Brian Huber and Jukebox The Ghost

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Brian Huber 
“Imagination of Ourselves”
Washington DC musician Brian Huber kind of reminds me of Jonathan Coulton, in that he’s got a catchy guitar and synth novelty song “Snuggies” and has a talent for writing melodic DIY bedroom pop. “Reverie” is an easy going pop jam that brings to mind Doug Powell and They Might Be Giants. Many songs are slice of life stories (“Life Is A Song” and “My Cure”) that will bring a smile and warmth to your heart. Occasionally the tongue in cheek humor of “Shipwrecked (Part 1 & 2)” tends to drags on too long, but on “Snuggies” it’s just right. Likewise Brian vocals seem out of place on standard rock compositions like “Don’t Go Down to The River” but excels at heart felt mid tempo pop like on “Time Will Only Know.” A very easy-on-the-ears album for casual Fridays.

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Jukebox The Ghost “Everything Under The Sun”
Jukebox The Ghost is a band that is heavy on sunshine and nostalgic influences. Produced by Peter Katis (Interpol, The National) the trio is made up of guitarist/vocalist Tommy Siegel, pianist/vocalist Ben Thornewill and drummer Jesse Kristin. The group has a solid upbeat piano sound that makes an impression on the opener, “Schizophrenia,” with quick beats, playful synths and the contrasting lyrics “No I can’t, Yes I Can…” The album is tons of fun with expertly executed hooks in the bouncy “Half Crazy” and quirky lyrics of “Empire,” which sounds like a brilliant combination of Billy Joel and Field Music. Read more on the Rock and Roll Report

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Agony Aunts "Greater Miranda"

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What happens when a bunch of Northern California power pop musicians indulge their love of 60’s bubblegum pop? You get The Agony Aunts. This is primo groovy psych-pop for only $6 on bandcamp. Thanks to KC Bowman for posting it on our facebook page. Who’s in The Agony Aunts? The Corner Laughers in alter-ego mode with members of Preoccupied Pipers, The Orange Peels, Bigwheel, and the William Cleere Band are the main contributors.

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Buva "Not Scary! Friendly"

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Buva is the namesake of the talented Tom Wolfe, a Pasadena native and after discovering his gentle pop musing on All This Humming, people compared his vocal style to John Sebastian and compositions to Eric Matthews. Opening with “Smoke Into The Sky” it’s an ultra-cool bass driven melody that combines early McCartney and Badfinger. It’s an understated but lush soundscape that drifts along and fades into Mystery Tour-era instrumental chaos. “Can’t Stop Thinking” is a modern up tempo pop song with a growing and repeating chorus, that creates a soothing melody. “You Say It Too” is another gem that takes elements of early 70’s The Beach Boys and Todd Rundgren and uses them to great effect.

The ballads are mellow but just as musically compelling, “Hide Away” is simple, but melodically amazing – tinkling piano, acoustic guitars and eerie snyths, bring depth here. The quirky “Precious Fields Of Grey” with a ton of instruments (banjo notably) would not sound out of place on a John Dillworth Cartoon. Every song has a comforting familiarity, like the hook filled “Too Tired To Fight” sounds as if Nilsson played with The Beatles on The White Album. “In Other Words” boast a slide guitar solo George would envy. But these tunes are more than aping influences here, each composition is exceptionally written. No weak songs are to be found and the melodies really stick – all traits of a great pop album. Gets a top ten nod easily!

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Brian Ray "This Way Up"

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Award winning musician Brian Ray has returned. Taking a break as guitarist for Paul McCartney’s band, he has completed his sophomore solo album, much like bandmate Rusty Anderson. It’s great to finally hear This Way Up, as Brian was mixing this album in my interview with him last year. As with a musician of this caliber, the production is precise and the richly textured notes of his Les Paul Jr. guitar are the focus. Starting with the amazing “Happy Ending” it’s everything you’d expect, crackling riffs, dramatic chord shifts and melodic magic.

Leading with a reverb heavy guitar on “Saturday in the Sun,” it’s got a little Tom Petty inflection with a combination of guitar solo and orchestral flourishes. “I Found You” has an optimistic lyric and bouncy rhythm. Each song has enough variety to keep you hooked and prevent any predictability, for example “Hello Lonely” uses some unique percussive samples and cavernous orchestral sounds. The title track has everything that you need, power riffs, energy and melodic composition – turn it up and play this while driving on the highway! A few tracks seem overproduced (“Camouflaged” and “Under The Sun”) but it’s like complaining there is too much whip cream on your sundae. The timely “Very Happy Song” is a perfect theme for those “sardonic and contrary” people out there looking to be cheered up. Ray has used every musical and production tool in his experience, so it makes this a very memorable headphones album – don’t miss it.

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Slumberjet "s/t"

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This Dublin based trio led by Barry O’Brien is a breath of fresh air. Previously he released the stellar “Spark” EP and made an appearance with Pugwash, so you know he’s got great power pop cred. His songwriting has been compared to the likes of The Beatles, Elvis Costello, XTC, and Elliott Smith. Featured guests include former Cardinal member Eric Matthews singer/songwriter Duncan Maitland and Pugwash members Aidan O’Grady and Keith Farrell who also produced the album.

Starting strong with “The Strangest Game” you hear a little of all those influences wrapped into a forceful chorus. “The Letter” adds a bit of synth to the compelling melody. “Sisters In The Sky” is a thoughtful ballad that has subtle jazz and “Pet Sounds” orchestral touches at the songs end. The excellent “C Song” has a bit of Jason Falkner’s style baked in it’s descending chords. The standout here is “Cut Me Out” a masterstroke of pop, that’s equal parts Morrissey and McCartney. “Gone” boasts some really interesting chord progressions and proves to be an amazing composition. O’Brien can easily do hypnotic pastoral pop on par with XTC on “You Stole.” For the entire album, catchy hooks abound and not a single song lets you down. Even quick filler like “Feather Brain” keeps your attention. The more you listen, the more you’ll find yourself humming along. The final track “Thanks” is a sweeping Beatlesque orchestration that hasn’t been done this effectively since Tears for Fears, and will give you goosebumps. Makes the top ten list for best power pop album of 2010 easily.

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