RIP: Smash Mouth’s big mouth Steve Harwell

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Steve Harwell

On September 4, 2023, the day I am writing this, Steve Harwell of Smash Mouth passed away. He was 56 years old, and he had recently been admitted to hospice care, due to liver failure from alcohol abuse. Harwell’s determination and persistence helped Smash Mouth break through the flood of new bands in the late 90’s. Unlike Jimmy Buffet, who had an army of fans following him (and plenty of tributes) Harwell’s illness had him leave the band quietly in 2021.

I despise how frequently well-known musicians pass away these days, but whenever a power pop-related one does, I always feel compelled to publish a blog post about it. Smash Mouth reached its peak popularity in 2001 and yes, some of their songs were mainstream “power pop” in my opinion. Known best for “All-Star” and a rousing cover of The Monkees “I’m A Believer,” they felt like one-hit wonders to most, despite having charted several times. But ever since they hit the scene on Fu Yu Mang with the catchy retro hook of “Walking On The Sun,” a pop song nestled among the punk rock tunes, it proved this was the best direction for the band (much like Green Day at the time).

Harwell had a distinctive voice and much like The Smithereens Pat DiNizio – the band may continue without him, but it will never sound the same. My favorite album was 1999’s Astro Lounge, prior to The Shrek movie which really made them big concert draws. Unfortunately, the band couldn’t duplicate that turn-of-the-century zeitgeist and they faded into “uncool,” remixing covers and previous hits. The band paid tribute to him recently, and you should spin some Smash Mouth in his honor. More band history here. RIP Steve.

Scott Gagner and The Flashcubes

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Scott Gagner

Scott Gagner “Reverse”

Scott Gagner’s dream of recording at the home of The Beatles came true. Reverse was made at Abbey Road, Studio 2 using the same microphone that John used to record “A Day in the Life.” The euphoric emotions come through in the opener “Friend Like You.” The bouncy pop of “My Glasses” is an early highlight here. A reasonable reaction to the chaos of a polarized society by “putting my headphones on” and tuning out the world. But the shining gem here is “Never Could See Any Other Way,” a slow, gentle Beatlesque tune with a catchy, ascending hook in the chorus, gorgeous horns, and Nick Frater on bass. The tribute “Christine McVie” pulls out several musical cues from the Fleetwood Mac songbook, but now I just want to hear “Hold Me.”

I really wanted to love this album, but it’s just too inconsistent. “There Was A House Here” uses laser synths, and he menacingly recites lyrics meant for a cheesy horror film or the next episode of Stranger Things. The slowly depressing “Jesus in Reverse,” “For Granted,” and “Her Idea” bring the mood down too. Another bright spot, “Footprints,” is a beautiful, jangling tribute to his daughter growing up. Overall, this is a good album that deserves to be heard.

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The Flashcubes

The Flashcubes “Pop Masters”

The legendary Flashcubes formed in 1977 in Syracuse, New York, with Paul Armstrong and Arty Lenin on guitars, Gary Frenay on bass, and Tommy Allen on drums. The Flashcubes only put out two singles during their initial run of albums from 1977 to 1980, “Christi Girl” and “Wait Til Next Week,” both of which are now considered guitar pop masterpieces. And who better to judge great power pop? The band has been teaming up with other power pop legends to play their favorite covers. Legends like Pezband, Shoes, Pilot, The Spongetones, etc. lend both music and production help, but this is a veteran ‘Cubes band that cranks the amps up on their versions.

The band’s style is glossy and densely produced. The best collaborations are where the band and the original artist find a groove together on the song, This works best with “Baby It’s Cold Outside” with Mimi Betinis (Pezband) “Get Up and Go” with Dave Paton (Pilot) and “Get The Message” with Randy Klaxon (Cyrus Erie). Not every song fits the Flashcubes treatment, as “Come Out and Play” misses the youthful exuberance of the original. The other covers are wonderfully done, Twilley’s “Alone In My Room” and The Posies “Flavor of The Month” were standouts to me. This band still has the chops, and I expect some new originals to come soon! Highly Recommended.

Big Stir Records | Amazon

All Star End of August Singles: Geoff Palmer, Roger Joseph Manning, Jr., Chris Price, Brad Marino, Thomas Walsh, Sofa City Sweetheart

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Not everything comes out on Bandcamp, and I have to recognize that some of the biggest players in power pop also use YouTube. Geoff Palmer (The Connection) is prepping a new album with Ramones-like “Give It Up,” and it sounds fantastic. Roger Joseph Manning, Jr. (Lickerish Quartet, Jellyfish) gets back to basics on “I’m Starting A Band” and is joined by the great Chris Price on “Rockin’ It Our Way.” Geoff’s ex-bandmate Brad Marino is also doing some damage with the new single “Lucy.” Thomas Walsh (Pugwash) has “A Good Day For Me” that doesn’t stray far from his band’s roots, still as melodic as ever. Finally, Sofa City Sweetheart offers a bright sunny gem in “It Wasn’t You” a love song that isn’t quite that, but what a vibe here. With September almost here, we’ll soon say goodbye to summer and move into the busiest month for music releases. Stay tuned!

