December 2022 REVIEWS
by Mike Baron
JIM BASNIGHT: Not Changing (Precedent)
Former Moberlys front man has dipped his pick in everything from punk rock to glam, but this career-defining collection is pure power pop with emphasis on great songs with hooks and bridges, somewhat reminiscent of Bill Lloyd, but sui generis in song structure and lyrics. The vocals on many recent releases are incomprehensible due to poor mixing. Not Jim. You hear every word, and they’re worth hearing, from the opening “Code To Live By” to the closing “Living The Way I Want.” The be true to yourself theme runs throughout the album. The poignant title track approaches Dylan in wisdom, while “Big Bang” features Jim’s sinuous live wire guitar. While most of the songs are upbeat and exuberant, “Suicide Evening” is not. “Making Love For A Living” has that Nashville twang and Bill Lloyd feel. Jim would be right at home in country. “Never Get Lost” is exhortatory and inspirational. “Second Street” suggests Graham Parker and the Doughboys, whose “Second Street” would make for a great medley. “Saturday Dream” has the jazzlike feel of Van Morrison’s Moon Dance. Not mad pop science, Not Changing stands on its own. Highly memorable.
THE YOUNG HASSELHOFFS: Life Got In The Way (Rum/Bar)
Bristling with punk energy reminiscent of Green Day or The Cry!, this highly melodic collection takes off like a Roman candle, spitting out one dazzling comet after another. Matt Hasselhoff has a compelling, instrumental voice, and songs like “Wish You Well” are mainstream power pop, like the Rubinoos or Knickerbockers. “Pull Me Out Of The Scene” starts with a Rudy Valee knock-off, with a single acoustic guitar that erupts into mellifluous explosion as the second voice joins. Whistling often signals camp, but not on “Quiet.” The band dresses up nice with orchestrated strings on “Surround You,” but no one would mistake them for Montovani.
THE WELL WISHERS: Blue Sky Sun
Jeff Shelton is another sole proprietor who has earned a reputation for hook-laden jangle pop emphasizing melody. The intensity, the sound level seldom varies. He doesn’t go from quiet to loud, It’s all pretty much the same level. But his writing is ceaselessly inventive with a minimum of three chords per song and often more. The Daily Mail recently published a chart showing the reduction of chords in popular music over the years, with the most chords per song in the sixties, falling to the miserable standards of today’s “pop” music where you’re lucky to get two chords. Every year I say it and every year it’s true. This has been one of the greatest years in pop history, but you’d never know it reading the so-called music press, looking at the Billboard charts, or watching the rebarbative awards shows. Here’s the chart: (https://www.facebook.com/
Beginning with “Figure It Out Myself,” there constantly shifting chords, bridges and hooks. Shelton plays with a Plimsouls-like intensity that seldom varies, but the melodies never disappoint, as on the title track with a bridge that hits the sweet spot and big time chime. It’s all so damned interesting. Shelton’s writing is unique and distinctive, like that of Marshall Crenshaw or Jon San Juan. The record plays out with a steady pulse, but the melody varies constantly. Only on the closer “Blue Water” does the pace slow.
POPULAR CREEPS: All Of This Will End In Tears (Big Stir)
Wangin’ guitars, racing pulse, hooks, harmonies, bridges, welcome to Creepsville. Steady two part harmony by Andre Colvin and Lenny Grassa, who between them wrote most of the songs, runs through the record. They sing together as just another instrument, much like the Well Wishers above. The harmonies are integral to the sound. When I listen to a record I ask myself what my reaction would be if I were watching them live. My reaction would be more, please. The Creeps understand power pop and deliver, in the same vein as Airport 77s, Flamin’ Groovies, Spongetones, and a hundred other bands that fly under the radar in today’s crap obsessed music industry. Every year I say it, and every year it’s true. This has been one of the greatest years in pop history, but you’d never know it reading the so-called music press or watching the awards shows. It’s all underground. We know where to find it. Here, powerpopaholic, powerpopnews, and a hundred other sites that help keep the music alive.
The Creeps step out of character for the acoustic “Wait Forever,” with its echo of the Canyon, and the sea shanty-like Flamethrower.
