of their idols. The exception might be the infectious 'Surprise' which is such a dead ringer for 'Please Please Me' it may as well have been a Rutles song!

However the band more than redeem themselves with very original spin given on their song 'There Goes Pete Best' which tells the story of how the writer is about to get Pete Best's autograph, but has a change of heart when he questions why he'd want the autograph of "...the unluckiest bastard in the world".

The Penguins went down a storm with more than a sprinkling of dedicated fans amongst the throng. Their nifty cover of the Spongetones "She Goes Out with Everybody" was another highlight and prompted our purchase of their latest album 'How To Choose A Sweetheart' at the gig as a souvenir of a great concert. Go to www.myspace.com/peterthepenguins to find out how to get your copy.
  Mellowmen were initially the band that compelled Debbie to pick Saturday for the day that we would attend IPO as we'd seen them twice before - again, they were our favorite band of the day.

Their songwriting, musicianship and performance makes one wonder why their name isn't better known. The sheer energy of the show had the audience as much engrossed in the music as the band members were themselves transfixed by something outside our immediate vision (see photo below for evidence). The men of Mellow began with Out Of Shape Part I from their 2004 EP of the same name, a crowd pleaser to the anointed as many of us sang along about just how 'Out of Shape' we were. From beginning to end these guys give their absolute all and by end of the performance are completely hung out to dry. When they come off stage they resemble the MC5 in that classic cover shot from their second album 'Back in the USA'(pic) - although musically they are not at all alike - they certainly capture that energy and commitment.

This time the Men had a surprise for us all when lead guitarist Anders Lofgren came over all Pete Townshend like and suddenly smashed his guitar into splinters in 60's pop-art style. It was certainly a great end to a terrific day!

Best personal surprise of all, Debbie got an advance promo of 4 new tracks of the band from hunk bassist Jonas Lofgren - the contents of which indicate that their projected fall second album promises to be brilliant - can't wait! www.myspace.com/mellowmen
___________________________________ __________________________

It seems churlish to complain, the IPO is a free festival and although he seems a little more aloof than when I first met him 5 years ago in New York, there's no doubt that it's the enthusiasm and drive of David Bash that flies the powerpop flag so large and so high, but I feel that a 7 day festival and 175 bands, while admirable is spreading the goods a little thin. For me, the influx of indie and other extraneous styles sometimes dilutes the artist mix a little too much.  

Posted by Mr Qwerty & Debra47
___________________________________ __________________________

Happiness is a Warm Fuzz

noreply@blogger.com (MrQwerty) — Tue, 17 Mar 2009 12:05:00 +0000

Here's another record that failed to make our best of the year only by virtue of the fact that it was released too close to the end of 2008 for us to place it in our catchment. Certainly, it would have featured in our top 5 EP's of the year as it's as solid a pink piece of prime modern bubblegum as one could ever wish to find.

The great thing for 'Gum aficionados like me, is that each generation brings something fresh to the genre without taking something important away, unlike the Heavy Metal genre for example which seems intent on removing essential elements piece by piece, dimension by dimension to end up with some ghastly one dimensional shadow of its original reference. By contrast, this fine EP has pedigree which reaches all the way back to Kasenetz Katz & The Archies, thru Chinn & Chapman, Fizzy 80's Electronica, Betty Boo, Hanson, right up to today's Ting Tings.

The Warm Fuzzies hail from the rich musical heritage that is Athens, Georgia, but apart from maybe the odd minor nod to Pylon, buck the lineage completely and serve up their very own slab of delicious dessert.

Their 6-song EP specially packaged in an eco-friendly "arigato pak" comes complete with a comic-style liner (like Bazooka Joe's did) and topped with a scratch-n-sniff (ala Raspberries 1st) that smells just like bubblegum!

As soon as your player hits binary you're up and grooving to the Warm Fuzzies infectious concoctions. References abound, Weezer and The Rentals are obvious pointers, but I hear reaches back to 'Gums' mid 60's inception, plus the idiosyncratic influence of Devo, Cheap Trick, TMBG & that nerdy cool of The Feelies, Presidents of the USA, Wheatus and Bowling For Soup.

