Category: Top Ten of 2011 Candidate

Michael Oliver & The Sacred Band “Yin & Yanxiety”
Boston based Michael Oliver (formerly of Go Dog Go!) sets in motion an excellent group of smart pop tunes that combine many great influences. “Complicated” opens with a wicked riff and slow beat similar to Matthew Sweet or Michael Penn. Next we are treated to a gorgeous arrangement in “Neverlast” which draws from Brian Wilson, stating ironically “there’s no use bringing up the good times of the past.”  The album boast some excellent rockers “Love While It Lasted” and “Little Miss Oblivious” with memorable hooks and nice double-tracked harmonies. No filler here, even the ballads like “It Was You” and “I Won’t Get Over You” are very compelling and moving compositions. Plenty of highlights, and it’s the song details like the handclapped beats on “Tell Me What You’re Dreaming” that enhance the overall melody. It does lose a bit of steam toward the end, but after a few spins I’m convinced this album deserves a nomination to be in the top ten for 2011 (one more month left!) so don’t miss it — it’s essential listening.

 

Ken Kase Group “Collected Works 1997-2008”
Ken Kase is not your average singer-songwriter, and his unique pop stylings are gathered in this satisfying collection. Comparable to Marshall Crenshaw, David Yazbek or a more pop oriented Todd Rundgren – its tough to peg Ken Kase to a single style. All you need to know is that the album has wonderful hooks and earnest lyrical stories. Starting with the energetic “Pauline” it has a neat sticky riff ending each chorus. The dark subject of date rape comes into focus on “Walk Right In” and the excellent chords in “I Guess Your Word” make it another winner.

Some have labeled Ken as an “intellectual” pop guy with titles like “Theraphosid” and similar to They Might Be Giants, he manages to comment on pop culture perfectly with a jazzy touch on “The Coffee House Of Doom.” The country styled “The Names of The Roses” and the XTC-like “Insincere Apology” are both personal and highly enjoyable listening. A great example of one of Ken’s best is “Shiner” with a slick eighties pop sheen, it’s about reconnecting with a long lost friend. Not everything on the album works, but most of it does – so give this rare talent your attention.

CD Baby | Amazon

 

If you’re looking for great British power pop, then look no further than Kelly’s Heels. Bob Kelly’s guitar licks and solid vocals have been a reliable favorite of mine over the years, joined by the ferocious drumming of Jim Kimberley and the groovy bass lines of Isobel Kimberley. The band has been putting out quality music for over a decade now, so this album was most welcome. The sound of the band fits squarely in between Squeeze and Elvis Costello with a bit of  The Replacements thrown in. The mid tempo “After Tonight” is a brief intro that echos the classic Kinks romantic period as Bob intones “after tonight, I doubt we’ll ever see each other again.” Then the manic paced rock begins, “Anything But This” has a middle eight that will thrill fans of Glenn Tilbrook.

With the punk elements of the band put more in the background, pop songs like the pastoral “First To Say” hold your attention between the more frenetic tunes. Every song here is great, like “Next Time You Walk Out” with a bouncy harmonic and undeniable hook in the chorus. The Beatlesque “SundayMondayTuesday” is another winner and you may find yourself either energized or exhausted by the richness of earworms here. Fans of Mike Viola will appreciate the lyrical sweet poison of “Common As Conquest” as the compositions here are also the strongest to date, it really earns a top ten for 2011 nomination!

Halloween is over, but we can still witness the solo careers of artists rise from the ashes of their old bands, and note that both have used the term “Ghosts” in the title or band name.

Magnets & Ghosts “Mass”
Collective Soul Founding Member Dean Roland & Singer/Songwriter Ryan Potesta strike out as Magnets & Ghosts. The duo have many diverse musical influences, the opener “Hearts of Everyone” has more in common with the alt band Love & Rockets than CS. But it doesn’t take long for a true rock classic to emerge on “Hearts of Everyone” with it’s impressive catchy chorus.  The title track slowly fades in, with solemn Gregorian chants and a single piano note, it leads to the very Coldplay-like ballad “Hold On” full of orchestral sweeps and echoing strings. Another great track is “The Sea and The Sound” with it’s quick rhythms and mult-tracked chorus similar to U2.  The most unique song here is “I Want You” as the hand claps and drum start the chanting “whoa, whoa”  but the piano brings across a melody that recalls both Bryan Scary and Depeche Mode. There is just enough here to keep Collective Soul fans interested (“Like A Sunday”), but make no mistake this is a clear alt. pop album that will appeal outside their traditional fan base to audiences that appreciate Arcade Fire, British Sea Power and Polyphonic Spree. Some sonic indulgences here ( like “Half-Awake”) but overall a very good start to a new band made up of old mates.

