Author: powerpopaholic

Brent Cash had such a wonderful debut, so expectations are high for this follow up. The album opens with a lush orchestral overture on “I Wish I Were A Song,” and it’s where Brent’s light vocals harmonize with a crew of background singers. The song is over five minutes long and the arrangement is very reminiscent of The Carpenters. That prolific early 70’s feel is even more pronounced on “It’s Easier Without Her” as the horns highlight a male/female duet here.

Next we get an bass-lead instrumental that resembles Mike Post with a bit of Curtis Mayfield brass. It’s so retro you can hear the afros and polyester suits fly out of your speakers. Another standout is “Just Like Today” where the tinkling keys are similar to The Free Design. The beautiful Bacharach-ian “Where Do All The Raindrops Go” is likely the albums most memorable tune. The only problem here is that Brent seems so buried in period technique, and after a few more tunes the nostalgia wears off. The songs themselves are decent, but the hooks are deeply buried here and aside from a few standouts it may only appeal to pop fans with fond memories of that era. Otherwise, it’s a thick slice of sophisticated pop indulgence.

Bowling For Soup started out as a group of snot-nosed young ‘uns doing punky power pop anthems like “1985,” which compares to the Fountains of Wayne classic “Stacy’s Mom” from way back in 2003. The band has always been about rambunctious fun, never taking itself seriously.

The band knows all the ingredients needed for a pop hit, and “S-S-S-Saturday” comes pretty darn close. It’s got the required riffs and hooks that will have you singing along. But on other tracks, it starts to resemble self-parody, as I really thought “Here’s Your Freakin Song” was something from Weird Al Yankovic. Other tracks seem to follow the formula, but without a musical hook in the chorus it tends to be forgettable, like “Girls In America.”

The problem here may be a lack of any kind of musical growth. It seems these guys have fallen into the same trap as Smash Mouth, doling out disposable pop for the fan base, content that they are good at what they do. The trick is how to keep things exciting without growing stale, and they hint at this with “Turbulence.” The band just needs to start singing about what’s relevant to its life instead of trying to market to Disney’s core audience. But despite this, fans will enjoy “Fishin’ For Woos,” and if you’re looking for a summer party soundtrack, it fits the bill perfectly.

Article first published as Music Review: Bowling For Soup – Fishin’ For Woos on Blogcritics.

bowlingforsoup.com | Amazon

Jamaica “No Problem”
You’ve got to give this new Paris-based duo credit for creating a several new dance floor classics, each with a clean hook that manages to recall both Prince and ELO in equal doses. Guitarist-vocalists Antoine Hilaire and Flo Lyonnet combine the irresistible beat and riff in “I Think I Like U2” with deft precision. Another winner “Short and Entertaining” has an 80’s styled halting riff and throws plenty of sonic effects into the mix, but the crown jewel here is “Jericho” with it’s fuzz guitar-strut that leads to a robotic chorus and a minor chord shift.

“Gentleman” continues the party, but not all these tracks take hold, and some feel a little too similar to each other (“Junior”) to make them stand out. A few more hooks and we’ve got a real winner, but for now this is a sweet summer album with plenty of electronica influenced beats and blistering Brian May guitar licks to help shake yer booty at the BBQ.

Spindrift “Classic Soundtracks Vol.1”
L.A. pop band Spindrift puts together a concept album of what your favorite movie soundtrack collection should sound like. Mostly instrumental, you’ll notice is the album is obsessed with western themes and Ennio Morricone. But fans of twangy guitar and noir psychedelics will ultimately be charmed. Some compelling gems include “Space Vixens Theme” and “When I Was Free.”

You feel that if Quentin Tarantino ever wanted some theme music, he’d find it here. “Theme from Ghost Patrol” has just enough twang and spooky effects to make it feel like a lost track from Southern Culture on The Skids.  The instrumentation here is excellent, so when vocals do appear, like on “Red Relection” they don’t distract. For fans of Duane Eddy and Link Wray and this is a “must get” album.