So what do you get for the price of your Chewy Chewy few dollars:

'Hey Milunka' opens with a 'Pictures of Matchstick Men' incessant high pitch guitar crochet riff, followed by a run on something which sounds like a resident arcade one arm bandit, then a flutey Casio picks up the gauntlet and gives in to off-the-wall lyrics with a nursery rhyme melody in the classic 'Gum tradition. 'Hey Milunka' is a great opener sitting exactly where the strongest track should - be at the helm.

Gotta mention that the Casio sounds like the classic VL1 Tone model (circa 1980) - the same synth as used famously on Trio's 'Da Da Da' and the Human League's 'Dare'. This tiny hand held instument was an innovative little beast which doubled as a calculator - I used mine at school back in those early electro days.

'Space Invaders' opens with fizzy Moog and toy fuzz guitar and addresses that very serious issue of encroaching on your colleagues space in the office. In fact, this could have been the soundtrack to Ricky Gervais' "The Office", later personified by Steve Carell in the US version of the same. "Disorder, ...border, ...space invader".

'Your Dairy King' - employs the band's knack of including great puns in both their song titles and lyrics, plus (in fine 'Gum tradition again) the all important confectionery link. 'Your Dairy King' features brand loyalty in a song which raises the ad jingle way above its usual disposable status.

'Why Do Girls Wear Big Sunglasses' - is perhaps the bands best song other than the hit starter. This manages the stupendous feat of recalling for this writer, both XTC's 'I'm Bugged': "You're all look like insects, in your brand new sun specs" and John Fred/Playboy band 'Judy in Disguise' - all top notch 'Gum references.

There's an infectious cheesiness that pervades the whole Warm Fuzzies experience. A fact not overlooked by the band themselves as they celebrate with their collective tongues in their cheeks, when they promote their love for cheese in their sign-off 'Queso Love'.

The band may not have intended it, but for this writer, this is not a million miles away, in concept, from another grand trash aesthetic & artistic project: 'Groovy Neighborhood' by Pianosaurus, produced by the dBs/REM/Continental Drifters shaker Peter Holsapple, where all the songs were performed with vigor and enthusiasm on toy instruments with wonderful aplomb.

The Warm Fuzzies hook-laden guitars, cheesy cheapo synths, grunge pop and magnetic melodies are 'bob-on' fantabulous. However don't go to your local record stores (not that there are any left anymore, anyway) - take a magic swirling trip to your local candy store (although in the UK we call them sweets and we would buy them at Tuck Shops). Anyhow, it's in the Tuck Shop where you'd find the Warm Fuzzies, right next to Swizzlers Love hearts, Penny Arrow Bars and Chocolate Firemen in the box labeled 'Happiness is a Warm Fuzz' - indeedy! Buy, buy, buy.

We've secured a fine interview with the band to accompany this review, which we'll feature very shortly.

Buy Bubblegum at CD Baby
Hear them from our link (above) or at their MySpace site

Criminally Overlooked But Not Buried Underground

noreply@blogger.com (Power Pop Review) — Tue, 27 Jan 2009 16:38:00 +0000

With the phenomenal amount of music released these days from every corner of the industry, it isn't surprising for a band or two to get lost in the shuffle - in fact in this business it's a downright certainty.

The Ravines is one such example of a criminally overlooked record from recent years. As a duty, we felt we should seek it out, dust it down, give it an airing and make you feel as ashamed (as we were) when the proverbial needle hit the groove.

The Ravines first CD Manifesto of a Broken Heart was actually released back in 2005 on the C-Side Records label and harks back to a simpler time musically (ie: somewhat earlier than 2005!). Singer/Songwriter Chris Corney and drummer James Crossley originally met back in 2000 when they played in Peterborough band the Contrast.

Their sound encapsulates Americana crossed with an inherent Britishness. My favorite track is title track Manifesto of a Broken Heart which features a rootsy Keith Richards' guitar and the stuck-to-roof-of-your-mouth catchy riff.

The harmonizing, the jangly guitar, and rumbling bass on the third track Supersize is infectious. Fifth song Best Friends also grabbed me; the harmonies in particular recall the Contrast's greatest song Caught in a Trap, to which of some of these guys contributed, of course

Overall The Ravines material reflects an experienced world weariness of angst and hope dashed with buzzword modernity in the use of language like 'downsize' and 'supersize'. Much of this feeling culminates in the closer The Getaway. A great and sure way to end the album.

