Category: Top Ten of 2010 Candidate

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The latest self-titled album from The 88 since they toured with Kinks frontman Ray Davies is an impressive effort that succeeds in being accessible and keeping your attention glued to a pile of radio-ready singles. Lead singer Keith Slettedahl’s vocals strut along, a little Oasis styled arrogance go a long way to support Adam Merrin’s awesome piano melodies. Fans of Supergrass will find solace in the Brit-styled chord structures and impressive riffs. The opener “Center of The Sun” is a perfect example of a song that balances rock and roll with a shot of sugary pop.  Davies even lends his backing vocal on “They Ought To See You Now” and it’s one of the best tracks – it layers guitars and Hammond organ flawlessly. One thing I’ve noticed is how much better the songwriting and composition is compared to past albums that may have relied more on studio wizardry.

It’s also the most consistent album so far, without a weak song to be found. The energy and hooks cram every nook and cranny from the anthemic “After Hours” to slower tempo work on “Hold On.” Even the slow acoustic “Takes It Away” catches the magic of a weary blues based love song. The second half of the album isn’t as immediate on first listening, but just as satisfying as it grows on you. I’ve read a few critics say that “nothing’s new here” but that misses the point. Power pop is not about innovation, so much as getting the basics right and the 88 do. Easy to classify this as one of the year’s top ten albums.

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The debut from The Orbans is a perfect cure for you if you’ve been suffering from alt. country and pop withdrawal. Try to imagine of Ryan Adams and Wilco teaming up with Coldplay and jamming out. “New Dress” is a distinct pop opener with strong guitar riff and marching chorus. Following this is the awesome “Songs We Sing” with dance hall piano tinkle, ripping guitar solo and pure pop bliss in the melody.  Lead guitarist Kenny Wayne’s hook filled riffs are a huge asset atop each song, and slowly the tenor of the album gets more countrified by the fourth track, “Don’t Lose Yourself.”

The band also has a knack for rich three-part harmonies on “Barely Someone’s Known” and the soft ballads (“Darlin’ My Dreams” and “Go”) are both poignant and well written. The twang gets heavy on “When We Were Wild” — I felt like Duane Eddy was playing here. The composition on “Alibi” is another power pop classic, and Peter Black’s vocals give each track the perfect balance between alternative and country sounds.  The songs throughout the album are consistently great, as no single track dominates and that makes for great repeat listens. One of the best debuts this year, it earns a top ten nod. 

If ever an artist has fully embraced the spirit of power pop and evangelized the merits of the genre, it’s Paul Collins. This is a full fledged return to his roots with a sound reminiscent of The Nerves and The Beat in it’s prime. With help from Dave Shettler on drums, Wally Palmar (of the Romantics) on harmonica and harmonies, and Nikki Corvette on backing vocals it’s as solid as you can get. The quick tempo and distinctive guitar riff of “C’mon Let’s Go!” gets  off to a great start. Paul is just ageless here as he rocks out “Do You Wanna Love Me? and the built in crowd pleaser “Doin’ It For The Ladies.” The Merseybeat jangle of “Hurting’s On My Side” is another in a line of tracks that are both short and sweet.

It’s not all Beatles meets Ramones styled guitar songs either. “Many Roads To Follow” has a steady strum and Spector-like Kettle drum, and in honor of the recently departed Alex Chilton is a note perfect cover of “The Letter.” The title track “Kings Of Power Pop” is loving look back on Collins career and other bands like The Beat. A few tracks are a bit repetitive (“Off The Hook”) and “This Is America” seems a guitar version of Billy Joel’s “We Didn’t Start The Fire.” But there are so many excellent tracks here, it earns a nod for top ten album of 2010.  All Hail The King!

Few artists have the stylistic depth I’ve heard from William Duke. This California native has two distinct personas that come together in a brilliant  fusion. The 12-stringed jangle of “It’s Only The Beginning” typifies this first style. It’s a gentle atmospheric pop that The Millenium, Yes and The Moody Blues excelled at. This style culminates with the prog infused instrumentals “30 Ave. Entrance To The Park” and “The Canyon.” The other style is pure early 70’s influenced rock, “The Great Escape”and “A Moment In The Sun”are gorgeous pop tunes similar to Big Star and Bread. Every track is awash in inventive bass lines and minor chord shifts, by the albums mid point the styles intertwine together on “The Impending Happiness” and the lush harmonies of the title track. This is where the “sunrise” meets the “night” – and even though it’s got a retro-sound, when it performed this well, you sit up and take notice.

Duke is originally from alternative pop faves Bye Bye Blackbirds. He takes things up a notch or two here. This is a hauntingly beautiful album that gets every track right. and for fans of the Curt Boettcher style of pop this is a must-buy. Better yet, Kool Kat Musik is offering a 20 song bonus disc with alternate mixes and demo tracks, so get it while it’s still available.