August 2020 REVIEWS

by Mike Baron

THE YUM YUMS: For Those About to Pop! (Rum/Bar)

Power pop is a big tent. The discussion over what is and what isn’t power pop rages on. The Yum Yums are power pop in the tradition of one of its oldest genres, bubblegum, fused with punk energy. Like the Archies and the Gorillaz. The opening track, “For Those About to Pop!”, is a manifesto like Cheap Trick’s “Hello There!”, with stacked doo wop harmonies. The Yum Yums sing sweetly but their guitars roar like Offenhausers at the Indy 500, as in the sugar rush of “She’s Got Everything.” “Crush On You” begins with a snaky live wire synth line. The hortatory and iconic “Summertime Pop” closes on the Beatle chord. “Say You’ll Be Mine” has the classic contours of Barry and the Remains, Gerry and the Pacemakers, and the entire soundtrack of American Graffiti.

THE LICKERISH QUARTET: Threesome Vol. 1

For those straining at the leash since this was announced, it does not disappoint. Although only four tracks, two of them equal anything on Spilt Milk and the other two are merely great. “Fabdoodle,” with its nod to Queen, is Jellybutton-ish, as well as reminiscent of Manning’s Catnip Dynamite. His voice is unmistakable, with the perfect blend of sweetness and tensile strength, and it’s got a Queen chorus. “Bluebird’s Blues” is, dare I say it, Beatlesque. Tim Smith sings “There Is A Magic Number” with ethereal guitar solo and a rocky chorus. “Lighthouse Spaceship” is mad pop science, songs that avoid standard rock structures like first, fourths and fifths, and chart more of a Brill Building or MGM musical path. Like The Blood Rush Hour, Dowling Poole, XTC, and Jellyfish. The only problem with this record is that it’s too short.

THE SUNCHYMES: The Sands of Time

Aaron Hemington has released his best album yet, a shimmering, mesmerizing haze-like drone that draws on South California sunshine pop, from the Beach Boys to Jan and Dean, as well as Northern California psychedelia such as Country Joe and the Fish and the Jefferson Airplane. Hemington triple tracks exquisite harmonies, a one man heavenly choir. With its alternating major/minor chords, “Lost In a Valley Way” leads you into a fugue state. It floats. A sinuous guitar leads into a nursery rhyme chorus on “Telepathy.” It’s reminiscent of Brian Wilson’s description of his music as “teenage symphonies to God.”

THE BROTHERS STEVE: #1 

A flower garden of dazzling blooms, a feast for the ears, drawing on pop music from the sixties right on up to now, with elements of Gerry and the Pacemakers, the Turtles, sunny Midwest power pop, mostly minor key. But every song that is mostly minor key has major chords that burst through like sunshine, starting with “Angeline,” which has a great big BOMP in the middle. “We Got the Hits” is a Who-like anthem, but more optimistic. The whole album is upbeat despite, or perhaps because of those minor chords. “She” has Turtles sheen with great harmonies, and there are smears of Moby Grape in “Good Deal of Love.” “Beat Generation Poet Turned Assassin” sounds like a novelty song, but it’s not. It’s just great rock and roll. Top ten contender.