If you looking for references you may already know, try these for size: Gin Blossoms, Goo Goo Dolls and Scottish bands the Silencers and Diesel Park West. All decent and seminal in their own way.

It is hard not to fall in love with this album, and it will only improve on repeated listens. Roll down those windows when you are listening to this once spring comes and make sure you drown out those hip-hop monkeys at the traffic light.

For full length tracks check out their page here. If you love the bands music as much as us you can purchase their CD at CDBaby .

Best Albums of 2008

noreply@blogger.com (Power Pop Review) — Wed, 31 Dec 2008 19:08:00 +0000

It is never easy to simplify and boil down all the greats from one 12 month period into one finite list of the very best for a particular year. However, this is what we've attempted to do. Here is a list of my favorite albums of 2008, in no particular order. I've also included favorites from my husband (Mr Qwerty). Most of the time our taste in music is quite similar but there are some genres that he prefers more than me and vice-versa. It's an eclectic list and also includes our favorite compilations, acts outside our remit and other goodies. Hope that there is an artist or band on this list that encourages you to look further and seek out their music. In 2009 I will be looking forward to discovering many more, new powerpop bands and the next International Pop Overthrow Festival in Liverpool.

Powerpop Albums of the Year
1 Adrian Bourgeois - Adrian Bourgeois
2 Sloan - Parallel Play
3 Third of Never - Moodring
4 Gurus - Now
5 Roger Joseph Manning - Catnip Dynamite
6 Junipers - Cut Your Key
7 Liam Finn - I'll be Lightning
8 Julie Ocean - Long Gone and Nearly There
9 Galaxies - Here We Go
10 The Quarter After - Changes Near
11Explorers Club - Freedom Wind
12 Class Three Overbite - Horses For Courses
13 Feeling - Join With Us
14 Ike - Where To Begin
15 Presidents of the USA - These Are The Good Times People
16 The Major Labels - Aquavia
17 Raconteurs - Consoler of the Lonely
18 Scott Murray - Vinyl Generation
19 Greg Pope - Popmonster
20 Lund Bros - Songbook IV

Honorable Mentions Which Might Be Outside Of Our Remit
1. Counting Crows - Saturday Nights and Sunday Mornings
2. Mark Kozelek - The Finally LP
3 Winterpills - Central Chambers
4 Black Francis - Svn Fngrs
5 Dexateens - Lost and Found
6 Brent Cash - How Will I Know If I'm Awake
7 Boo Hewerdine - Toy Box No. 1 (e.p.)
8 Jeff Hanson - Madam Owl
9 Black Crowes - Warpaint
10 Killers - Day & Age
11 Duffy - Rockferry
12 Kings of Leon - Only By the Night
13 Lindsey Buckingham - Gift of Screws
14 Dwight Twilley - Singles
15 Envelopes - Here Comes The Wind
16 All American Rejects - When The World Comes Down
17 Greg Laswell - How The Day Sounds

Legendary Comebacks of the Year
Famously, the likes of Glen Campbell and Neil Diamond and other legendary old timers have put out substantial albums this year to equal (in some cases) their finest work. Less trumpeting and flags were erected for Beau Brummels' mainman Sal Valentino's contribution this year. His album, Every Now and Then quietly appeared to no particular fanfare. Understated, unassuming - Sal even revisits past glories, but it makes me happy that guys like Sal are still marking worthy statements which are vying for attention in the crowded marketplace.

Reissue of the Year
I bought it on vinyl in 1977 and when it first came out on CD in the 80's/early 90's but I'm still happy to lay out a third time for Dennis Wilson's sublime Pacific Ocean Blue, this time including his unfinished follow up Bambu. Often overlooked, even by Beach Boys fans, Dennis in any other band would be the major songwriter and central talent. This release proves beyond any doubt that we lost one of our finest musical contributors back in 1983

Compilations
Goo Goo Dolls - Greatest Hits Volume 2
VA - International Pop Overthrow Volume 11
Gripweeds - Infinite Soul (Best of The Gripweeds)
Linus of Hollywood - Attractive Singles

Holiday Recommended Books For The Music Lover

noreply@blogger.com (Power Pop Review) — Thu, 11 Dec 2008 00:07:00 +0000

At this time of year many of us look for the perfect book for the
serious music lovers on our Christmas list. That person may indeed
be us as it is so tempting to purchase this type of gift for oneself.