Tamar Berk and Dan Kibler

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Tamar Berk

Tamar Berk “tiny injuries”

Tamar is reinventing herself in tiny injuries as she moves from grief to acceptance following the death of her father.  The opener “If U Know, U Know” has her soft vocal contrast with the loud guitar riffs, similar to Alanis Morissette or Aimee Mann. With a strong, catchy chorus and numerous layers of overdubbed guitars to give it weight, “Sunday Driving” is another powerful song. Some of the lyrics are profound and thought-provoking.

Next, Tamar’s lament “What’s Become of Me, my Friend” is about the constantly shifting emotions following a life-altering incident, and “Cash Out” explores similar quieter territory. Tamar’s compositional skill has also improved with the sophisticated “Permanent Vacation” and standout “Drop In The Bucket,” both multi-layered gems that beg repeat listens. The emotions in the songs are all heartfelt, not as raw as Start At The End, but this makes it a more balanced album. There’s not a weak track in the bunch, and plenty of gems make this highly recommended and worthy of my top ten albums list for 2023.

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Dan Kibler

Dan Kibler “Idiomatic”

Pennsylvania native Dan Kibler was a singer-songwriter who was influenced by Neil Young and the Dwight Twilley Band. I haven’t heard much since the Capsule album in 1998, so this new project was a pleasant surprise. Dan started “Idiomatic” in 2019 with Michael Giblin (The Split Squad, Parallax Project) to serve as sound engineer and bass player, and Tom Kristich (The Jellybricks) was added on drums. The pandemic put a year-long hold on things but it was worth the wait.

Fans of Bill Lloyd and Twilley will enjoy this album, “This World” has a great anthemic chorus, and “Rail Me Down” has a great twangy guitar solo midway through the chugging verses. Dan plays that fine line between roots rock and power pop, as “See You There” boasts a confident strum, as does “Don’t Go For The Money” which focuses on finding happiness through creative endeavors. “Mystery Girl” is the closest you get to straight power pop, but what really compels you is Dan’s voice, both smooth and weary best shown in “Words.” Highly Recommended.

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Power Popaholic Interview: The Goods

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The Goods

The Goods “Goodbye Summertime”

Oakland’s The Goods have been steadily raising their game, and this might be their strongest showing yet. The echoing verses of “Lazy” open the album with a neo-psychedelic shimmer, its layered production immediately establishing a warm, summery mood. “Love You More” keeps things sweet, with a lightness reminiscent of The Lemon Twigs. The repeated line, “strip the leaves from the trees, steal the honey from the bees,” becomes a mantra as the song chugs and jangles along. From there, each track builds naturally on the last, pulling from CSNY, The Beatles, The Beach Boys, and Teenage Fanclub without getting trapped in any one influence.

“Minor Key” sways along on a light beat, while “Don’t Worry” carries plenty of Beach Boys emotional touch points without sounding like a carbon copy. The title track shifts toward jangly folk, recalling Scotland’s Dropkick, while “Driving” is another fresh pop nugget with its own character. With 14 tracks, The Goods maintain an impressive batting average. The songs have different tones and moods, yet the album never loses its sense of identity. The Goods have put together an album filled with one good pop song after another. It’s going on my Top 10 list for the year.

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Ventilator

Ventilator “Reseda Spleen”

The ’90s left behind plenty of great records, but some disappeared so completely you’d think someone buried the master tapes. ‘Reseda Spleen’ is one of those albums. Matt Devine came to Ventilator fresh from his run with L.A. power pop band Permanent Green Light, alongside bassist Michael Quercio (The Three O’Clock). After the band dissolved, Devine bought a Tascam recorder and began working on what would become ‘Reseda Spleen’ in 1996, with mixing handled by legendary producer Earle Mankey (Sparks, The Runaways).

Ventilator draws a direct line to Alex Chilton’s half of Big Star, blending fuzzy guitars with a melodic sense of gloom. “The Tailor’s Lament” opens with thick guitar riffs, immediately revealing the album’s lineage, with shades of The Posies and Velvet Crush. “Landsdowne” shifts gears into something quieter and more emotional, carrying an easy going California feel. The aching “Happy New Year” continues in that reflective vein before “In Mysterium” brings the fuzz back in, landing somewhere in Matthew Sweet territory. The album’s ebb and flow works well, moving between heavier guitar-driven moments and softer, more introspective songs. While this isn’t grunge, the darker mood of the era hangs over the record, giving it a distinctly ’90s atmosphere. The remastered edition adds two bonus tracks, making this overlooked release worth another look. Highly recommended for a dark and stormy night.

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