Iain Hornal and The Grip Weeds

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“The

Iain Hornal “Return to the Magic Kingdom”

Iain Hornal has likely the best pedigree I’ve seen for an artist, as he’s a long-standing touring member of both 10cc and Jeff Lynne’s ELO, including touring with prog legend Yes. On his third album he swings for the fences, and it does not disappoint. There are some stylistic parallels between these songs and those of ELO and 10cc; however, it is important to highlight that they are original songs that have been meticulously crafted by Hornal.

Starting with “Little Bit More” is a blast of guitars and chugging piano with classical ascending chords and overlapping harmonies. The glam rhythms of “Positive People” are next. Loaded with those “la la la” vocal touches and handclaps, it’s like a wicked monologue from a charismatic cult leader. The catchy “Already Dead” is a perfect diagnosis for modern anxiety disorder, but the crown jewel of this album is “Love Your Enemies.” It starts out a little like an Andrew Gold piano gem, but grows into something so much more, with its layered earworm of a chorus and a solid biblical message to stop “pointing fingers at those twisted fools on the news.”  Additional highlights include “If It Were You”, a co-write with 10cc’s Graham Gouldman (who also features on the track) and the very ELO-like break up song “Over and Out.” Overall one of the catchiest albums I’ve heard this year. It makes my top ten list for sure. Super Highly Recommended.

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“The

The Grip Weeds “Soul Bender”

At this point The Grip Weeds are not contented to stand still. On ’Soul Bender’ they create a kaleidoscope of sound by combining garage rock, paisley pop, and baroque psychedelia. The title track marches out like a combination of late ’60s The Moody Blues and The Who. It sets the mood nicely, and next we have “Flowers for Cynthia” and “Spinning The Wheel.” These fuzz-laden psychedelic power pop tracks juggle garage rock tenacity with Byrdsian jangle in a strong, powerful hook. The Rickenbackers are up front, and the distortion pedals are less of an issue. Kurt Reil makes sure the vocals don’t get lost either, and it makes great listening.

“Conquer and Divide” and “Wake Up Time” seem direct descendant of Moby Grape, and the band still has that Beatlesque blend with The Byrds to dazzle with “Column of Air” and the Kristen vocal led “If You Were Here.” Another pop confection is “Someone in Love,” which reminds me of The Aerovons. Overall, no filler or a trace of indulgent psychedelic bombast get in the way of each melody. A great band continues to impress with a great album. Highly Recommended.

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Chris Stamey and Willie Nile

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“Chris

Chris Stamey “Anything Is Possible”

Chris Stamey, a songwriter, vocalist, guitarist, and producer from North Carolina, has a long and illustrious history in indie rock, including co-founding the power pop band the dBs, playing with Alex Chilton, Jody Stephens’s Big Star Quintet, and recording with the Salt Collective. Stamey has also broadened his focus in recent years to encompass contemporary interpretations of the Great American Songbook and various other genres. This album mixes several distinct styles.

The glorious “I’d Be Lost Without You” opens things. Not your average Beach Boys pastiche, it’s given life through a variety of guest stars like Mitch Easter, Probyn Gregory, and Rob Ladd. And when the Lemon Twigs entered the picture with their harmonies, it grew into something more. The Twigs influence flows through a few other tracks, like the hopeful title track “Anything is Possible,” a powerful mantra that sticks. Next, it shifts to “After All This Time,” a lovely contemporary interpretation of a pop standard. “Meet Me In Midtown” has a Brill Building-style New York themed melody, loaded with character and nice flourishes.

The only cover here is of Brian Wilson’s “Don’t Talk (Put Your Head on My Shoulder,” given a more orchestral treatment. “Done with Love” is another pop gem that shows being burned by love can prove to be inspirational. Brian Wilson wrote the pinnacle of “teenage symphonies,” but Chris approaches the topic with an obviously adult perspective. Overall a great listen for the wistful and lovelorn. Highly Recommended.

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“Willie

Willie Nile “The Great Yellow Light”

NYC rocker Willie Nile is survivor, and on his 21st album he starts our ride with “Wild, Wild World” a bouncy sing along on the precarious state of our planet with climate change, and inaction in Washington. Loaded with handclaps and amazing riffs, the bridge is very much like Cheap Trick. He then raises his fist in defiance with the strong anthem “We Are, We Are,” and keeps things rolling with boogie woogie rock of “Electrify Me.” These tracks are classic Willie Nile in fine form.

