Category: Highly Recommended by Powerpopaholic

The Crawpuppies are not from some cajun side dish, but a band that hails from Indiana. When the album leads off with a Big Star riff in the title track you know you’re in for some fun. The band lead by Chad Clifford (vocals/guitar) has a fine approach with basic power pop, I am reminded a bit of Del Amitri with it’s bar styled strum and shifting chords on “She Comes Lovely.” The ballad “We” is a wonderful mid tempo song about growing a relationship and the melody with full harmonies on the Squeeze-like “Owe It All To You” and “Mental Demons” are just perfect. The adult folk ballad “My Wife” is an effective and intimate portrait of a marriage that will lift your soul. The tone shifts a bit by mid-album to a more blues based rock sound with “I Wanna Know” and “3 Little Things.” I felt Chad’s vocals strain here, as he sounds more in his element with the soft bossa nova of “Here We Go Again.” The album runs out of creative juice towards the end with the echoey funk of “Masquerade,” but it never gets boring and the best of those melodies are sure to stick in your head.

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UK melodic alternative popsters Field Music have returned with a double album here called Measure. Since the brilliant Tones of Town in 2007 we are treated to twenty absorbing tracks.  I wasn’t impressed with the opener “In The Mirror” which has a dissonant piano chord banging away. Those looking for a quick pop fix will need to be patient although the juicy guitar and handclaps of “Them That Do Nothing” is a classic track that proves these Brewis brothers still have the goods. The bluesy pop prog mix of “Each Time is A New Time” is a flawless mix of both Led Zepplin and XTC. This is a masterful composition of riffs and rythyms that lead us into the next track “Measure” easily. The title track has a Rundgrenesque beat with chorus and classical violin “riff” that weaves together tightly. The angular vocals and overlapping guitar rhythms and beats of “Clear Water” recall the Talking Heads mixed with early Yes. The art pop label is apparent as we run into experimentation and prog minimalism the deeper we delve into the album. There is a lot here to like, but several songs coalesce into each other and the melodies seem less important than the instrumentation (“Lights Up”, “All You’d Need To Say”). By the album’s mid-point some tracks feel like filler amongst the real gems, like the nervous piano and harmonies on “The Rest is Noise” and the awesome guitars on”The Wheels Are in Place.” Again something here in the proceedings reminds me of Todd Rundgren, maybe it’s the sonic indulgences of “Something Familiar.” Overall the soundscapes are compelling enough, but it’s definitely not light listening and headphones are recommended here to appreciate the craftsmanship.

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The Patrick & Eugene sound is comprised of banjos, ukuleles and sunshine pop vocals combined with whistles, bells and bongos to produce unique but accessible music for post-modern vaudevillians. Already several tracks are featured in commercials (Laughing Cow Cheese), TV shows (Grey’s Anatomy) and film (Burn After Reading). Patrick Dawes (Groove Armada) & Eugene Bezodis combine stellar musical ability, English whimsy and uncanny catchy melodies. The leading track “The Birds and The Bees” is a musical party that combines the ever present banjo and tuba with ease. Like the Beatles and Muppet Show combined, it’s impossible to listen to without letting your inner child grin. “Llama” is the highlight here comparable with the best of Harry Nilsson. “Don’t Stop” and “Altogether Now” are party tracks that chug along it’s merry way. The songs don’t always work – I found “I Can’t Get You Out Of My Head” a bit grating, and by the time we get to “A Dog’s Tale” the tuba rhythms get repetitive. But overall it’s the pure quirky fun of They Might Be Giants combined with Pugwash’s stage humor. Enjoy it, mate!

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Still getting to a few albums that slipped by last year. Rainbow Quartz regulars The Telepathic Butterflies returned with their fourth album. Both guitarist/vocalist Rejean Ricard and super drummer Jacques Dubois are in high gear, and the band has been consistently excellent. Whether they do straight up power pop, retro-garage or psyche-pop each tune carries those awesome chord shifts and quick tempo beats. One listen to opener “Circle Man” and you’ll be hooked. The ringing guitars of “Lilacs” and “The Dillinger Plan” showcase the superior songwriting and musicianship here. “Like Esme” is a great mid-tempo love song with  Rejean’s vocal fitting perfectly alongside the guitar strums. In fact, every song is a winner, especially a very Teenage Fanclub-sounding gem “Elegy” with sweet hooks on every verse. It doesn’t vary too much from it’s fast pace from one song to the next, but it all goes by so fast you may not even notice. Reminiscent of The Kinks and Beatles with a touch of Sloan for good measure, it’s what I call exemplary power pop and not much else needs to be said.  It deservedly made it to #11 on Dave Bash’s best of 2009 list, what else do you need?

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Green River Ordinance “Out Of My Hands”

Out of all the pablum that the music industry throws out to the public, sometimes quality musicians can emerge. Ft. Worth, TX rockers Green River Ordinance are being increasingly recognized as headed to stardom with their debut album “Out Of My Hands.” With a big push by label EMI/Virgin Records, the band has been making the rounds and getting good reviews. If you are into today’s modern rock sound (The Fray, Matchbox 20, or Third Eye Blind) then listen to the single “Come On,” driven by a powerful melody and slick production values. The songwriting is consistent and the group’s performance isn’t extraordinary, but they are still better than most modern rock bands trying to make it out there. Brothers Geoff and Jamey Ice, Josh Jenkins, Joshua Wilkerson and Denton Hunker have been playing since high school and have finally graduated here to the big time, touring with David Cook and getting airplay on MTV and other TV shows. Highlights include “Out Of My Hands” and the power pop tune “Goodbye L.A.” with soaring background harmonies and the power ballad “Last October.” On “Sleep It Off” lead singer Josh Jenkins croons “The best is yet to come…” The band is definitely pointed in the right direction.

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The Fore “Run and Hide”

When we last left The Fore, I found it to be the very best Merseybeat revival band I’ve heard since the early Spongetones. After all, very few artists are willing to tackle the genre mastered by The Beatles themselves. As expected, the band does not disappoint on it’s sophomore album as we are treated to fifteen bouncing, rocking melodies. Simple guitar based songs with those fab hooks all over the place, you’ll swear this was a lost classic collection. For fans of all those old Liverpool bands of the British Invasion (Gerry & The Pacemakers, The Searchers, The Cryin’ Shames) this is a no-brainer – just go and get it now. With so many songs, some tunes stuck out as exceptional here: “We Were Meant To Be,” “Have Me Back Again,”It’s You Girl” and “Leave Me Alone” – but there are no duds here either, it’s all just pure rock and roll excitement especially when the band starts screaming on “Tell Your Friend”.  It would’ve been nice if the band tried a few variations from the formula, as the album has a homogeneous quality that may put off some listeners. But other than the new album from Alan Bernhoft, you’re not going to find a better tribute to the era.

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