Facebook | Amazon | CD Baby

Miles Zuniga “These Ghosts Have Bones”
Fastball frontman Miles Zuniga lets his pop flag fly on his solo debut. What can I say but this is the broken hearted romantic rocker’s perfect album. Opening with the melodic “Marfa Moonlight,”  it’s a catchy and quirky delight that McCartney used to do. The melodies may be sweet but as “Rock Paper Scissors” boasts “violence and razor blades forever more” it brings to life inner doubts and rotten core of a dying relationship. The plain speaking story of betrayal in “Feel It In Your Kiss” has a retro-70’s feel here. The album wry centerpiece “The Weatherman” has Miles joined by jazz singer Kat Edmonson in a slow Ray Davies styled song of resignation about climate change. “Wicked” is a soulful mid-tempo rocker that recalls John Lennon with the chorus “She’s wicked, Wicked and cruel – Oh, she’ll make a fool of you” and it could be the twin track to “Sexy Sadie.” Another tune of love ruined is “Elizabeth” with both masterful lyrics and composition. The song cycle of the album does have some hopeful notes, with “Working On A Love Song,”  but even this is a false hope as most of this is just Miles exquisite suffering of “heartache and regret” (as heard on “You Can’t Break My Heart.”) Not a single weak song here and highly recommended, as it’s the best emotional release/therapy for a recent divorce you’ll ever hear. Repeat listens required and a top ten album for sure.

There are only a handful of musicians who when they release a new album, I buy prior to hearing it. And Mike Viola is one of them, as he’s earned my trust over the years. This is a highly personal album, and like Matthew Sweet he lays it all out there – the questions of middle age, regret and more. In interviews, Mike mentions comparisons to the TV show Breaking Bad, where normal life drama comes from raw emotional moments.

It starts of with “Columbus Day” showing a shift from NYC to LA that took “all my energy” in the building chorus and with cultural touch points dotting the melody. The tone is sunny and catchy on most of the songs like “Get You Back” and even a “bad day for the whipping boy” on “El Mundo De Perfecto” finds the optimistic side of things. “Soundtrack of My Summer” is another Viola gem of an earworm, you won’t be able to shake off.  “Me and My Drinking” has a wonderful bass line and delicate narrative about screwing things up. Lyrically it does get very dark, especially on “Closet Cutter” where you blame “The Beatles and The Rolling Stones” for a lack of success and “Here’s The Rub” where a breakup leads to addiction. Aside the fact that this is all great ear candy, each song is a thoughtful and detailed scenario that requires repeated listens to really appreciate. Ever since Hang On Mike, he’s performed at such a high level, and Electro De Perfecto continues this tradition, don’t miss it.

El Mundo De Perfecto by Mike Viola

The amazing Thomas Walsh and company return after a solid “greatest hits” collection, and create The Olympus Sound with an assist from Ben Folds, Andy Partridge and David Gregory (XTC). With such a stellar line-up and mixed at Abbey Road studios I expect nothing less than power pop bliss. And that’s what you get for the most part, as Walsh continues to pick up where XTC left off ten years ago. “Answers On A Postcard” is a snappy single with carnival-like atmosphere filled with kazoos and kettle drums. The mesmerizing “There You Are” builds with a smooth easy synth and a fuzz riff that resembles The Beatles”Rain.”

Gregory scores the strings on the wistful ballad “The Warmth Of You” and “Fall Down” chugs along with its hummable melody and tambourine claps. Folds quietly does the piano on “Dear Belinda” written for a friend of the band – actress Belinda Stewart-Wilson. The guest stars here may help but its Walsh’s vocal that leads everything, including the Patridge written “Here We Go ‘Round Again” and the semi-western mantra “I Don’t Like It But I Gotta Do It.” At this point every track shines bright and then the last few tracks get more pastoral and slower in tempo. “Four Days” is so laid back with it’s Beach Boys harmonies and lazy piano it could have you daydreaming of summer vacation… Needless to say this will stay on my ipod for a while. A “don’t miss it album” and top ten nominee for 2011.