Things quickly slow down in tone and style on the very keltic folk of “An Irish Goodbye” with Paul Brady, and the title track is very much a story of Willie looking to the future generations with “wonder in her eyes, thunder in her heart.” On “Tryin’ To Make A Livin’ In The U.S.A.” to be honest, Willie sings “There’s nothing wrong with me a hit record wouldn’t cure” and “Fall On Me” is a great Dylanesque song of support. He closes it out with the patriotic “Wake Up America” and “Washington’s Day,” a solid message for the country to pay attention to what’s going on. Overall a solid effort with no filler and a worthy addition to his stellar catalog. Highly Recommended.

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Compilations Worth Getting: The Songs of Rick Springfield and Jeffrey Foskett

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“The

Various Artists “Second By Second By Minute By Minute: The Songs of Rick Springfield”

Rick Springfield is known for his time on the TV soap opera General Hospital and  several of power pop classics from the 1980s, such as “Jessie’s Girl,” “Don’t Talk To Strangers,” and “The Human Touch.” However, Springfield has been in the music business since the early 1970s, and his work spans a variety of genres, including pop, rock, power pop, and New Wave. He remains a rock and roll survivor, and still is very active to this day.

Andrew Curry, executive producer, has assembled an incredible roster of power pop musicians to pay tribute to Rick, many of whom have been on his previous compilations (Andy Gibb, Paul Williams, etc.) Great artists like Splitsville, The Corner Laughers, Lisa Mychols, Joe Giddings, and more dig deep into the discography. Highlights include Popdudes’ faithful “Don’t Talk To Strangers,” Eytan Mirsky’s version of “Jesse’s Girl” and Barely Pink’s honky tonk version of “Love Somebody.” And if these songs encourage others to investigate Springfield’s past, dig away! Highly Recommended.

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Jeffrey Foskett

Jeffrey Foskett “Something There – Remembering Jeffrey Foskett”

Although his passing pained me, it was a revelation how crucial Jeffrey Foskett was to Brian Wilson‘s resurgence in the twenty-first century. It is a fact that Brian never would have completed the ‘SMiLE’ album or ‘Pet Sounds’ tour without him doing the high falsettos the Beach Boys made famous. Foskett also had a key role in bringing The Beach Boys back together for their wildly popular reunion record and 50th anniversary tour in 2012.

This set is a more comprehensive retrospective of his career. It includes appearances from Brian Wilson, Mike Love, America, Robert Lamm (Chicago), Christopher Cross, Los Straightjackets, and more. Several important Foskett recordings are included in this 25-song compilation (“I Live For The Sun,” “Everybody,” and “Something There”), along with rare duets and previously unreleased tracks. For Beach Boys fans this is essential listening.

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Off-the-beaten-path: Bicentennial Drug Lord

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Mike Delevante

Bicentennial Drug Lord “You Are Never Alone”

Bicentennial Drug Lord is a Milwaukee, Wisconsin-based band comprised of longtime friends and songwriters John Daniels (Soda, Maki), Rick Donner (Punchdrunk), and Alan Weatherhead (Sparklehorse). Their imaginative sound combines different elements of both Americana and indie rock.

The gentle alt-country opener “This Pabst Blue Ribbon” evokes the small country bar with its layered guitar and shuffling rhythm. The long organ chords of “Caught Wishing” combine the slow, roots-driven balladry with indie rock fuzz guitar, a little like Tom Petty, and Daniels’s vocals give it sadness and weight. The style of “The Ballad of Snooki the Pit” leans more into alt. pop with electric fiddle and synths. However, the guitars come out for the tribute “Iggy Pop,” which is a mini bio for the musical legend, and it’s a big highlight. Some songs lean into country more (“Rock Bottom”) but the tempos are relatively slow and the themes are generally downbeat. A final highlight is the closer, “The Gates of Headley Grange,” with its growing, layered synth and guitar chorus. The production here is multi-layered, bordering on psychedelic new wave. If you are looking for something different, I’d give this a try.

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