Enuff Z’nuff and Coke Belda

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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.

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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.


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The Black Watch and Splitsville

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The Black Watch “For All the World”

John Andrew Fredrick is a real treasure. The man’s prolific catalog is in a small way comparable with Bob Pollard (Guided By Voices) in that he has a vision and sticks with it. The Black Watch’s 25th album is a glorious bit of ambitious moody pop that should be embraced. Longtime collaborators Andy Creighton and Misha Bullock add their dense orchestration of strings, keyboards, Mellotron, guitar and bass.

It establishes the neo-psychedelic tone with the droning guitars of “Mal de Mar.” From sparkling jangle to thick, shoegaze-influenced textures, the record goes through different phases. “Surely You Rally” and “Lord Marchpane” are fuzzed-up power-pop with a hint of melodic sweetness, while “Much More” delves into darker, more psychedelic garage rock territory. My highlights include “Mapcap Girl,” “Bright Blue Sun, Gold Sky” and “If Only.” At more than an hour, the album may appear daunting, but if you skip around through these 21 tracks, you are likely to find some favorites here. Highly Recommended.

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Splitsville “Mobtown”

Power pop Hall of Famers Splitsville are back after a 20 year hiatus, and they set their sites on an ambitious concept album about their hometown of Baltimore, MD. Brothers Brandt and Matt Huseman (Greenberry Woods) and crew weave in the city’s landmarks, history, and their personal narratives into the overall story. “Cold Open” is an uncharacteristic synth opening but the aggressive guitars take over song right away as they intone “Let’s Start a Riot!” It shows the band is just as sharp as ever, and “A Glorious Lie” is the first big highlight here, full of fantastic harmonies and a killer hook.

“Federal Hill” is an orchestrated rocker loaded with layered instrumentation about the local neighborhood. Another highlight “I Hate Going to Hutzler’s” is a bouncy commentary on consumerism, it sounds like prime-era Splitsville and carries you along with wicked guitar solo. There is no filler here, but it may take more than one spin to appreciate the artistry. For example “Fallsways” is piano led gem that stylistically is a change of pace from the more familiar sounding “Beth Steel.” Overall, it’s an ambitious, painstakingly put-together concept album that pays homage to Splitsville’s past while moving on with more mature songwriting. Not as immediate as past albums, but that’s okay. Let this one grow on you. Highly Recommended.

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Off the beaten path: Stray Blue

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Stray Blue “Wake Up and Smile”

Nick Anastasakis (vocals, guitar), George Athanas (bass guitar, vocals), and George Papazoglou (drums) make up the Greek trio Stray Blue. With its catchy “Hey!” and subtle country strum and blues rhythm, the lead track “Wake Up & Smile” immediately grabs your attention. “Allow me to tell you a story…” and the plot revolves around a man who leaves his overbearing wife but can’t help but long for her presence. As the stanza delves into his emotions, the constant tone is set by the acoustic strumming. The chorus comes after the third verse as he sings “Wake up and smile I feel fine Walking’ around still don’t know why” and it has a little Beatles-like cadence to it. It reminded me of one of Ringo’s songs. Nick’s vocal is unconventional, but you get accustomed to it very quickly. The other side, “Moody Sky,” is a beautiful duet with Nick Anastasakis’s acoustic guitar and Yoed Nir’s electric cello. The cello playing by Nir makes for a soothing, although melancholy, melody.

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John Larson and The Silver Fields and Jamie James

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John Larson and the Silver Fields “Rumble Candy”

John Larson has been hard at work since last year’s ‘Constellation Prize,’ and the opener “For One Night Only” talks about the elusive goal of rock and roll stardom. Larson’s voice is authentic and appropriate, but it can be a bit underpowered at times. The tone and approach is better on “Turn Around, Girl,” a catchy tune with a nice hook. Things settle in with “Let’s Get Lost (In a Carnival of Sorts)” and “Contact Low” with pleasing melodies and jangling guitars.

“The Hits Keep Coming” embodies the album’s philosophy with its sense of drive and determination. Throughout the ten tightly packed tracks, the band remains true to its roots as a fast-paced power pop band, particularly on the Steppenwolf-inspired “Whisper To Be Heard.” Although the most of the songs are mid-tempo and flow well together, the set would be a bit better with a slower ballad or a harder rocker mixed in for variety. I would still give this one your time, as it is music that deserves to be heard.

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Jamie James “Straight Up”

Jamie James is country and rock and roll musician who founded the early ’80s rockabilly band The Kingbees, and penned their notable hit “My Mistake.” He was also was a longtime guitarist for actors-turned-musicians Harry Dean Stanton and Dennis Quaid. At 71, he’s got plenty of grit and experience to put out many albums, so I’m glad he finally released this solo record.

“Let the Praying Begin” opens the album. It’s an and pop blues tune with wicked harmonica flourishes. The music has a open loose feel and “Get a Hold of Myself” follows the same path, with multiple instruments blending together. “Show Biz Boogie” is the highlight, a blues based takedown of celebrity burnout that recalls ZZ Top with its quick rhythm. “Septuagenarian Blues” is wry, matter of fact song that speaks to Jamie’s age. The production across the album is flawless and fans of modern blues, pop and rock will enjoy this.

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