Glad to bring you some new songs, as we close out July. First is a neat freebie, The Morning Line‘s collection of outtakes. The opener “Straight Lines” is a solid single, and the rest aren’t shabby either. Mo Troper‘s freebie is the grinding grungey single “Ballad of Big Nothing” in the best Posies tradition, with a bit too much texture. Voltz from Sheffield, UK gives us a bit o’ glam mixed with pop on “Glitterbomb.” German band Eddie Mooney & The Grave has an 80s-styled pop gem with the catchy “Telephones.” I was also impressed with this debut EP from Seattle’s BPM Collective; “Adelaide” hooked me right away, and “Mr. Congeniality” has fantastic chord changes. I so much missed the music of Andy Bopp, and his single “Camera” is worth the wait. The first song I ever heard from Michael Carpenter gets a remix treatment, and Sofa City Sweetheart does a sweet Brian Wilson cover. Vista Blue‘s Ramones-styled pop returns with an Olympic-themed freebie and Reno Bo rocks both “Count Your Karma,” and a Todd Rundgren cover. Quiet a nice mixtape we have here.
The Peppermint Kicks are Sal Baglio (The Stompers, The Amplifier Heads) and Dan Kopko (The Shang Hi Los, Watts), and very much like chocolate and peanut butter, they blend together just fine. The two share a love of classic power pop and punk, as evidenced by the opener “When Rock & Roll Met Your Dad” a huge love letter to many, many bands, especially the Ramones. You could spend days picking out all the references, but the song itself is a fine example of a “teenage tragedy song” updated for middle age. Next along similar lines “Hey Fanzine!” recalls a fondness for those homemade band newsletters and rock magazines (Creem, Circus), and it’s got sweet hooks too.
I thought “I Don’t Hear A Single” was a theme for a popular blog, but it’s more about “pointless rock and roll.” Fans of Cheap Trick will eat this album up, as the beats and nostalgia are once again the targets on “Shag ’72.” Every track here will speak to rock and roll fans’ experiences; from visiting old venues like “Johnny D’s (Play It Again)” to playing in bands that aren’t “loud enough” on “Stooge” and “Rock and Roll Rampage.” It also looks back to history with a fondness for the last era of independent rock and roll, prior to the domination of corporate rock on radio airwaves. There are more than enough gems here to make this a highly recommended pick.
The Aerovons secured their role in rock and roll history with only a few singles. Signed to The Beatles’ label Parlophone, The Aerovons recorded “Resurrection” in 1969 at Abbey Road, and were hailed by the UK press; “It’s like hearing newly discovered Beatles tracks!” Beatles’ sound engineers Geoff Emerick, Alan Parsons, and Norman Smith worked on the sessions. The album was produced by their prodigious 17-year-old leader Tom Hartman. But it remained a “lost” classic until it was finally released in 2003.
Tom left the rock and roll life back then, but he’s back for “A Little More” and has proven that age hasn’t dimmed that talent. The eight songs on the album make for a smooth transition from the ’60s to today’s adult pop format. Unapologetically Beatlesque, the tracks “Stopped!” and “A Little More” was written in 1969 and are the big highlights here. Tom proves skilled at bringing The Aerovons back to life, and like Dana Countryman remains a skilled producer in retro pop sound. The newer songs don’t feel entirely out of place but do feel written by a more mature voice. “Swinging London” looks back on those times, and “The Way Things Went Tonight” is a lush ballad, perfect for a wedding anniversary. As a whole, it’s a transitory album with enough for fans of the original and proves you can come home again. Hopefully, Tom will not make us wait another 50 years for more. Highly Recommended.
It’s safe to say this band isn’t named after a Counting Crows album, but it does sound like an amazing lost Posies or Sloan album. Underwater Sunshine is a Vancouver quartet from the ’90s that never got a proper shot at stardom. They almost got signed by a big label in 1997, but it never happened. Lead vocalist/guitarist John Nikolic preserved the tapes of the band’s songs and with the time afforded during the pandemic, had Evan Morgan Productions re-mix the songs and finally release them. Fans of similar Canadian power-pop bands like Sloan and Grapes of Wrath are sure to find a lot to like.
