DVD/Blu-ray Review “Big Star: Nothing Can Hurt Me”

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If you didn’t see it during its premier or the follow up concert, now is your chance to own this very thorough documentary on one of the most important bands in the history of power pop. Big Star is better known for their massive influence than hit records or performances. Born in the shadow of the Memphis rock scene of the 1960s it couldn’t catch a break, despite critical acclaim and the legendary Alex Chilton and Chris Bell combination.

The first half concentrates on the Memphis scene at Ardent Records, and studio founder and engineer John Fry giving the group a chance. It seems like a Southern fried Haight Ashbury at the time, with interesting interviews of trippy photographer William Eggleston, Fry and others close to the band. It goes into details on both Chilton and Bell’s background, but often leaves you with more questions than answers. The band interviews are sparse and mainly audio (with photos) and include bassist Andy Hummel and drummer Jody Stephens. The bottom line for Big Star’s commercial failure at the time is clearly record distribution and promotion.

The second half of the film talks mainly about the influence the band’s songs had with the next generation of musicians. How the Posies (Ken Stringfellow and Jon Auer) reformed the band and got Chilton to play again till his death in 2010. Musicians Chris Stamey, Mike Mills (REM) and Paul Westerberg (The Replacements) are a few of the many interviews with fans who championed Big Star, a band that managed to find their audience decades later. The extra features on the disc include more details on Bell and Chilton’s childhood, as well as “Big Star in the Studio,” another interview with Fry about the band’s recording style. For the non-fan I would recommend listening to the band’s music first, but for the initiated this is a validation of the greatness that was Big Star.

Amazon

1957 Tail-Fin Fiasco and Nick Vernier Band

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The 1957 Tail-Fin Fiasco “The Cruise Control EP”
I know almost nothing about this UK band, but it does have a slick melodic style very much in the mode of early Steely Dan with a touch of Squeeze or Randy Newman. Most impressive is “The Legend of Josie & The Juke” with its catchy melody in the chorus, solid harmonies and lead guitar. “List Study” is a detailed study with classic jazz rhythm guitar punctuating each chorus.”Breakfast Of Kings” is a rousing bar sing-along.

The band has a few other singles on Bandcamp from earlier this year, one I liked here was “Jackie & Norm & The Hairdresser to The Stars.” a livid character study.  And the earlier LP Private Jet Flashback is a “name-your-price” download. A real buried treasure of a band that deserves to be heard!

Bandcamp

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Nick Vernier Band “Don’t Know What To Say”
Eric Van Den Brink (Nick Vernier Band) has a knack for picking great collaborators. He’s worked with Gerry Beckley (America), The Monkees, and Probyn Gregory (The Wondermints, Brian Wilson Band). Now with David Paton (Pilot,) Eric has put together a single called “Don’t Know What To Say.” Its a nice catchy song, and we hope a full album follows.

Itunes

Lamar Holley and David Brookings

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Lamar Holley “The Color of Day”
Lamar Holley has been busy making childrens pop music since we heard his Confessions as a College Student. And he certainly starts off with the goofy kiddy theme “Planet Puzz,” but he examines the growth and death of teenage romance with the remainder of the album. “Roller Coaster” is a peppy pop tune, that gradually grows from kiddie theme to full fledged teen crush on the catchy “One and One.” This song is the album highlight, most similar to Confessions layered pop style.

Holley’s next song is the subtle moving ballad keyboard focused, “Beside You.” Next, “Acting in Love” is the true story of a New York City actor who met his future wife at an audition. With “Are You Really Mine?” he begins to question whether his girl really loves him in a show-tune styled monologue. “Feeling Famous” is a burst of optimism with its Beatlesque rhythm guitar. Things start to slow down after that, as the tone of the songs gradually trace the break up. The song cycle ends with the dramatic “Who Am I?” and the renewal of spirit in “Joe.” While it doesn’t surpass his debut, Holley’s vision holds as a very satisfying follow-up.

Bandcamp


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David Brookings “the maze”
Seattle singer/songwriter David Bookings is back with his 6th album. As a songwriter Brookings growth since 2009 is subtle but equally visible, since his move to the West Coast. Brookings guitar centric style is a hybrid of Kenny Howes and Jeremy, and he gets right to it on “If I Don’t Make It Back” with up-beat, hand clapping rhythms and solid solo breaks. The songs are sort of semi-autobiographical, “Cora” is a standout with rich instrumentation and fuzz guitar chorus; a great character study tune.

