Since making its debut in 1994, Collective Soul has consistently released very good music, including their latest, Vibrating. Their lineup has remained Ed & Dean Rolland, and bassist Will Turpin and they have maintained their standard of excellence while producing well-received post-grunge rock for a devoted audience. Nearly three decades after their founding, they continue to strive to create music with strong melodies and hooks. In contrast to last year’s concert supporting Vibrating, this concert was a “greatest hits” celebration. And they have plenty of fan-favorites, including honoring fellow Georgian band R.E.M. with a cover of “The One I Love.”
Brian Ray (Paul McCartney) is back with his old-school band The Bayonets. He let loose with his newest video, maybe more suited for Halloween (whatever) but it’s got a nice hook. The reliable Well Wishers are also back with the dense “So Important” and The Lolas have a great single here with “Trick Myself,” one of their best IMHO. Scoopski has a quirky single, like Green Day without the guitars or Billy Joe’s snarl. Honestly, check out the catchier “Double” that came out earlier. Finally, Kurt Baker returns to true form (minus the hair) for “Secrets,” and it’s no secret that Kurt is one of the top power poppers out there. More music to comb through each week, my review pile is growing at a furious clip, so stay tuned.
French rocker Alex Fleuris (Crusaders of Love) moved to Montreal to record an album and got all the demos done but along the way, life happens (Covid, day job, etc.) so rather than wait, Alex decided to release these songs, and he did everything here except a few drum tracks.
Starting with “Don’t Care About Nothing” it has that Phil Spector wall-of-sound approach, with a sweet jangling guitar break. The Raspberries-like “I Should Have Never (Got In The Way)” has a driving riff and compelling melody. Alex’s skill here is on full display, and “Word Gets Around” is a multi-layered tune, and like the others, the solo bridge is exceptional. “Street Girl” feels like a lost ’80s pop hit, and the ender “Memories of a Sad Clown” is another example of epic classic rock songwriting.
Now this would be so much better with some professional mixing and mastering, but that said I think there are some excellent songs here. Maybe some enterprising record company will take it to the next level. As it is this is music that deserves to be heard.
Andrew Taylor returns to his main band, after a few new projects and collaborations. Dropkick operates at the intersection of mellow Americana and jangling power pop, and after nearly a dozen albums (including lockdown sessions) Dropkick moves forward in Byrdsian fashion. The Wireless Revolution notes in the opener “Don’t Give Yourself Away” that “this place feels different than before,” all to the confident melodic strums. But not much has changed as far as musical quality.
Taylor has a knack for smooth melodies, and his songs are consistently great. “Telephone” is the first big standout here with a strong chorus, and even the better “Unwind” adds those delicate harmonies to the mix. The other bandmates get props too, Ian Grier and Alan Shields on tracks like “The Other Side.” Overall Dropkick does great work here, “Wouldn’t Know Why” is another highlight with a fantastic bridge. And this is another highly recommended album.
April showers bring May flowers. Well, it certainly has been showering music. We start with the fuzzy rock of Mason Lowe, who’s got a new album coming out soon and this little song is called “Plastered.” The Flashcubes (Gary Frenay, Tommy Allen, etc) teamed up with Bob Pernice (Pernice Brothers) to form the Half-Cubes as they cover the “Weakest Shade of Blue.” I was very impressed with Librarians With Hickeys‘ jangling gem “Can’t Wait ‘Till Summer” and I agree with the sentiment. Another strong jangling performance is “Neil & Joni” written, performed, and recorded by K. Campbell in Houston, Texas with backing vocals by Mandy Kim Clinton. It has been ages since I’ve heard Canadian power pop legends The Odds. It seems a kinder, gentler band emerged with all that maturity. Finally, our FREEBIE today is brought to us by the earnest singer-songwriter Eytan Mirsky. I guess he’s been thinking about sexy flight attendants in “Lost You in the Jet Stream.” ENJOY!
Seattle singer-songwriter RanDair Porter carefully curated Ransom and the Subset’s sophomore album. Back in 2014, when I heard the debut No Time To Lose it proved Porter’s talent, but with Perfect Crimes, he’s brought a more consistent sound across the 10 tracks. That glossy flawless production makes this a great headphones album, as it straddles the line between sophisticated adult-oriented pop and power pop. A bevy of guest stars behind Porter includes Roger Joseph Manning Jr., Darian Sahanaja, Jim Babjak, Kurt Reil, and Ducky Carlisle to name a few.
The opener “Perfect Crime” is irresistibly catchy with its guitar riffs rhythmically bouncing across a chorus of “bada-ba” harmonies. “Sara Kandi” is a seamless follow-up, about infatuation with a young girl he just met. “Left Her at the Shinkansen” is a Japan-based tableau at the famous bullet train. Once we get to “One Last Thing (Leaving)” its mellow vibe recalls the recent The Pearlfishers with its smooth tones and orchestral composition. The guitar riffs return with “Should Have Said Nothing At All” loaded with great backing harmonies. The ender “Fast Car” has a bit of Elvis Costello in its DNA. While the most memorable music and standout hooks occur in the album’s first half, the remaining songs are just as meticulously constructed. This is a terrific album that is without a doubt a contender for my top ten list for 2023. Highly Recommended.
Matthew has been the frontman for heartland indie rockers Delta Spirit, he draws from a huge collection of influences, including Gram Parsons, Kurt Cobain, Neil Young, and Iggy Pop. The album’s approach is a potpourri of roots rock to slow jams. After the rhythmic percussive opener “Untouchable” it kicks the doors out on the catchy “Over It” a hook-filled rocker that sticks fast with its punk edge.
It then settles into a groove with “Odysseus” with its spiritual mantra “always coming home but never going home.” The anthemic “Long Line of Lovers” has a great Beatlesque bass line buried in the chorus and it’s likely the standout track here. The 12-string strums and jangle of “Shawna” and “Recognize” are flowing streams of Matthew’s lyrics that feel like a modern-day Donovan. And before you know it the pounding rocker “Can You Turn Me Up” shows up. While it zig-zags all over the place, the songs are quite good. Highly Recommended.
