Category: Power Pop Review

The Amplifier Heads and Banda AL9

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The Amplifier Heads

The Amplifier Heads “Super 8”

The legendary Sal Baglio was a founding member of East Boston’s The Stompers, and has since been a fixture in The Amplifier Heads and The Peppermint Kicks. Baglio helped create the kind of blue collar East Coast rock that has inspired many, and on ‘Super 8’ he is keeping the faith. “Rock N’ Roll Riot” kicks things off with an explosive two-minute history lesson delivered at Ramones speed. The song is about the Moondog Coronation Ball and the birth of rock ’n’ roll.

He continues with the Stone-styled swagger of “Hot Stars” and the Louie Louie-inspired riffs of “A Girl Named Chop Suey.” The influences are obvious, but Baglio wears them proudly. “They Don’t Dance Anymore” reminisces about the time when people danced to the music on the radio. In contrast, the brilliant “Superstar” struts as he sings, “I don’t know what it’s like to be you.” Each song is a standout, and there is no filler. ‘Super 8’ is a love letter to the days when guitars, basses, drums, and saxophones ruled. It’s a shout-out to aging rock-and-roll wild men. If you need a reminder of why rock ’n’ roll was so much fun in the first place, turn this one up loud. Highly recommended.

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Banda AL9

Banda AL9 “Hey! Hey! We’re Banda AL9”

Banda AL9 brings the joy of Beatlesque power pop without overthinking it. This Brazilian duo, brothers Matheus Khouri and Thiago Khouri, have come a long way since their 2022 debut. After catching the attention of Little Steven’s Underground Garage and landing on Wicked Cool Records for their American summer release, the brothers arrive with an album packed with hooks, harmonies, and plenty of sunshine.

There’s hardly a dud in the bunch. The Khouris stack those sweet brotherly harmonies throughout, while tracks like “She Calls Me Love” and “American Girl” wear their Fab Four influence proudly. Then they crank up the energy on the Kurt Baker-penned “She Can Do It All.” The lyrics stay light, romantic, and carefree, which suits the music perfectly. Banda AL9 delivers the sort of power pop that begs for a summer afternoon, a shady spot on the beach, and something cold in your glass. Sometimes you don’t need to reinvent the wheel (as The Lemon Twigs have demonstrated repeatedly.) You just need great melodies, ringing guitars, and a chorus you want to sing along with. Banda AL9 has all three. Highly Recommended.

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David Woodard, Scott Gagner and The Low Priorities

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“David

David Woodard “Skeletons”

After a bruising battle with music distributors, Nashville rocker David Woodard takes all that frustration and plugs it straight into ‘Skeletons,’ a defiant blast aimed at the industry suits who wanted him to throw in the towel. The opener, “Circle of Friends,” sounds like a rallying cry for every indie artist who has ever been told to know their place. Woodard’s vocals are rougher here, often doubled and pushed into the red, while the music leans closer to the punk-pop punch of The Descendents than his previous work. Fans of The Well Wishers will enjoy this approach as well. “Carrying Everything,” “Déjà Me,” and “Between The Stupid and Clever” deliver some of the album’s strongest hooks. There’s plenty of attitude here, but Woodard never lets the aggression bury the melodies. “Skeletons” turns industry frustration into loud, catchy revenge, proving there’s still plenty of fight left in this Nashville rocker. It’s music that deserves to be heard.

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Scott Gagner

Scott Gagner “Sweet Tooth”

Minnesota singer-songwriter Scott Gagner’s new album feels like someone stumbling out of the darkness and blinking at the daylight. “Beyond the Blue” tells us to “open the door” and “find a thread” of happiness in a pretty messed-up present. The bouncy single “Sugar Rush” is a standout, with Gagner bouncing off the walls “like a human cartoon,” turning a sugar high into a surprisingly effective metaphor for choosing optimism when everything around you says otherwise. There’s a definite Todd Rundgren vibe here, especially his early work, with simple percussion and plenty of space around the melodies. “In The In Between” has a clever little song structure, while “Purple Heart” floats along on a mellow synth line accented by Rachel Hunter’s ethereal backing vocals. But beneath all those bright colors, Gagner keeps dropping hints that trouble is lurking around the corner. “Queen of California” and “Nothing Left to Lose” carry an uneasy sense of impending disaster, while “If It’s Really Over” sounds like the moment the darkness finally catches up. Gagner searches for reasons to stay hopeful (“Ear Can See”), but he isn’t pretending the world is suddenly okay.

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“David

The Low Priorities “Dice”

Sydney-based trio The Low Priorities score immediately with the opening title track of “Dice,” a jangly meditation on the randomness of life that lands a terrific hook in the chorus. The laid-back lead vocals give the songs a mellow, almost effortless feel, while the guitars bring plenty of melodic muscle underneath. “Somewhere in Between” keeps the momentum going, and much of the album follows this winning formula. “A Known Unknown” is an another standout, while “San Miguel” turns up the volume with heavier riffs and a story about an ’80s romance. “Vivienne” and “Ruler of Venice” are solid little narratives, both lifted by those tasty guitar leads. The Low Priorities keep things consistent throughout, although several tracks wander past without quite delivering the hook needed to stick in your head. Still, there are more than enough memorable moments here to make “Dice” an easy recommendation for fans of melodic indie guitar pop.

