Still digging out of 2020. I enjoy this month because I get to see all the other bloggers’ lists and compare. I know there are always a couple of gems out there I missed. I already have some new music for 2021, but first I will try to review some of the LPs that missed thelist. In the meantime, enjoy this last pack of 2020 singles:
Overall, a really good year for power pop and the pandemic has allowed many artists to write themes about love and hope (Rick Hromadka and Ice Cream Hands). The differences in ranking from 1 – 25 are very, very small. There was also a strong return to “traditional” power pop this year, meaning sounds that emulated The Beatles’ style and spirit (The Szuters, Weeklings, Gary Ritchie, The Overtures). Some albums that were not rated a “9” grew as I listened to them again and others did the opposite. Emotionally charged debuts from Disq and Keith Slettedahl broke through for me. I spent a lot of time on a video giving snippets of each artist, so you can get a quick listen to each.
The best of the rest… I will not spend time ranking them, but everyone here could have squeezed into my top 25 easily.
The Empty Hearts is a supergroup full of veteran musicians; Wally Palmar (The Romantics) on lead vocals, Elliot Easton (The Cars) on lead guitar, Clem Burke (Blondie) on drums, and Andy Babiuk (The Chesterfield Kings) on bass. The band’s sound is rooted in 60s classic rock and blues, and it’s delivered with high energy.
“Coat Tailer” is a sweet anthemic opener with the beautiful riff leading the main hook. It also helps that all four band members know Ringo Starr, who plays on “Remember Days Like These,” which has a bit of Wilburys vibe. The band’s cool cannot be denied with the horror-themed “Jonathan Harker’s Journal” and the hooks are all over “If I Could Change Your Mind” and “Come On And Try It.” The mood shifts with the smooth harmonies on “The World As We Know It Moves On,” and again on “Death By Insomnia” which feels like a sequel to The Beatles’ “Helter Skelter.” The finale “Indigo Dusk Of The Night” goes in a Fab-like psychedelic direction too. The production is pristine, without a wasted note. It also makes my Top Ten nominee list. Highly recommended, don’t miss it!
The New York-based Midnight Callers boasts a pile of diverse influences and occupies a space within power pop that puts more emphasis on the “power” and it will knock you over if you’re not ready for it. Fans of Meatloaf, Sweet, Cheap Trick, Kinks, and Buffalo Springfield will really grow to love this excellent debut. The band is comprised of Chris Paine (rhythm guitar), Martin Stubbs (lead guitar), Julien Budrino (drums), and Marley Myrianthopoulos (bass).
The fast tempo on “41 Miles To Roscoe” delivers those fantastic riffs right away, and “Down On Luck” bring those classic rock harmonies to the forefront. “I Need You” has a great driving riff that would’ve made the song a massive hit if it was released in 1978. The styles are diverse enough to keep you engaged throughout the entire album. “River Rise” is another gem with a bed of guitars supporting a soaring lead vocal, and “State of Mind” has a jangle and energy similar to The Grip Weeds (no coincidence, since Kurt Reil is listed as a producer.) The band doesn’t slow down until the plaintive “Do We Need It.” The production is great and most of the songs hit their mark. Highly Recommended!
Mike Viola (Candy Butchers) returns to a more conventional rock and pop sound, but the years of producing others and his own experimentation have left their mark. Written and recorded alone in Viola’s home studio his songwriting remains in top-notch form starting with “USA Up All Night” a slice of life that brings to life the stress and isolation (“…all of the bars are closed”) of the time. “Creeper” (in response to the passing of friend Adam Schlesinger) adds menace to the story, and “Drug Rug” is a catchy look back at his early days in the music biz and the parties where you “get lost.”
Viola has anairoftragedy that swirls around each song as he dives into fatherhood, “We May Never Be This Young Again” but the pain of loss on “All You Can Eat” is palpable. The introspection gets more impassioned on “People Pleaser, You’re The Man of The House” and some hope is expressed on “Ordinary Girl.” A downer of an album, but also very well done. Highly Recommended!
Early in 2007 — Drake Bell delivered a debut pop album It’s Only Time and it blew me away at the time. But for the follow-up — Drake lost the computer hard drive where all the new songs were stored. “I thought the songs would never be heard again,” the now 33-year-old says. So he started over, writing and recording the rockabilly-influenced Ready Set Go!in 2014. But then one day he found that damaged hard drive, and recovered all those songs. For Drake, it was like opening up a time capsule.
Bell’s follow up to that debut continues his melodic mastery and it’s brilliantly upbeat. “You Want Me” is soul-inspired power pop with horns supporting his layered vocal harmonies. The piano flirtation “On To You” and “It’s Never Over” are comparable to Wyatt Funderburk for pop bounce and sly humor. “Sail On” is a grand epic ballad in the Brian Wilson mode, and “Nowhere Else To Go” injects ‘70s pop-funk akin to the Jackson 5. He adds a few country-pop tunes as well. Every song shines bright, and it’s a contender for this year’s top ten for sure. Better late than never and Highly Recommended.
NYC musician Michael Goodman has evolved over the years into a real power-pop powerhouse. And this is latest album has both an equal amount of hooks and attitude. The opening “Nostalgia Machine/Disappearing Act” features a churning guitar rhythm and a Kinks-Beatles styled mantra, about hiding within the cushions of past influences, but the guitar buzzes forward on “Raymond Burr” with plenty of energy. Similarly “Rachel K” has a swagger similar to Jeff Whalen (The Brothers Steve) and its hooks get you pretty easily.
Goodman excels with a gem describing the sudden end of a relationship “Gone In The Blink of An Eye” where “hey it sucks here/everyone’s stuck here.” “I Want To Spend The Day With You” and “Three Camellias” are short sweet love songs, with some nice minor chords and the latter boasts a great string break and harmonies. “You’re Doing It Wrong!” seems a perfect song for 2020 and is another big highlight among many. In fact, each song has a catchy melodic quality and the styles vary enough to keep you on your toes. Hard to believe, but this album is better than last year’s Era of Buckets. And this one will also make my top ten list. Super Highly Recommended!
Jayson Jarmon (Liar’s Club) and his band of friends are exploring his love of music with Limerence (defined as acute onset, unexpected, obsessive attachment) as he flys through several different musical styles with each track. The playful “Treefort” describing a childhood tryst with some improv jazz guitar at the end. “Sentimental” is a catchy little pop confection about his obsession and it brings us to the glammy “Velvet Rope,” fans of Sweet or Gary Glitter will enjoy this one.
The orchestral pop of “Haunted” has a Sinatra-like quality and the quirky “Easy as Pi” is a kids math song with an infectious bounce akin to Schoolhouse Rock. Because of the nature of the LP, it’s never predictable and mostly entertaining. Sometimes it falls flat or sounds forced (“The Call”) and I found the best tunes in the first half, but you can find a favorite anywhere – I really enjoyed “Let’s Start Over Again,” a McCartney-like ballad. Overall it’s fun and definitely worth checking out.
