Category: Top Ten of 2025

Short Takes: Cheap Trick, Sharp Pins, The Manic Standstill, Rome 56

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“Cheap

Cheap Trick “All Washed Up”

This review will be easy, because if you didn’t like Cheap Trick you wouldn’t be reading this blog. Tom Petersson and Daxx Nielsen’s rhythm section is rock solid, Rick Nielsen is still can belt out a distinctive riff, and Robin Zander possesses the same blend of nuanced sensitivity and loud energy that has been part of the band’s defining style throughout their long history. For the uninitiated, Cheap Trick remains an unapologetic power pop institution, so pick this LP up and enjoy the big harmonies, layers of glistening guitars and big hooks. Highly Recommended (what else?)

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Sharp Pins “Balloon Balloon Balloon”

Chicago Wunderkind Kai Slater is on his third album already, and each one shows tremendous growth. Leaning on various influences from garage-era bubblegum to Robert Pollard, it boasts a massive amount of brilliant songwriting. Taking on the DIY bedroom pop approach, the hooks are great here on the opener “Popafangout” and the lost-Beatles gem “I Don’t Have The Heart.” Most of the long 21-track list hits the mark and remind me that The Lemon Twigs are not the only band that can mine the past to create future gems. Despite the obscuring production and layered fuzz lots of standouts like “(I Wanna) Be Your Girl,” “Gonna Learn To Crawl,” and “Talking in Your Sleep.” Highly Recommended, and makes my top ten list.

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The Manic Standstill “Moving”

Los Angeles-based band The Manic Standstill hit the ground running with the solid rocker “Reasons Why” (great video too!) and boasts contributions from members of The Aquabats, Teenage Bottlerocket, The Dollyrots, The Screamers, and more. Its a blend of Punk Pop and Hard Rock influences, its high energy approach works on several tracks like “Oh Francisco,” “Trying Too Hard,” and “Girlfriend Island.” The harmonies and musicianship are excellent overall. Fans of Green Day and Extreme will really enjoy this.

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“Rome

Rome 56 “Pony Tales”

Arthur Lamonica (The Shirts) continues to dazzle as rock’s elder statesman with Rome 56. “One Way Ticket” is a compelling start, the band is both melodic and easy going on “Ladder of Love,” and comparable to prime Elvis Costello. Highlights include the catchy “In The City,” “Shut Down Town,” and “Sam The Delivery Man.” You’ll appreciate these songs far more if you immerse yourself in them. The album is definitely a grower rather than an instant hit.

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Cody Piper and Greg Pope

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“Cody

Cody Piper “Revealed”

Pittsburgh-based singer, songwriter, and producer Cody Piper popped up on my radar as an artist of piano-driven pop that feels as emotionally honest as it is musically intricate. His debut album is a mix of contemplation and catharsis, displaying a songwriting instinct and style similar to Ben Folds.

Almost every song here stands out, and feels handcrafted. From the opener “Run Home,” it feels like the raw emotion and honesty of a true storyteller. The confessional “Be Quiet,” haunting “Hibernating,” and “Ode to a Lost Love,” speaks to Cody’s emotional anxiety. Recorded and mixed in his home studio, the record never feels small; instead, it radiates intimacy. His piano work anchors everything, on “Maybe It’s Time” and “Nothing To Tell Me,” brings to mind a Runt-era Todd Rundgren.

The love songs are keys throughout, “Leaking Me” and “Things May Change” balance the melancholy and grace in equal measure. The arrangements have catchy hooks and delicate touches of strings, synths, and guitars, giving these songs real depth.  Throughout, he avoids the trap of overproduction; this is music that values clarity over gloss, sincerity over spectacle. ‘Revealed’ is both intimate and ambitious—crafted with sweeping strings, subtle synths, guitars and heartfelt lyrics. While technically not power pop, it’s melodic as hell. Super Highly recommended.

