Author: powerpopaholic

Firstly, this is not the old Philippine band of the same name, but Boston native Chris Anderson and a virtual all-star line-up of power pop talent. Produced by Bleu, the late Owsley and the legendary Ducky Carlisle, it’s an impressive debut with many great power pop tracks. It opens with the multi-pronged guitar and harmonic attack of “Back Again.” The band’s combination of Queen meets ELO approach reminds me of The Secret Powers a little. “Take The Shortcut” is another gem with a lush chorus and cascading synths. “Muddy Mississippi” takes a bluesy turn with Scott Simmons’ keys and Joey Massei’s incredible guitar licks. “Holly Would” is an awesome catchy single, that has Bleu’s melodic fingerprints all over it.

And especially important is “Someone To Trust” – likely the last recorded performance of Will Owsely. It’s a great song too, along with the glossy production and tight arrangements. Another winner here is “Back To Zero” with its Jeff Lynne styled hooks, and brilliant harmonies. Not every track hits these highs, but a majority of them do. Ultimately, the tracks don’t quite fit together as a cohesive whole, but as a collection of really sweet singles. And I can think of no better excuse to grab this album.

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Luther Russell “The Invisible Audience”
Luther Russell (previously with Freewheelers) has always been a very eclectic folk rocker, with equal parts of McCartney, Dylan and Joe Cocker as guidelines. Adept at several genres, Russell’s latest is a double LP (25 tracks) with something for everyone. The lush instrumental opener “Still Life Radio” lulls the listener, and then “Sidekick Reverb” kicks in with it’s shambling guitar rhythm and handclap beats. “A World Unknown” is a hypnotic blues beat machine similar to Beck’s early hits.

After several folk oriented tracks, the pop emerges in “Everything You Do” with its organic melody and crisp 70’s NYC vibe. This is followed by “1st & Main,” an Elliot Smith styled tune with nice vocal overdubs. Also recommended are “Ain’t Frightening Me” and the rockin’ “Tomorrow’s Papers.” Also the best theme about homelessness ever in “Long Lost Friend.” Needless to say, there are plenty of great cuts here to sift through, so I’d get this album and start exploring. Fans of Wilco, Tom Petty, Paul Simon and Paul Westerberg will really dig this.

John Seymour (aka The Fire Apes) has a new album, more of a re-introduction as it re-releases several tracks from the debut EP. Proof that it’s great power pop is that “Killing Me From Inside” and “Hey Kate!” still sound fresh. The new material matches up nicely “‘Cause You Don’t,” has a killer riff that drives the song here, and the McCartney dance hall piano approach on “Don’t Break My Heart” shows that Seymour has more depth in his musical bag of tricks. “3 O’Clock” is a jangle filled gem that recalls the sound of the aforementioned Michael Quercio band. “Lori” is another winner with a terrific guitar break between the choruses. Each track sparkles here, and if you missed the original album, you have no excuses not to pick up A Life in Letters. Fans of The Beatles, Oasis and Green Day will go for this too, as the band received over 900,000 plays on their My Space page.

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This hard working Seattle band really impressed me a few years ago and now they’ve returned with a new LP. They lean less on those classic pop influences here and are forging their own unique sound.  The solid hook and strong riffs on “What Good Am I to You Now?” makes it an early favorite single. Then, “The Great War” has layered dual vocals done to perfect effect, and restless energy drives home the battle charge (“across the hillside, over the water…”).

“Cold Wind” is another gem thick with multiple rhythms and hooks about fear of losing friends and “we’re not better left alone.” On a lighter note “Eggs Over Toast” sprints ahead with several shifts in melody like Elvis Costello with ADD, it’s exactly what songwriting with no sleep should sound like! “The Wasteland” is another lush pop composition, as if they channelled Elton John into making a sequel to Goodbye Yellow Brick Road. The remaining tracks are pretty compelling, but in rare cases (“The Day I Stole Your Car”) those duel vocals seem to be more in competition with the instrumentation. And in an effort to keep true to the theme of the album concept, it can feel overwrought in spots.That said the songwriting here is stronger, ideas bigger, and it overflows with authenticity.

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