The Goods “Goodbye Summertime”
Oakland’s The Goods have been steadily raising their game, and this might be their strongest showing yet. The echoing verses of “Lazy” open the album with a neo-psychedelic shimmer, its layered production immediately establishing a warm, summery mood. “Love You More” keeps things sweet, with a lightness reminiscent of The Lemon Twigs. The repeated line, “strip the leaves from the trees, steal the honey from the bees,” becomes a mantra as the song chugs and jangles along. From there, each track builds naturally on the last, pulling from CSNY, The Beatles, The Beach Boys, and Teenage Fanclub without getting trapped in any one influence.
“Minor Key” sways along on a light beat, while “Don’t Worry” carries plenty of Beach Boys emotional touch points without sounding like a carbon copy. The title track shifts toward jangly folk, recalling Scotland’s Dropkick, while “Driving” is another fresh pop nugget with its own character. With 14 tracks, The Goods maintain an impressive batting average. The songs have different tones and moods, yet the album never loses its sense of identity. The Goods have put together an album filled with one good pop song after another. It’s going on my Top 10 list for the year.
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Ventilator “Reseda Spleen”
The ’90s left behind plenty of great records, but some disappeared so completely you’d think someone buried the master tapes. ‘Reseda Spleen’ is one of those albums. Matt Devine came to Ventilator fresh from his run with L.A. power pop band Permanent Green Light, alongside bassist Michael Quercio (The Three O’Clock). After the band dissolved, Devine bought a Tascam recorder and began working on what would become ‘Reseda Spleen’ in 1996, with mixing handled by legendary producer Earle Mankey (Sparks, The Runaways).
Ventilator draws a direct line to Alex Chilton’s half of Big Star, blending fuzzy guitars with a melodic sense of gloom. “The Tailor’s Lament” opens with thick guitar riffs, immediately revealing the album’s lineage, with shades of The Posies and Velvet Crush. “Landsdowne” shifts gears into something quieter and more emotional, carrying an easy going California feel. The aching “Happy New Year” continues in that reflective vein before “In Mysterium” brings the fuzz back in, landing somewhere in Matthew Sweet territory. The album’s ebb and flow works well, moving between heavier guitar-driven moments and softer, more introspective songs. While this isn’t grunge, the darker mood of the era hangs over the record, giving it a distinctly ’90s atmosphere. The remastered edition adds two bonus tracks, making this overlooked release worth another look. Highly recommended for a dark and stormy night.