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End-of-July Music: The Goods, Golden Richards, The Schwa, Remo Drivem He’s Dead Jim, Sweet Cream Ladies

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The Goods kicked off my week with the jangly pop gem “Summer’s Almost Gone,” and it has me counting the days until the new album arrives. Golden Richards is also back with another single, the wonderfully self-aware “I Want To Be Like Jeff Goldblum.” If you’re into Fountains of Wayne, especially their playful side, this one hits the mark. The Schwa reached out to me on the same day I stumbled across them on Instagram. Funny how that works sometimes. Their new free single, “Gotta Get Away,” sounds like Devo and The Ramones teamed up to play an Offspring song, and somehow it all fits. Minnesota’s Remo Drive also deserves a mention. I somehow missed these singles when they first dropped, but “Live in Pain” stands out with its emotional punch and strong melody. He’s Dead Jim keeps things loose and scrappy with a fun take on summer AOR, while Memphis newcomers Sweet Cream Ladies wear their Guided by Voices influence proudly. The edges are rough, but there’s enough promise here to make them worth keeping an eye on.

Great July EPs and album previews: The High Frequencies, The Long Honeymoon, Bleu, My Raining Stars, Twin Bloom, The Private Eye

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Let’s start great fresh cover of Bob Dylan’s “Subterranean Homesick Blues” courtesy of The High Frequencies with power pop queen Lisa Mychols continuing to churn out great music every year. Look out for the full Dylan comp on Jem Records.  I am thrilled to find out that Bleu is back with a new album and ‘Sargeant Pepper Grinder’ boasts his signature power pop sound, “Start a Band” is a tribute to long time friend, engineer Ducky Carlisle. Minneapolis-based The Long Honeymoon has a very deliberate songwriting method, and it’s all from the heart. Check out “Beauty in Reality.” My Raining Stars is an under rated new wave styled pop band that also deserves attention, listen to “It Will Take Me a While.” Great song writing by Thierry Haliniak. I don’t know much about Twin Bloom, but I liked the Teenage Fanclub vibes of “Summer’s Gone.” L.A. punk poppers The Private Eye have a lot of balls naming a song “Can’t Buy Me Love by the Beatles” but these guys are worth staying for the rest. I liked “Necessity Problem” and “Mary Couldn’t Carry.” Enjoy!

Mo Troper and The Blusterfields

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Mo Troper

Mo Troper “Today I Played My Guitar And Sang”

Mo Troper returns with an album that turns personal struggles into some of his strongest songwriting yet. The cover features what appears to be a psychological evaluation for Asperger syndrome or ADD, setting the stage for an honest, self-examining collection of songs. Rather than becoming weighed down by introspection, Troper transforms anxiety, frustration, and self-doubt into irresistibly catchy power pop.

This is Troper at his most tuneful. His familiar bedroom pop aesthetic receives a fuller treatment thanks to producer Jon Titterington, who adds warmth and dimension without sacrificing the intimacy. Opener “The Best Seat In The House” bursts forward with layered jangling guitars and an irresistible bass line.”The Feast of Fancy” follows with crunchy guitars and a loose acoustic break that captures the feeling of everything threatening to come apart. The emotional high point is “When She Says My Name,” a gorgeous slice of sunshine pop that owes an obvious debt to Brian Wilson’s ‘Pet Sounds’ era. The lush harmonies and soaring horn arrangement make it one of Troper’s finest songs to date. Elsewhere, “Let’s Get Back To Music” sums up the album’s central idea. Music becomes the only dependable escape from an increasingly chaotic world. Yet Troper keeps his feet on the ground, delivering one of the album’s best lines, “To make the hits we take some hits along the way.”

Troper never hides behind clever lyrics, though. The bitterness of “Rotten” and “Moscow To The Ground” exposes genuine frustration, giving the album emotional weight beneath its bright melodies. With the Beach Boys-flavored “That Could Leave A Mark,” Troper proves once again that the sweetest hooks often carry the deepest bruises. ‘Today I Played My Guitar And Sang’ balances infectious melody with vulnerability, humor, and self-reflection. Highly Recommended.

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The Busterfields

The Busterfields “Thoughts & Prayers”

The Blusterfields refuse to treat power pop as a formula. On ‘Thoughts & Prayers,’ the North Carolina band mixes jangle pop, punk, psychedelia, and classic guitar rock into a collection of songs driven by sharp melodies and even sharper opinions. The album title itself mocks the routine response of politicians to gun tragedies.

The swirling opener “Any More” and “Big Celebration” celebrates a future with our dark cynical present. Fans of Andy Partridge and XTC will recognize the strong harmonies, inventive guitar work, and hook-filled songwriting, while touches of garage rock and psychedelic textures give the album extra depth. Every arrangement feels purposeful, with ringing guitars, confident rhythms, and memorable vocal harmonies carrying the message. Highlights include the raging “Never Been to Detroit” and the ultra-catchy “Mr. Secretary.”

The Blusterfields never let the lyrics overwhelm the music, delivering songs that work whether you’re focused on the message or the melodies. From the grim scenario of an ICE raid in “Daddy’s Not Coming Home Tonight” or the takedown of the administration on “Here Come the Idiots,” it mostly works. Even listeners who don’t share the band’s politics will have a hard time ignoring the craftsmanship. Highly Recommended.

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