Category: Highly Recommended by Powerpopaholic

I guess Mondo Primo are trying to push the edge of power pop and punk by being ballsy enough to call the new album “2FN HOT” (I’m sure one of these guys has it on a license plate). The group’s sound is closest compared with Bowling For Soup with even more pop polish. Fans of Sloan will enjoy the opener “Overheated” which rocks hard and includes dreamy harmonies and minor chord changes. It plays like a great single and then it goes over to the very Weezer/Green Day-ish “Bands With Brand New Amps.” This sound continues with the rest of the album and the boys have a fresh energy that makes most of the songs work. Songs like “Allegories” and the speed-guitar fest “Dude, Your Girlfriend Sucks” are standouts that will make you forget about The Click Five (remember them?) and other Disney band-o-the-week pretenders. In a wonderful nod to The Beach Boys, Mondo Primo concentrates on “East Coast Girls” and the buzzsaw guitars form a wall of sound that ends in a crescendo. A love song to this style of music is best illustrated in “Powerchords” where the lead singer laments “hope I never get bored of these power chords”, and most power pop fans won’t.  So my advice kids, slowly back away from the Jonas Brothers dreck and give Mondo Primo a chance.

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Listen to “”Dude, Your Girlfriend Sucks” in 3D! – Grab your glasses! COOL! The 3-D theme is all over this album. Do you want to see the original video where this came from? It’s The Mask (1961)

You are forgiven if you never heard of Andy Reed, but you would do yourself a favor and pick up the excellent debut “Fast Forward.” You’ll hear the Roger Manning Jr. vibe in the opener “The Ballad of….” to start things off with an excellent melody and Beatles-styled guitar and drum work. Andy has a sweetness to his melodies that brings to mind McCartney and Curt Boettcher with a simple piano and acoustic guitar. “The Criminal” has a good story to tell as well, about broken promises and sacrifice for that one true love, and a gentle strum that reminds me of The Cyrkle or The Free Design. After the beautifully sparse ballad “Play,” we get to “Novocaine” – a melancholy song about the singer’s weariness and loss of confidence, much like a Gram Parsons ballad. “Thank You” is straight from the Pete Ham playbook, a song of earnest joy and love and accented by electric guitars. “Tied Up” has those little synth touches like The Cars, but the song is closer Weezer or Fountains of Wayne in spirit. The odd song out here is “Around the Town” with a mix of Michael Carpenter-like melody, handclaps and old piano sound. A good song, but Andy’s vocals are too laid back for the tempo. The vocals are much better served on the closer “Are You Listening?” a fine Beatlesque mid-tempo ballad with a nice guitar solo that fades out at the end. There is plenty of great pop here, although we are a bit low on the “power” scale, fans who flip for multi-layered music with melody and harmony at the forefront will want this for sure.

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And you are probably right. After all, I just know what you sound like. Southern California based The Shys emulate a classic 70’s rock and roll band with a knack for good songwriting and smart baselines. You almost don’t know what to expect in the instrumental  opener “Spanish Village By The Sea” but then the next song, “The Hangman” has a catchy chorus and smooth LA club rock guitar riffs to impress you. But it gets much better with the Lennonesque “Savior” and proves you don’t need Lenny Kravitz vocals to do these kind of songs.  “She’s Already Gone” is another gem with a song structure similar to Mott The Hoople’s “All The Young Dudes.” If you like narrative styled, bass lead songs you get “Mercy” or “Brother Please” which recall Mick Jaggar or Bob Segers’ best. Lead singer Kyle Krone has a great voice that matches whatever style of music that starts playing and I like the late era Beatles-styled tracks the best. “Find Some Courage” and “La Costa Verde” owes much to the Fab’s “Yer Blues” and “Why Don’t We Do It In The Road?” That’s not all, as “All On Me” sounds like it fell off an old Bob Seger Greatest Hits record. Other songs get less retro and compare well to The White Stripes (“Carry On For Two”). Fans of the above mentioned bands (Kravitz, Beatles, Stones, Seger) will treat this album like a favorite mix tape. Pop it in the player and play the air guitar to this.

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Listen to “The Hangman”

Smooth classic power pop in the Cheap Trick/Shoes guitar vein is how I’d best describe the Tempe, Arizona band Sugar High. After it’s debut 6 years ago, the group comes back with it’s follow up album “Let The Sunshine Out” and it’s most “commercial” sounding single “Scatter.” The chiming guitars and light pop chorus will earn the casual listeners respect. Guitarist Jason Garcia’s riffs have a Matthew Sweet feel to them and as the album continues, it gets better. “Going/Again” gets a little more aggressive and adds layers of guitars, hand claps, and tambourines, similar to power pop faves, The Caulfields. “My Star” is another notable song with a hummable melody and strong vocals. “Do Yourself A Favor” tells the story about actually writing songs (“I’m just makin’ sh*t up now”) and has a cracking energy missing on some of the later tracks. Even more evidence that this is the closest power pop to mainstream you can get listen to “Swallowed Bombs” which compares well with the Crayons. Another great track is the great repeating riff of “The King” and the slight twang and harmonica of the laid back mid-tempo “Around You.” Lead singer Adrian Evans vocal sounds a bit like Robin Wilson of Gin Blossoms and John Davis of Superdrag and the extra details of bells and strings on some tracks make for a pleasant diversion.  Soak in that Sugar High.

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From Yorkshire comes a pysche-prog-pop band that plays what we’ve been missing from the genre for years. The sound is very close to The Beta Band’s atmospherics and The Beatles melodic knack of pop. The entire album is a themed song cycle from birth to death and the strange trip in between. It opens with an “Intro” that sets a narrative of a future-story. Then “Birth” mixes equal parts “Welcome to The Machine” Pink Floyd and The Flaming Lips. One of the best songs follows with “Mother and Father” -it drives a Kinks music hall style and ELO’s prog pop balladry into a memorable delight. This is no retro-retread, but an authentic musical experience that draws from classic 60s and 70s influences. It continues with “On My Way” and “School” with it’s moogs, huge electric guitar solos, woozy drums and Hammond organs aplenty. And the important thing here is the themes are never lost, but instead of tight compositions the melodies are stretched out like taffy and connected to each other organically. Another standout is “John’s Car” has a stoned series of choruses singing “Are you in, are you out”  and it plays like a mix of  Floyd’s “The Wall” and The Who “Sell Out” and everything works, including the Kinks-like finale “All Things Come To An End.” Break out the headphones and enjoy the trip.

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