Taylor Locke & The Roughs "Marathon"

This is definitely Taylor Locke’s year. Between his work with Rooney and his own band, he deserves a much more attention from the mainstream music press. After a stellar debut earlier this year with Grain & Grape, he returns with another power pop treasure. Taylor and Chris Price are firing on all cylinders here, and the listener reaps rewards from Marathon. The ambitious opener has an album’s worth of songs in a six minute medley called “The Honor Roll.” From Jellyfish-like harmonies to Ramone styled guitar riffs, the song is a whirlwind of images and tones that swings back and forth from sugary pop to glam rock in a mini-rock opera about different types of girls. Even Roger Manning, Jr. would be proud of this one.

“Jenny” is a pretty standard rocker follow up, but Taylor amps it up with “Tarred, Feathered & Scarlet Lettered” a swaggering tune about a Lothario’s reputation. Another huge standout here is the ballad “Don’t Forget” which is a sweetly sung, albeit condescending message to a girl how important you are to her. This song is kind of a companion to Billy Joel’s “Just The Way You Are” and melodically hits all the right notes. The gems keep coming, “My Only Drug” is a jangle filled duet with Charlotte Froom and “Los Feliz” is a fast paced guitar party with blasting horns, and wicked solos at the end. And to top it all off is a proper tribute to one of my favorite bands “Badfinger” – with plenty of lyrical references to the band and a killer hook in the chorus. This is yet another “must-have” album and top ten contender, the first time I know a band has made my list twice in the same year!

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This video is “Jennifer” from Grain and Grape.

Vinyl Candy and Archie Powell and The Exports

Vinyl Candy “The Dirty Third”
The Los Angeles based band continues it’s musical quest on Dirty Third, to take the influences of arena rock and make it their own. Unlike the concept approach of the last album, this is more a collection of singles and with a distinct melancholy mood. “Human” opens up things with multiple synth lines and the band’s classic riffs. Both “Fallen” and “Ghost of You” have great sorrow behind the piano and guitar crescendos. The band tries many different instrumental key changes to contrast with vocalist, Matt Corey’s croon. Some work well (“California Georgia”) and some don’t (“Shine”). Standout tracks include the energetic “On Again Off Again” and “Love Is Too Far Gone” is a triumph of style with its pounding keys and harmonic choruses. One cannot argue that Corey and the band puts their soul into the music, but the complex arrangements leave less room for those juicy hooks that I heard in past albums. Fans of Butch Walker, Muse, KISS and other 70’s styled rock icons should welcome Dirty Third onto their playlist without hesitation. You don’t find musical quality like this everyday, so don’t miss it.

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Archie Powell & The Exports
“Skip Work”

After giving us a catchy Loose Change EP, Archie Powell and The Exports have earned our attention with their clever lyrics and garage pop aesthetic. Skip Work is a most satisfying full length extension and the tunes like “Enough About Me” have a quick bouncy tempo and a killer baseline hook that that sets the mood. There is a sense of pure pop fun throughout the album that is captured on the following track, “Fighting Words” and “Moving To The City” refers to the band’s relocation to Chicago. The songs are both cynical and optimistic at the same time.  Kind of like Weezer meets America with a dash of Elvis Costello, the song “Skip Work” is an driving anthem that’s perfect for these tough times. Another highlight is “Follow Through” with it’s honky tonk rhythm and layered pop prodcution. Every song sticks, although the lack of tempo variety or ballads is something that could be improved upon. But if you don’t nitpick here you have a truly celebratory study in dynamic arrangement and steadfast pop craftsmanship.

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The Posies "Blood Candy"

With their first album in over 5 years, The Posies have hardly been stationary during that time, with both Ken Stringfellow and Jon Auer involved in various projects (most notably the re-formed Big Star since 1993, until the death of power pop icon Alex Chilton). Being the current genre’s elder statesmen the band hasn’t lost its gift for strong melodies with a personal message.

