Category: Power Pop Review

My weekend vacation is up. On a few Gannett newspaper sites, they are promoting the newest Brian Wilson album “Lucky Old Sun” by having the entire album stream for listeners. This is a very good thing to older established artists that don’t feel the labels support them enough. With the success and adoration from 2004’s “SMiLE” album, this is a step above the follow up “Gettin’ in Over My Head” done that same year. Brian’s emphatic vocals have less of a tired feel and some sweet gems are to be found in the title track, “Forever She’ll Be My Surfer Girl” and the sweeping “Mexican Girl.” Unfortunately there are lots of narrative bits and reprises between the songs (done to better effect on The Beach Boys “California Saga” years ago) that don’t work here. A remake of “Can’t Wait Too Long” is filler here, and a truly beautiful biographic ballad about his comeback “Midnight’s Another Day” suffers from Brian’s lack of vocal range, but most fans will find it forgivable and truly savor the handful of songs. In fact, I wonder out loud how gorgeous this song would be sung by someone else (Much like the Elvis Costello/Burt Bacharach’s “God Give Me Strength”). Others will wonder what all the fuss is about.

Michael Mazzarella is a legend among power pop fans for his work with the Rooks. His solo career has concentrated on improving his songwriting abilities and his latest offering “Folk Songs…” is similar to the last album “Grey Over An Autumn Winter,” which presents a song cycle in somber tones. It was recorded on a simple eight-track with help from Richard X. Heyman on the harmony parts. Vocals as sharp as ever, Mazzarella is sounding more like a mix of Colin Bluntone and Chris Bell on the opener “Recollections of a Young Girl Gone.” Thankfully, the clouds part for the excellent mid-tempo “October on Bleecker” with it’s sweet strum and multi-tracked melody that mixes the Beatles and Big Star influences sure to please Rooks fans. Then the clouds return on bleak “The Ballad of Who Are We” which is a song about a bygone relationship fallen through the cracks of life. The next track “Open Letter Of Sorry” has a John Lennon quality with heavy echo in the piano and nasal delivery. Another standout is “Shine A Little” which has an spiritual quality with a strong Elton John styled piano melody. The songs themselves feel like a confessional and the melodies sparkle through the lo-fi approach on “For LaDonna The Blue” and “In An Ocean.” It ends with a gospel statement in “Hallelujah For The Hallelujah Of Us” and if it had a least one additional mid-tempo or upbeat song in the mix it would be better received. It’s a downer of an album, with the ending lyrics “Have all the friends I have known/Better to feel so alone?” Fans of John Lennon, and Big Star will appreciate this and of course if the mood suits you.

The Rooks Site | My Space | CD Baby

Note: For some reason the review of “Black Bunny” was deleted by accident, so I reposted it.

Jaimie Vernon is not only president of Bulleye Records, he’s also been part of several bands in his native Canada. His third solo album is a concept album/homage to hit radio programs from the past. Rather than a single stand-alone CD of material, he has compiled 70 cuts as MP3s included on a multi-media disc that includes a ‘faux’ radio show from the fictitious CRCK-FM featuring Bob Segarini as DJ Brian “The Iceguy” Campbell. Follow the exploits of the last playlist from the last station on the last day of Top 40 radio. Much like Roger Water’s “Radio K.A.O.S” or Queen’s “The Works” album in “the end of modern radio” theme, except you get a whole lot more. I concentrated on the 23 songs of the “CRCK Top 20” where you get a complex story outline in the song  “Radio Killed The Radio Star” which is influenced by The Cars, Beatles, and even Billy Idol. Some highlights include the very ELO inspired “(Letter To A) Dear Chum” and the reggae beat of  “Clique Me Down” with horns and catchy chorus similar to Jimmy Buffett’s hits. “Airwaves” is the closest tune to Roger Waters style. With Segarini aboard, you also get a little bit of Chilliwack and other Canadian hits in the song “Life’s A Canadian Rock.” Included is a cover of the Hudson Brothers “So You Are A Star” and the bouncy “(Coney Island Turning) Upside Down.” Lots of other references to Canadian rock bands like Klaatu as well, however more attention is placed on the concept/storyline than the music itself, which doesn’t always live up to expectations. On the other hand, there is a TON of material here, so you are most definitely getting a “box set” worth of stuff for a single album’s price.

Bullseye Canada | My Space

Listen to “(Letter To A) Dear Chum”

Jeff Larson is a singer/songwriter who’s earlier albums flirted with Beach Boys gentle vocal harmonies and folk rock. As his albums continued to progress beyond the sound of California pop, Jeff has moved comfortably in the adult folk pop venue since 2002. His supporting players are the reliable, Gerry Beckley and Dewey Bunnell (of America) and Jeffrey Foskett (of Brian Wilson’s band) and they all supply subtle backing vocals. If you’ve enjoyed Jeff’s recent albums, this is more reflective than the usual sun and strumming, but like a cool ocean breeze it’s just as refreshing. “Anywhere She Goes” is closer to America or an Eagles ballad than anything Wilsonesque. Shimmering guitars are all over this release, as evidenced by the beautiful “Ghosts of San Miguel” and the banjo pops up on the soothing “Red To Rust.” This is a mellow affair no doubt, and “Threat of Rain” resembles a Dan Fogelberg ballad. “California Rail” is another western styled tune (with harmonica on top of banjo) that makes for great road music and my favorite here. No real clunkers here, and some subjects get pretty deep here (“Child’s Play” about going through lies and drug addiction). Excellent folk pop, that inspires and amazes.

My Space | CD Baby | Not Lame

The Popravinas are a lot of fun, especially if you enjoy a Rolling Stones-meets-Whiskeytown sound. The Americana-bar party begins with “Popravina Weekend” and continues with twangy guitar licks. Lots of great tracks are here, including the foot stompin‘ narrative of “Biggest Shot” and the power pop hooks are all over “She’s Got Fashion” which recall the strut of The Georgia Satellites. Things get even peppier with “Long Walk Back” with quick fast drum beats and regular rhythmic riffs. The closest thing to a ballads here are “She Feels 101” and “Girl With A Workface” and they lean more to The Stones sound here. The other tracks follow a similar formula and tracks like “Johnny’s Gotta Girlfriend” and “Nearest Pretty Girl” have a bit more of that fuzz guitar and energy of The Replacements. No real clunkers here, although many tracks toward the albums end don’t stand out so much. I would love for these guys to write a humorous novelty track, like Mojo Nixon or Guns N’ Roses– they definitely have the ability. A great CD for driving with the top down and the stereo up loud.

My Space | CD Baby