They say “Imitation is the sincerest form of flattery” and Christopher Earl a.k.a. The Squires of The Subterrain offers a genuine compliment to the Beatles, Zombies, Kinks, and Brian Wilson. Prior to this album Earl was performing note perfect Beatlesque melodies circa 1964-1966 with his last album “Strawberries on Sunday” and now he’s moved a year forward in time to 1967-1968 settling firmly in the “Magical Mystery Tour/Sgt. Peppers” psych-pop era. The title track moves around like a mix tape of several different songs, including a few “Smile”-era Brian Wilson breaks. As a music critic, it’s cool to spot the influences. As a listener, it’s a bit tougher to appreciate because not much of an attempt is made to join together the musical snippets. The album stands along side Olivia Tremor Control and Guided By Voices’ early releases for indie lo-fi psyche-pop. There is a lot of fun to be had here, the track “Alexander Mannequin” hums along in a “I am the Walrus” kind of way, you almost want to sing along in a John Lennon voice. “On the Lawns” is a very strong bass tuba-driven melody and one of the highlights here. Although derivative, it’s enjoyable, like “Concerning Helen White” which will make XTC fans do backflips, with it’s harpsicord and multi-tracked chorus. This doesn’t always work, as “Her Story” is Pet Sounds-styled ballad that becomes labored and forced here. Later on the album, the Beatle imitation gives way to some cool lo-fi noodling, a good example is “Hightop Sneaker” with it’s guitar vibrato and steady beat. “Red of Roses” is a dead-on perfect Gilbert O’Sullivan ballad, and it you are a serious fan of mid sixties pop, you’ll enjoy most of what The Squires of The Subterrain have to offer. Those critical of this kind of quirky pop need not apply.