Robbers On High Street “Hey There Golden Hair”

Previous albums from Robbers On High Street made comparisons to Spoon, but four years later things have changed. With Hey There Golden Hair, they dive head first into Beatlesque power pop. The opener “Hollow Hill” is a perfect example of taking elements of Fab Four style and crafting something new and wonderful. There is not a single dud on the album, mixing Hammond Organ, fuzz guitar riffs and horns to melodic perfection. Other 60’s and 70’s stylistic touches are sprinkled throughout, as “Crystal Run” and “Electric Eye” are legit hits if they made the radio. And the band does not let up as “Second Chance” chorus bounces along, and the psychedelic “Face In The Fog” has a brilliant hand-clapping rhythm section with organ break.

If anyone ever tells you retro-styled rock is played out, have them listen to this album and specifically the funk beats and staccato guitar riffs of “Hey Unbelievers” or the driving urgency on “Monkey.” Vocalist Ben Trokan has the perfect vocal rasp for the groovy tunes here with some fine songwriting as well. It feels like a band very comfortable in its own skin, letting its hair down. Fans of late sixties rock and pop need this album. It is a rare power pop triumph that earns a nomination to this years top ten.

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Skeleton Staff “Psychomorphism”

The debut album of this Sydney Australian band showed promise last year, and now it comes through in a big way. “I Told You I Was Poor” is a dizzying pop number, that starts with harpiscord a la Mozart’s “Eine kleine Nachtmusik” and adds jarring heavy rock riffs in main chorus. The Queen-like guitar touches and hooks are catchy as heck, and the album doesn’t miss a beat with the bouncy “Capsize” with it’s baroque composition and heavenly harmonies.

The highlights keep coming and the sunny melodies of “Gateway To The Stars” are contrasted by the cantata “Rat Poison,” that sounds like it belongs in a Sweeny Todd musical. Nothing predictable here, fans of 10cc will simply love the quirky “Turnstyle” and an evil point of view is expressed on “I Was Drunk,” with our protagonist giving the excuse for rotten behavior. The ballads here are also well written with lead vocal Stanton Marriott giving us the poignant “Becoming My Old Man.” The term Psychomorphism refers to the attribution of feelings to animals and inanimate objects. No filler either and it looks like The Wellingtons are going to have to make room for another Aussie power pop band that gets my top ten of 2011 nomination.

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The Cry and Laurie Biagini

The Cry “The Cry”
The CRY! is not fu**ing around! We ARE simply the BEST new POWER POP band in the World!  – such is the hyperbole mentioned in my initial introduction to this youthful band from Portland, OR. Opening with the bouncing riffs of “I Think I’m In Love With You” it’s kinda like a mix of Thin Lizzy and The Rubinoos, where the guitar melody is supported by the punky vocals of Brian Crace. The influence of The Ramones is all over “Such A Bore,” as they kick the energy level up a few notches. The music merges the do-wop vocal arrangements of the 50’s and jangling hooks of the 60’s quite well on “Sleeping Alone” and “Be True.”

The band’s perfect blend of styles also works on the melodic “Forget It,” and its my favorite track here. Each song is quick and many are under 2 minutes long. But no misfires here and the band blew the doors off during an impressive live performances at this years IPO festival, so I’d say they are well on the way to living up to their motto.

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Laurie Biagini “A Go-Go Girl in a Modern World”
The Vancouver singer is on her third album at this point, and once again she is a one woman version of The Honeys. Laurie stays retro here, with a clear 60’s Beach Boys influence, multi-tracked vocals and Phil Spector production values.

The songs are well composed, as standouts are the descriptive “A Ride on the Train” and the surfin’ car tune, “My Little SUV” with just the right guitar by Richard Snow. She also gets some help  from guitarist Fabrizio Serrecchia (from the Italian group Soundserif) on the faux-Bond theme “The Invisible Guy.” But for the most part Laurie’s vocals are center stage, and just when it starts to get monotonous, the best song emerges. “In The Eyes Of A Little Girl” is a thrilling mid-tempo look back at childhood co-written and performed with the brilliant Maxi Dunn. So if you want to return to those innocent days of AM radio pop, close your eyes and let Laurie take you back.

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