The Honeydogs and The Fuzziliers
The Honeydogs “Algebra for Broken Hearts”
Reunion albums are typically a mixed bag. However, this album marks the Honeydogs’ first recording session with their original lineup of Adam Levy, Noah Levy, Trent Norton, and Tommy Borscheid in 28 years. It’s a blend of the band’s early scrappy energy and more refined songwriting, with a variety of styles and moods. And, like 20/20’s ‘Back to California’, a complete success. The Honeydogs occupy the rare gap between alt. country and indie rock, creating a distinct sound with a multitude of influences.
The album’s opening track, “Attic Brain,” features a powerful Led Zeppelin-esque riff, and the title is a play on “addict brain” and reflects on personal issues. It changes tone to the bluesy acoustic strums of “I Don’t Wanna Fight,” and snaps back with the catchiest rocker here “Kill Switch,” it’s a terrific single that really sticks. The melodic title track has a dreamlike contemplation of the ebb and flow of time and the intricacies of existence. Other highlights include the glam-rock meets country “Captain”and “Irish Goodbye,” which delves into issues of drug-fueled dysfunctional relationships; it sounds like a cross between Cheap Trick and Motown. With no fluff whatsoever, this is a fantastic album that, with any luck, will signal the beginning of new recordings. Highly Recommended.
Fuzziliers “Most Fun”
Founded in Russia, and then moved to Istanbul, Turkey the Fuzziliers combine psychedelic rock, acid rock and Brit pop influences. The opener “CTRL” opens with a simple synth beat, but builds on it with multiple instrumentation, harmonies and finally a kick-ass guitar. The lyrics of guitarist and singer Slava Lobanov are somehow current, approachable, and lighthearted. The psyche-rock of “Most Fun” and the positive melodic groove of “Porcelain” are highlights.
“Future Society” is another mix of the melodic with the acid fuzz wah-wah pedals, described as Iron Butterfly performing Kinks songs. The bouncy “In The Morning” contrasts with the sprawling prog rock narrative of “Fake Dancer.” Overall, it’s never predictable but can dwell on some songs too long. I would definitely consider this music that deserves to be heard. If you are into diverse soundscapes, check this out.
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Enuff Z’nuff and Coke Belda
Enuff Z’nuff “Xtra Cherries”
It’s hard to pigeonhole Enuff Z’nuff because they’re often grouped with glam or hair metal because of their look and the time period (late 1980s), but their music has always been consistently hard Midwestern power pop akin to Cheap Trick, with Beatles-influenced melodies and psychedelic touches. Chip Z’nuff has carried the torch for the band since 2018, keeping the band alive as a vehicle for his vision. His voice isn’t perfect every time, yet it grows on you, like the opening ballad “Heartbeat.” Next, “No Cold Feeling” is one of the strongest tracks here, the “Na Na Na” really sticks with you, and the alternating riffs are a masterclass in melodic hard rock courtesy of Steve Brown (Trixter, Def Leppard).
“Sanibel Island (It’s Outta Control)” is the ultimate spring break party song, about the Florida beach destination, but the heart of the album is “Heavy Metal,”with its “feeling heavy metal” chorus about achieving that rock star dream. There is a little “spot the influence” on “Back To The Wall” which opens and closes with a Queen riff, and “Magnificent” has great churning guitars and and the lyrics sound like it was written for the new Superman movie, plus it’s got a Beatles reference too! Finally my big highlight is “Take It Or Leave It” and it’s the poppiest of the rockers here, loaded with great minor chords. Enuff Z’nuff are criminally under appreciated in power pop circles. They deserve a reassessment, especially now that Chip is steering the ship with more of a pure pop intent. Highly Recommended.
Coke Belda “C8ke”
Throughout his career, Coke Belda has always provided high-quality melodic pop; his most recent work is no different. Belda has his own sound, even though he unambiguously admires Jeff Lynne and the Beatles. Starting with “Seeing Red,” it’s a sunny melody with contrasting lyrics about the anxiety of a new Trump administration and “Broken Man” is an accurate assessment of our current White House occupant.
Next, “A Different Nowhere Man” contains great harmonies, but they don’t sound like the Beatles’ “Nowhere Man.” Instead, Belda’s approach sounds more like a Boyce-Hart song with its bouncy piano. “Wondering in Wonder” is another bright melody with a solid guitar break, and “Starlit Dream” (a co-write with David Myhr) is another big highlight here. Loaded with hope and fantastic aspiration, it’s a journey to a magic “starlit land.” The harmonies are also at the forefront of “Tides of Joy,” a Beach Boys-styled gem. While not every song here sticks, more than enough of them do. The theme of the album is made clear on “Echoes and Symphonies,” bursting with gratitude, and I’m grateful for Coke’s music. Highly Recommended.