Opening with “Verse 2” it’s a dead ringer for ‘Frosting on the Beater’-era Posies, with a killer chorus “When you come in with this song, you rock and roll” and the follow up “It’s You” keeps the same layered guitar and dense drum rhythms. “Baby Blue” (no relation to the Badfinger classic) slows the tempo a little, paints an expansive picture about mediation and projection with a wicked guitar break. There are elements of grunge not-so-hidden in a few songs, but the hooks are there and they stick more often than not. Despite the four-minute plus running time for most songs, it goes by quick as there are plenty of recommended tracks; “Who You Are,” “Rusty Crown” and “Listen To Reason.” The similarity between the aforementioned bands might have kept them from getting signed before, but it’s great to hear them now. Highly Recommended.
The prolific DIY rocker Richard X. Heyman is back with familiar pop themes and musings on his 14th(!) album. Opening with a choral harmony, “Nearly There” is everything we love about RXH – a melodic gem about hope and happiness that is “nearly there.” The jangling acoustic guitars and horns on “Choices We Make” showcase Richard’s adept skills as a songwriter with a Motown soul, as he also does for the songs “Sink or Swim” and “The Greater Good.”
The gentle bounce on “Tell Me When” is another magical tune that will put you in a good mood, and RXH sounds like he’s having a ball playing it. Additional standouts include “The Oval,” and “Return To You.” However, like past recent work, some ballads (“Cedarbrook Park,” “Ransom,” and “But Our Love”) are bathed in nostalgia or dour mood and it slows the album’s momentum. It’s just my opinion, but I would like to hear a little more of Richard’s wild side solo, or does he only save those songs for The Doughboys albums? Still, a very entertaining collection of songs that deserve to be heard.
It’s a rare thing when you get a bedroom pop album that cuts really deep emotionally, as well as melodically. Wales UK artist Tom McClung aka Francis Lung’s new LP ‘Miracle’ accomplishes this with both simplicity and layered atmospherics that help give the songs an immediate quality but also keeps you coming back for repeat plays. Influenced by early Emitt Rhodes and Todd Rundgren, Lung’s style is more akin to Elliot Smith vocally, and Field Music musically.
The stilted intro gives way to the confident “Bad Hair Day” then the fast tempo guitar riff suddenly cuts to a slow choral in the bridge. The ballad “Blondes Have More Fun” is a powerful story of depression, then “Miracle” is another quiet song that grows in dense sound before it’s again cut short. The centerpiece “Don’t Call Me Baby” is a brilliant single that reflects on growing abuse and the driving hook and rich arrangements bring it home. “Want 2 Want U” is another compelling tune and “Uncommon” boasts a melody with experimental key changes all over the place. While mostly melancholic, this is a lush personal statement that should not be missed. Highly Recommended.
Liam? Is that you? Just kidding. German quartet The Mergers is very much influenced by British ’60s rock, with huge guitar riffs opening up on the frantic “Outta My Way,” combining the best of The Who and Oasis. The excellent “Herman” has an echoing retro psych-pop feel, but with even more power and hooks, and it’s a big highlight here. It slows the tempo for the dream-like “Seekin’ For The Light” and a few other songs, but we love those big hooks and deep bass. The band is happy to out-rock Oasis on “Till You Get Me,” “Better Days,” and “End of The Day.” The reverb-drenched sound creates a really awesome party vibe.
In some sense, the mid-tempo gems “Right As Rain” and “Maybe All You Need Is Time” feel more like lost hits similar to Outrageous Cherry. The addition of jangle and harmonies are very inviting, but here is where they should have lowered the reverb volume, so we can hear those vocals better. While not every song sticks, more than enough do, and it makes this a highly recommended album.
Declare your independence from the lamestream music machines and pre-programmed, autotuned crappy corporate pop. Support your local artists and donate to them, so they make more great music! These are full albums – all for “name-your-price.” It’s been some time but the awesome Empty City Squares delivers a collection of great singles collected during the year. The opener “Hail To The Cheato,” a decidedly vicious takedown of a certain president. The songs are really good here, so download and enjoy! The Eisenhowers were quiet for over 12 years, but they came back to ‘Judge a man by the company he keeps’a worthy album that I discovered a bit late, but if you want a taste of Raymond Weir’s band, then get the “bonus tracks” on ‘Too Much Music.’ New Jersey’s Ruby Bones pays tribute to their favorite indie bands, and they do such a good job it’s worth way more than the $3.50 they are asking. Gentle Hen‘s 2017 LP ‘Sneaking Up On The Moon’ is our final entry here, but it’s stuffed with indie-rock gems, like “Made Up Stars” and “Life of Leisure.” They say the best things in life are free, and these are likely the best free albums you’ll get this year, so toss these bands a few bucks!
OK, this aint free — but at $3.50 it’s close enough to make my list.