What has changed for the band, hinted on 2005’s Every Kind of Light, is a more mature point of view and orchestrated approach. The opener “Plastic Paperbacks” has strong angular riffs and pounding beat, but it’s “The Glitter Prize” that long time fans cherish, with Kay Hanley doing background vocals along Ken’s lead vocal. The duo gets creative on the multi-tempo “Licenses To Hide” which combines the rock energy and dramatic piano melody (Lisa Lobsinger helps out on this track). The optimistic bounce of “So Caroline” and “Take Care Of Yourself” will also please long time fans, but occasionally you’ll get something out of left field like “For The Ashes” which recalls Supertramp, or the pretentious filler “Accidental Architecture.” Thankfully, these songs are in the minority and don’t detract from overall greatness of the gems “She’s Coming Down Again!,” “Notion 99” and the beautifully crafted Beach Boys-Posies hybrid “Enewetak.” Blood Candy demonstrates the band has aged gracefully with it’s complex indie pop compositions and elegant lyrics.

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Paranoid Lovesick and The June Gloom

Paranoid Lovesick “Tuxedo Avenue Breakdown”
A local Detroit band with an interesting story, lead by guitarist Rick McBrien and Bill Stone who burst on the scene and this album is a culmination of tracks from a debut EP with additional unreleased material. The band was typical of mid 90’s power pop, and fans of Teenage Fanclub or Cockeyed Ghost will be brought back to that period. The first proper album Suburban Pop Allegro has all these hallmarks: tight harmonies, hard guitar riffs and youthful energy. This is continued in Tuxedo Avenue Breakdown, excellent tracks include the tribute based “Big Star,” gorgeous harmony with Lisa Mychols on “Orbit” and solid arrangement of “Marginalia.” The Beatlesque “Don’t Go Away” shows the band’s softer Abby Road side, and fans of Moe Berg (TPOH) will enjoy the solid rythyms of “Starcrossed.” All of these 19 tracks sparkle with ambitious enthusiasm. McBrien died suddenly in 2003 and these 2 albums stand as great examples of the genre and a fitting tribute. The best power pop re-issue of the year. period.

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The June Gloom “Wonderland”
The June Gloom are an indie-pop group formed by Cameron Purvis and PD Bennett (co-founders of the Calgary rock collective Wax Poets and prog-pop band The Spartans).  Wonderland is a rock album with a touches of blues and country, similar to Old 97’s (it’s no wonder they toured together at one point). “Believe” is a pop-rock mid tempo number lead by a sharp guitar riff. “Cabrini-Green” is a blues influenced rocker with a Pink Floyd “Money” baseline that has a snarling power between verses. My favorites here are the catchy “Omaha” with it’s sing along rhythm (supply your own hand-claps) and the poignant piano lead “Everything Is Grey” draws you into Purvis’ narrative. The bouncy alt-country “County Song” and “Famous” has Purvis at his most Wilco-like, with full twang and a strong beat. Showcasing both styles perfectly I haven’t found a bad track here, and it will encourage me to investigate The June Gloom’s previous releases.

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Richard Barone "Glow"

Richard Barone is one of pop’s unsung heroes, leader of the cult band The Bongos in the 80’s and a master of song-craft in his later solo work. If you want a good overview of his past work, you can download “Collection: An Embarassment Of Richard.” Now he has collaborated with famed producer Tony Visconti (T. Rex, David Bowie) on his first album in over 16 years. “Glow” is a many layered contemporary adult pop album. It starts with the captivating “Gravity’s Pull,” with Richard’s trademark lighter-than-air vocal and a compelling hook. This is followed with the smart orchestral pop of “Glow” a magical melody driven by a chiming guitar and uplifting lyrics, similar to George Harrison’s latter work.

The album includes a unique cover of T.Rex’s “Girl” and the true story of a lesbian’s life in “Odd Girl Out” co-written with Jill Sobule. A collaboration with veteran songwriter Paul Williams (“Silence Is Our Song”) seems a rare misfire here, as Richard’s vocal don’t fit that well. Other tracks are sprawling rockers (“Sanctified”) or hypnotic synth melodies (“Yet Another Midnight”). The production gloss is thick on most tracks, but underneath all the fancy vintage synths, digital Les Paul guitar riffs, and elaborate string arrangements is Richard’s solid songwriting. Welcome back, Mr. Barone!

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