I’m sure most indie musicians appreciate “The Greatest Songwriter No One Ever Heard,” who “used to be an outcast, used to be a nerd” channeling his soul into music. Another highlight is the crunchy “Heroin Donna” and the title track with its Lennonesque echoing melody. “I’ll Wait Up For You” is another easy-going slice of life, with a tight composition and a terrific middle eight. Brookings is a young artist with a melodic gift and we should encourage him to continue his journey. Highly Recommended.

CD Baby

Goodfellows “The Name of These Girls”

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Normally I would not recommend an album that isn’t available in the US, but for the power pop fanatic this one is worth seeking out. From Madrid, Spain the Goodfellows have a history of inventive packaging, and excellent songs. The latest LP, The Name of These Girls disc is lovingly packed in an actual denim jean pocket.

Musically, the band follows a traditional power pop template, very similar to Teenage Fanclub and The Gin Blossoms. Starting with “Virginia,” it isn’t revolutionary, but a steady jangle pop opening. The band ups it’s game with “Rocket Girl” by getting an assist from the legendary Paul Collins adding his vocals/guitar in the second verse. Lead vocalist Gabriel Palmer doesn’t have the strongest pipes, but the song composition and instrumentation go a long way on the Beatlesque “I’m Coming Back to You” and the guitar crunchiness of “Marianne.” The highlight of the album for me is “Just A Minute,” with a perfect chorus worthy of The Wonders. Lots of references to musical nostalgia are themes to songs like “Happy Days,” “Good Old Days” and even the lone short ballad “Times Are Never Changing.” Keep up the great work amigos!
power pop review score 9

Goodfellows.es | Rock Indiana

This is footage from a recent concert in Madrid, to listen to the album visit Rock Indiana.

Loveland Duren and The Breakup Society

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Loveland Duren “Bloody Cupid”
This is the eclectic combination of musicians Vicki Loveland and Van Duren. Starting with “Crash Landing” it features a cool bass line, Loveland’s soaring vocal (similar to Heart’s Ann Wilson) and guitarist Jim Duckworth shredding solo. Next track is more melodic, “Lines in The Sand” has both Van and Vicki in a duet with a memorable chorus and snappy pop hook. “Now Will Do” has more folk elements, with violin and mandolin featured as a country tune.

You really can’t pigeon hole this LP in one genre, but I’m gonna focus on the more pop oriented tunes, so I recommend “Birthmarks,” the romantic “There Goes The Floor” and the sobering “Losing My Mean Streak.” The soulful rock of “Sins Of The Father” is a highlight of Loveland’s moving vocal, and the soft-shoe “Kiss Me Slowly” is another jazz tune with Van Duren’s easy going lead. Like a fine wine, you’ll want to sip in this albums variety and charm.

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The Breakup Society “So Much Unhappiness. So Little Time…”
This passed under my radar early this year, but I wanted to call it out as a great soundtrack for life’s disappointments. Opening with the title track, it sets the stage with the words of Ed Masley “it’s a struggle making lemonade, when life gives you limes.” The band skillfully navigates the Beatle influenced “Invitation to Quit” and Masley approaches it with his Midwestern heart on his sleeve. Each tune is an impressive blend of The Kinks and Paul Westerberg in his prime, with no filler.

The album follows the sad losers in Masley’s world, from the dude waiting for “The Next Reunion” to impress old classmates to the old groupie trying to meet the band in “Another Day in The Life.” Even the upbeat “Upward Spiral” where the narrator sees the path out of the pity party,  he “can’t seem to wrap his head around it.” The standout here is the rocking power pop gem “Here Comes Floyd.”  And Masley isn’t quite like the characters he sings about, on “Mary Shelly” where he “appears to be the fool he plays in each song” he’s really not, just like “Shelly wasn’t Frankenstein”. The dense guitar psychedelics close out “She Doesn’t Cross Against The Light” like an Oasis finale, and overall its excellent album. I hope Masley doesn’t take another five years for the next one.

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