This Is Your Brain On Music - Daniel J. Levitin - Plume, 2006
Extremely well researched book that delves into the mysteries of how
our brains and other receptors are affected by music

Music Lust - Nic Harcourt - Sasquatch Books, 2005
Written by KCRW's Morning Becomes Eclectic. Book is broken down into
various themed chapters that describe bands and/or musicians that
fall into that particular category. For example the chapter for Good
Enough to Eat lists bands that have names describing food. The
individual who loves music combined with an obsessive love of lists
needs this book!

Lost In The Grooves - Kim Cooper and David Smay - Routledge, 2005
This is one of those books you can get lost in. Described on the
cover as a capricious guide to the music you missed this is the type
of book that fanatical music collectors love. Here's where my husband
found that the James Gang and Martin Mull were worthy of re-evaluation
and discovered Fool's Face for the first time. If this kind of thing
sets your heart racing, then this is the book for you.

Listen To This - Alan Reder and John Baxter, Hyperion, 1999
Musicians from different genres recommend their favorite artists and
recordings which gives this book an original outlook. For fans of
Peter Buck of REM you will gain insight into the bands and influences
that impacted his music. Highly recommend the book because of the
unusual music that is mentioned but also for the depth of the research
done.

The Green Book of Songs by Subject, 4th Edition - Jeff
Green,Professional Desk References, 1995
This is the book that all disc jockeys would have loved to have gotten
their hands on in the days of early 70's free form radio. The book is
divided into all types of categories and songs that fit into those
categories are listed. The categories range from Africa - world. I
myself used to make up playlists of the 3 perfect songs that would go
together thematically if I were a DJ. At the time I purchased the
book I hesitated due to the price but in retrospect I am glad I made
the acquisition as I haven't seen it since.

The Encyclopedia of Record Producers - Eric Olsen, Paul Verna & Carlo Wolff, Billboard Books, 1999
As essential as directors of movies are the legendary producers of
records. Here are the visionaries behind the stars,the ones twiddling
the knobs, sliding the sliders and dishing out the direction and
advice. Pretty thorough and gives discographies which feature their
misses as well as their hits. As a companion to this volume, can we
also recommend the BBC book The Record Producers which accompanied
their radio series of the same name, where fuller accounts and
interviews are conducted with a number of classic producers. Not all
are obvious with some surprise entries.

Shake Some Action - The Ultimate Power-Pop Guide - John Borack,
Not Lame, 2007
Essential for any fan of the genre, this book lists the top 200 power
pop albums and discusses each record. But this book is a variable
feast for the fan and additionally contains another 14 riveting
chapters that none of us can afford to be without. Seasoned powerpop
hack veteran Borack has pretty much rounded up every important
commentator, musician and mover/shaker on the jangly genre that is
worthy of a sniff and nailed a comment, a top ten or other important
fact for us ever grateful servants of this thing we love. Unfortunately this
book is now out of print but was originally available from the Not Lame
site.

Old Rare New: The Independent Record Shop, Barry Seven, Black Dog
Publishing, 2008
Although a rare experience now - this book recreates the feeling and
experience of finding that unusual record shop in a new town that has
you salivating beyond control. It panders to those of us of a certain
age, but lets face it, unless you remember the record shop of
yesterday then this book will probably not appeal in the first place.
Well researched and contains a couple of stores that are our
favourites too.

All books listed above with the exception of Shake Some Action are all
available at Amazon. There are even reasonably priced used copies of
many of them. Hope this list has been an inspiration for this holiday season.

Bopp Till You Drop

noreply@blogger.com (Power Pop Review) — Sun, 23 Nov 2008 23:30:00 +0000

Andy Bopp, lead singer, guitarist, and main songwriter with the band
Myracle Brah shocked fans last month with a radical departure from the
norm. First make a solo album, and then make it an all acoustic affair
with eight stripped down versions of previously released songs, then
add four new songs to the package to keep the fans happy.