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Greg Pope “The Roar of Silence”

I’ve been following Greg Pope’s career since 2008, and with ‘The Roar of Silence’ he delivers one of his strongest albums yet. From the first chords, this album feels like the work of an artist fully in command of his craft—but still willing to surprise you.
While “Worthy Son” and “Fallen Star” have both compelling melodies and arrangements, but with “Trick of the Light” he hits gold with its shifting key in the chorus. You’ll hear classic power-pop hooks, but rarely in a predictable way. Several tracks shift gears midstream; he doesn’t just repeat the chorus, he builds around it. The title track starts as an anthemic rock instrumental, then takes a different path. He does a similar thing with “It’s All Pretend.”

That chameleon-like ability to write a memorable chorus no matter where the verse goes has become something of a signature, and it’s on full display throughout this record. There are points where the momentum drags, but it has plenty of variety with the acoustic ballad “Still A Kid” and the sea shanty “Pirate Paddy.” And he goes back to the familiar riff candy that ends things with “Immovable Feast.” Longtime fans will enjoy this album overall, and newcomers will love those sharp hooks and descriptive lyrics. Highly recommended.

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Comps and Tributes: The Raspberries and Direct Records

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Various Artists “Play On: A Raspberries Tribute”

We all know The Raspberries as the template for what a 1970s power pop band should be—tight harmonies, big guitars, and hooks that refuse to quit. Sure, Badfinger may have coined the term first, but The Raspberries perfected the formula. Their catalog has inspired generations of melodic rockers, and while tributes have come before, Play On: A Raspberries Tribute hits differently—it’s a love letter from the artists who truly get it.

Right from the start, Rick Springfield injects new life into “Go All The Way,” making it sound as vital as ever. In a different take, Vicki and Debbi Peterson (Bangles) do a solid “I Wanna Be With You,” and the Lemon Twigs crush “Let’s Pretend.” Plenty of muscle with Eric Dover’s version of “Ecstasy” and Shoes cover “Overnight Sensation (Hit Record)” with technical perfection. With 37 tracks, and a wide variety of artists, it really breathes fresh life into most of these classic songs.

Credit goes to producers Ken Sharp and Fernando Perdomo, who’ve assembled a dream lineup—chart-toppers, cult heroes, and rising indie names—all celebrating the band that nailed the perfect blend of Beatlesque melody and driving American rock. Play On doesn’t just revisit the Raspberries; it reminds us why they still matter. Super highly recommended.

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Various Artists “The Direct Records Story”

What would you do if you stumbled across a dusty box full of DIY cassette tapes from the early ’80s? Direct Records did just that—reviving a treasure trove of Mod, Pop, Beat, and Psychedelic gems that never made it past local scenes and college radio. The label’s vast archive captures a lost era of post-punk melody chasers and jangly romantics, and thanks to Kool Kat Musik, these songs finally have a second life across three volumes.

Most of these acts are unknown for a reason, though a few cuts capture genuine spark. Others feel more like demos stuck in nostalgia mode, imitating the past rather than reinventing it. Volumes 2 and 3 stretch into the late ’80s and early 2000s with mixed results. There are nuggets to be found, but you’ll have to dig through a fair bit of filler to uncover them. But for diehard pop archaeologists, the digging is half the fun.

Kool Kat Musik



Chris Lund and David Woodard

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Chris Lund

Chris Lund “Surveillance”

Chris Lund has always been one of those criminally under-the-radar songwriters who can weave classic rock DNA into something fresh, and his latest album ‘Surveillance’ is no exception. This is a record that doesn’t just tip its hat to power pop’s heavyweights — The Beatles, Cheap Trick, The Raspberries — it gets in the ring with them.

The opener, “You’ve Got A Lot of Nerve,” immediately sets the tone. It’s a creative, daring start, brimming with fuzzy guitar hooks that hit hard in the chorus. The minor chord shifts nod to Lennon-McCartney’s darker moments, giving the track a moody depth that demands repeat listens. From there, Lund steps on the gas with “Crazy Driver” and “Got Me Running.” Both tracks are cut straight from the Cheap Trick playbook — swaggering riffs, urgent vocals, and just enough grit to keep things nasty.

Things get sharp and biting on “No Ethics No Future,” a snarling political takedown built on thick glammy guitar riffs. Lund leans into the sneer here, and it works beautifully. But if there’s a crown jewel, it’s “Sing Bird Sing.” The riff is pure Raspberries, and the energy pure Revolver-era Beatles. It’s bright, bold, and built for volume — the kind of power pop anthem that reminds you why this genre still matters. When Lund sings “I don’t care if you make my ears ring!” you know exactly what he means.

