August 2022 REVIEWS
by Mike Baron
KINGDOM OF MUSTANG: Into Beautiful Blue (Kool Kat)
Like Marshall Crenshaw and John San Juan, Mark Roebuck’s songs are instantly identifiable due to his unique chord structure. Roebuck’s been creating brilliant power pop since The Deal, a 1980s power pop band that began his unbroken string of lush, melancholy and hopeful songs, which the Washington Post called “remarkably assured pop classicism.” Kingdom of Mustang is an extension of that sound, with Roebuck’s songs complemented by potent tunes from Tim Ryan.
“Here In the Valley” is a sure footed stairway to heaven with a sweet switchback at the bridge. Ryan and Rusty Speidel add graceful and sinuous guitar on “After Shock,” as on every song. This mature power pop is cerebral but energizing, sometimes reminiscent of Michael Brown, sometimes Pentangle or Fairport Convention, as in “A Little Bit Behind The Times.” “It’s Alright [In The Wrong Kind of Way]” is an acoustic paradigm shift roadhouse burner. If they switched to electric, they’d sound like J. Geils crossed with Nato Coles. “Whatever Makes You Happy” has those heavenly harmonics and a whiff of the Canyon, although this is an east coast band. “One More Day” is sunshine pop with massive hooks, Brill Building meets C,S and N. Each new Kingdom of Mustang is better than the last.
Extra Arms: What Is Even Happening Right Now? (Forge Again)
Extra Arms hit the ground running with the forward propulsion of the Plimsouls or The Beat, furiously riffing guitars plucking at the central amygdala, the brain’s pleasure center. Michael Gallacher does most of the riffing while Ryan Allen, who wrote all the songs, sings in an infectious tenor, sometimes joined by Gallacher. “Falling Into Place” contains a perfect balance of major/minor chords. This is a record you play at your own risk while driving. It will make you go fast. Arresting interplay of guitar and keyboards on “In Control,” and a dose of wise ass Shazam on “Denial,” and the particularly Shazam-like “I Don’t Wanna Die” with an echo of Vanity Fare’s “Hitchin’ A Ride.” No bad songs. All forward motion.
THE SINGLES: L.O.V.E (Kool Kat)
The brainchild of Rick Gallego, the Singles were a jaw-droppingly great power pop band, children of the eighties, in the tradition of the Rubinoos, Raspberries, Fountains of Wayne, the Scruffs, the Records, or the Shivvers. They released a couple EPs but this is the first time their entire body of work has been issued. Now I know how Howard Carter felt when he opened the door to King Tut’s Tomb. It’s just one hit after another and they keep getting better as the record plays, from the Rubinoos-like “Just Another Girl” to the infectious “Novel Of Love,” with its massive hook and sing-along harmonies. The title track recalls The Deal, which now carries on as Kingdom Of Mustang (see above.) But it’s “Think It Over” that will make your jaw hit the floor. This is the closest to blue-eyed Motown I’ve ever heard, from the irresistible intro, to the soulful melody and the Mike Tyson hook. Can’t you hear Martha and the Vandellas or Laura Nyro singing this?
MAPLE MARS: Someone’s Got to Listen (Big Stir)
Marple Mars’ latest sounds like it was transmitted to Earth via the James Webb space telescope. The tracks are long, spacey, and psychedelic, with a cosmic vibe not unlike Astral Drive. “Useless Information” is an anthemic, stadium-ready mind-blower, setting the stage for what’s to follow. Heavy prog space organ, as on “Goodbye California,” runs through the album. Maple Mars has no antecedent, although you can hear echoes of the Pillbugs and Yes. It’s fresh. A touch of Beatlesque psychedelia as on Magical Mystery Tour surfaces on “Sleepwalking.” “Silver Craft” is a massively orchestral sci fi epic with a touch of prog and that swooping, swooning synthesizer. Spacemeister Rick Hromadka mixes in heavenly choir on most tracks, but especially “Crooked Smile.” Reveals new charms on every listen.
THE WARMBABIES: Let’s Live Underground (Kool Kat)
The Warmbabies encapsulate everything that made the British invasion great, yet everything sounds fresh, beginning with the 20/20 like “It’s Not Her.” “I Should Have Killed That Love’ and “You Should Never Have Crossed My Way” are minor key charmers, both of which would make better James Bond themes than anything heard on the last six movies. “You Should Never” recalls Johnny Rivers’ “Secret Agent Man,” until the instrumentation drops out leaving only the drums. The title track is perfect power pop, packing a punch the Raspberries’ “Go All the Way” or the Shazam’s “Squeeze the Day.”
“Sometimes” and “Lucille” are pure Brit pop, Gerry and the Pacemakers, the Zombies, the Hollies. Another Top Ten contender.