Andy highlights material mostly from his early career with songs from
Life From Planet Eartsnop, Bleeder, Plate Spinner and both Love Nut
albums (Andy's Pre Myracle Brah outfit). If you don't know Love Nut
- their two albums on Merkin are also worth checking out.

Entitled This Guitar Kills Singer Songwriters the solo album was
released on October 21 on the Rainbow Quartz label.

It was interesting to hear the acoustic versions of songs I'm already
very familiar with and to hear the new material. In general I think
if you have never heard Myracle Brah's music you need to go back to
their extensive catalog to truly appreciate this solo album by
listening to the original Myracle Brah versions first. Personally, I
prefer the crunchier sound of the electric guitar vs. the acoustic.

For those of you not familiar with Myracle Brah, their music is
defined by extremely short, under 3 minute powerpop gems that have an
immediacy and passion that grabs you. Perhaps one of the reasons
there is a rawness to their sound is due to the fact that Andy Bopp
does all of his recording in the garage of his home; when the mood
strikes him he can just meander down to his studio and capture his
inspiration.

I was fortunate to see Myracle Brah in the fall of 2004 when they
performed at Arlene's Grocery in NYC for that particular year's
International Pop Overthrow Fest; their performance far surpassed my
expectations.

Back to 'This Guitar Kills...' - The album begins with a favorite of
mine in its original format Whisper Softly- This version is
stark, but it's catchy, haunting melody pervades. Other favorites on
the album include "Broken" , Good Day To The Night and "Hearts on Fire".
I believe Lennon and McCartney would have been quite chuffed to
have come up with these melodies.

All in all an album for committed fans rather than a new audience, but
as a sketch before the full canvas of another Brah album, this will do
just dandy.

Some interviews with Andy Bopp are found here:

I nterview With Andy Bopp of Myracle Brah

Solo Acoustic Set and Interview on WFMU dated October 23, 2007.

Discography

Love Nut

Bastards of Melody - (Merkin) 1996

Baltimucho (Merkin) 1998

Myracle Brah

Life on Planet Eartsnop (Not Lame) 1998

Plate Spinner (Not Lame) 1999

Myracle Brah (Not Lame) 2000

Bleeder (Not Lame) 2001

Super Automatic (Rainbow Quartz Records) 2002 - 14 song compilation

Treblemaker (Rainbow Quartz Records) 2003

Can You Hear the Myracle Brah (Rainbow Quartz International) 2007

The Vinyl Resurgence

noreply@blogger.com (Power Pop Review) — Tue, 14 Oct 2008 21:39:00 +0000

While back in the U.S. for my Mom's funeral I was able to return to a favorite record/CD shop in New Jersey. In the past my husband and I have spent many long hours combing through the used CDs and albums there. How many of you have fond memories of hunting through the browser for that rare album? I'm sure many readers have favorite record shops from their youth?

When I was a teenager I used to look through the import and the alphabetized sections hoping to come across an unusual album. My husband also had the experience of being able to visit over 30 record shops in his adopted home town, tramping miles to hunt through the sale bins for imported and cut-out albums. It was not unusual on some occasions to come home with 30+ albums tucked under his arms.

Since the introduction of the CD in the 80's and more recently the explosion of the MP3 (and similar) there is now a generation of young people who didn't experience firsthand the discovery of new bands as a result of perusing through vinyl. There are many who opine that the sound of vinyl is warmer than the digital option. Also with album covers being much larger you end up with a much bigger visual treat, a greater package and some genuine works of fine pop culture and yes, art!

When I was back in the U.S. I saw an ad for turntables being sold in 2 separate record/CD shops. This is the first time that I had seen a renewed interest in turntables despite the fact that the one shop has always sold new and used albums. The second shop where I saw turntables being sold was in the university town of Ithaca. While there (at 'Volume') I had a conversation with one of the co-owners of the shop in regard to the sale of vinyl. He said there was definitely a strong interest in the black plastic way of listening to music and that the college students wanted the artwork, the lyric sheet, the inner sleeve and moreover: 'the real thing' when it comes to purchasing music.