“Come On Home” brings a jangling Byrdsian shimmer, perfect for a late-night drive, while “Touch or Go” dives headfirst into quirky Tubes territory — playful, offbeat, and oddly irresistible. “God Loves His Children” closes things out with an ambitious Lennon-esque sprawl, and the song’s multiple melodic shifts give it a restless, searching quality. It’s a record that demands to be cranked loud and proves that power pop, when done right, still has the muscle to surprise. Highly recommended, and a contender for my top ten list this year.

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David Woodard “Everything Belongs”

David Woodard isn’t shy about where he stands. ‘Everything Belongs’ takes on the culture wars headfirst, railing against conservative hypocrisy while still delivering guitar-driven power pop.

The opener “Everything That’s Wrong with Everything” sets the pace with stop-and-start breaks and an emo-styled chorus hook that feels like a lost Green Day single. “Scapegoat” keeps the fire burning, calling out the lack of empathy in today’s climate. The title track “Everything Belongs” hammers the point home, fast and furious, with the biting lyric: “You can smile and pretend nothing’s wrong … fake it so well they all sing along.”

By the time “Coffee Houses” rolls around, the tracks similar tempo and tone feel repetitive. Luckily, Woodard shifts gears with “Reissue,” a clever tune from the perspective of an old album begging to be heard, and “Baseball Cards,” a nostalgic melody about glory days that’s simple but sticks. Then we get back to more political protest, with “Metastupid World,” a direct blast at our “Mango Mussolini” and his lies. Overall, the album is equal parts anger, anxiety, and melody. Yes, several tracks blur together in pace, but Woodard’s mix of protest, satire, and sincerity makes for a compelling listen. Check it out.

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The Wellingtons and Star Collector

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The Wellingtons “Baby Moon”

Melbourne’s beloved power poppers The Wellingtons return with ‘Baby Moon’, their first full-length in years, and it’s like they never left. Zac Anthony and Kate Goldby may be older, wiser, and busier with life, but their ear for glossy, sugar-rush melodies remains razor sharp. From the first track, it’s clear they’re still masters of the style—blending crunchy guitars, bright harmonies, and just the right dose of emotional heart. “Always Gonna Be That Girl,” a blast of jangling power chords and buoyant melodies that instantly feel familiar. It’s followed by “She Still Loves Me,” a track that could almost be mistaken for an outtake from Jellyfish’s ‘Spilt Milk.’ Few bands nail that kind of baroque-tinged power pop sheen as convincingly as The Wellingtons.

Kate Goldby takes the spotlight on “The Things I Did Before” and “Not Ready To Give Up” delivering a vocal performance that recalls The Bangles’ shimmering blend of strength and sweetness. Later on, the band turns up the volume with “I Won’t Turn Away,” a denser slice of fuzz-pop where the layered guitars push forward with more urgency. Honestly, not a dud or wasted note here. This is a can’t-miss return from one of Australia’s most consistently delightful bands, and it eassily makes my top ten album list this year. Super Highly Recommended.

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Star Collector “Everything Must Go!”

Vancouver’s Star Collector are back to rock your world. Frontman/guitarist Vic Wayne and longtime bandmates Steve Monteith, Tony Kerr, and Adrian Buckley burst out of the gate with the title track, a punchy opener that sets the tone with enthusiasm and grit. Lyrically, the record leans heavily into solitude, nostalgia, and self-reflection — sometimes to the point of repetition — but the band keeps things compelling with good arrangements and a willingness to shift gears. “Shining Example” is closest to their traditional formula, while “Queen Bed” digs deeper, delivering a thought-provoking story about “bed rotting”.

“The Best Thing” stands out with its jangly guitars, handclaps, and undeniable melodic lift — easily the most infectious track here.  Another standout “Shakedown The Breakdown” snaps back with crunchy riffs and swagger, channeling a mix of The Who and Joe Walsh. While not every song hits it’s mark, it shows the band is willing to take risks while holding tight to the classic rock influences. Undeniably worthy of your attention, and music that deserves to be heard.

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