Vox Pop on Twitter
On Twitter recently I asked a few people if and why they purchase vinyl. Reasons ranged from "I like the warmer sound of it. Nostalgia, maybe?", "There's also the cover art and the cool gatefolds. Artists were able to do some great things with the larger canvas." Other responses included "there's something about the depth and warmth of sound on vinyl that I really like." and "I'm purchasing vinyl because I like the feel, the big cover art and the sound and it will be more durable and valuable than a CD."

Commercial Rise
Amazon's recently launched vinyl store now has over 250,000 titles in stock. In the next few months Oasis, Kings of Leon and Bob Dylan will be releasing new vinyl titles. U2 and Van Morrison will also be re-releasing their back catalog on vinyl. On September 2, 2008, Capitol Records released the first in a series of vinyl reissues of albums from some of their biggest artists, featuring classic releases from the Beach Boys "Pet Sounds" and Steve Miller "Greatest Hits 1974-78" alongside more recent blockbusters from Coldplay "Parachutes" and Radiohead "OK Computer". Subsequently, Capitol followed up these 13 launch titles with the September 30 release of Jimi Hendrix' 1970 album "Band of Gypsies" and John Lennon's popular "Imagine", and on October 28, the iconic label will release albums from The Band, Megadeth, Roxy Music, and Paul McCartney & Wings.

L.A. indie label HackTone Records, will issue its first vinyl release, "Ready for the Flood," from former Jayhawks Mark Olson and Gary Louris this fall. The Pretenders new release called "Break Up the Concrete" came out recently on October 7. The vinyl version of the album, to be released on September 23, features two 10" discs with a gatefold, die-cut to shape and debossed with concrete texture with a full Album CD in Mini Jacket.

In addition to old material appearing on vinyl, 180 gram releases of new material are being marketed too. Ben Folds new album "Way To Normal Package" will contain: a CD, 180 gram vinyl, 24 page booklet, bonus DVD and Bonus CD with live 9 live songs.

Despite the fact that the 12 inch vinyl record was in decline for the past 20 years, worldwide sales of LP records doubled in 2007 after an all-time low in 2006. Turntable sales in the U.S. have increased more than 80% from 2006-2007 and are expected to rise again this year according to the Consumer Electronics Association.

One of the great things about the new vinyl movement, it's an independent phenomena - so far the big corporates have not climbed on the bandwagon and stomped all over it with their ugly size 13's - to much extent so far!

The Hunt
For those of you who are just now discovering vinyl you may wonder where the best place is to find those obscure vinyl treasures. I highly recommend the following places:

Used record shops
Record shows
Garage sales
Flea markets/car boots
Thrift stores
Ads in local newspapers
Ads in magazines such as Goldmine or Record Collector -UK
Gemm
Ebay
Internet forums
Library sales
College radio stations
Craigslist

For new and older vinyl:
Amazon , Rhino , and Sundazed are recommended.
This author has compiled a fabulous list of worldwide vinyl retailers.

Innovative?
If you need a creative solution for your new acquisitions once you start collecting vinyl here are directions for making a record holder

Experiences
Recently I read Vinyl Junkies by Brett Milano. Not only does he delve into the reasons for obsessive hunts for vinyl but he also did extensive research into the habits of serious music collectors such as Peter Buck of REM and Roger Manning of the band Jellyfish. I highly recommend the book.

Further Reading
Vinyl Gets Its Groove Back

We're Having a Vinyl Revival
Vinyl Revival: How A Dead Format Came Back for Another Spin
Vinyl Gets Another Spin
Vinyl Records Make a Return
Vinyl En Vogue

Cut Outs in the UK - Many shops were seasonal and set up just to sell American imports which came into the country as ballast from freight ships. The albums were supposed to be junked after they reached the UK's shores, but of course many of them were not, and were sold to unscrupulous wholesalers who would then sell them on to retail outlets for very little. Lucky for us collectors here, they were - a good proportion of my collection of American material is made up of these cut-outs - containing rarities and fabulous albums that soldin tiny amounts which have since allowed me to discover great
artists which would have otherwise be lost. MrQ