February 2023 REVIEWS
by Mike Baron
THE CLICK BEETLES: Emerald Green (Futureman)
Mostly Dan Pavelich, with Van Dyke Brown on drums and guest vocals by Andrea Perry. Classic power pop with unexpected flourishes, such as Dan’s Chuck Berry/roadhouse guitar rising like a sounding whale. Byrdsian two-part harmony on “Natalie Would,” with an attenuated groove and a rich bridge. Shades of Sunrise Highway on the bittersweet “Return of the Sun,” more than a nod to Brit-pop on the Turtle-ish, Holly-like “Dear Liza Jane,” and the High Dials-like “What You Do.” Another sole proprietor who knocks it out of the park.
GARY RITCHIE: Porpourri of Harmony (Retrospective) (Fancy Two-Tone)
This massive two disc collection includes nearly three hours of music and there’s not a bad batch in the bunch. Gary Ritchie has an immediately identifiable style in writing, delivery and vocals. Every song is as solid as a pyramid with a tonic, a bridge, and a hook. Gary is a one man Brill Building. Many of these songs would translate effortlessly to a capella. They have a throwback quality we associate with Kenny Vance and the Planotones or the Four Seasons. “Invisible Man” has an urgent, pulsing syncopation with Byrdsian jangle. “This Time” begins with subtle chamber rock, like something the Left Banke might have sung. Beatles flourishes flourish, such as the distinctive guitar riff on “Hum, Sing…Repeat,” and the Beatlesque riff on “Because Of You.” It’s like listening to the entire history of rock from the Vogues forward, with echoes of doo-wop, Gerry & the Pacemakers and the Shangri-Las, as on “Dial 9.” “Head On A Swivel” is the title of an earlier album, but it pretty much describes the range and sense of wonder that permeates Gary’s music.
FUZZBUBBLE: Cult Stars From Mars (Future Primitive)
Not Lame released a Fuzzbubble retrospective in 2002, including their anthemic “Cult Stars From Mars.” Now, twenty-one years later, they return with a fresh recording of one of the great hortatory party songs, right up there with Cheap Trick’s “Hello There” and Ed James’ “Welcome To the Show.” With a “YEAH YEAH YEAH” nod to the Beatles and psychedelic breakdown, it should be twice as long as three minutes and forty seconds.
“Can’t Wait To See You” starts with sneering vocals more appropriate to the Stones but finds its groove as joyous, straight-ahead power pop. Pumping piano propels “Funny Face” forward in a Cheap Trick mode. One cover: “Blinded By the Light.” Fuzzbubble has performed a public service by providing the lyrics: “Revved up like a deuce, another runner in the night.” “Regretfully Yours’” ELO chords lead into an upbeat song about heartbreak with a stunning hook. “I Like That Song!” begins with Who-like tension but it’s pure joy, and “The Window” takes a deep dive into prog with Satanic Majesties-era psychedelia. A triumphant return.
SKELETON STAFF: Malapropism
Stanton Marriott has been producing “internationally ignored Psych-pop-folk-glam-baroque’n’
He also does the animation. Their first album, Solipsism, appeared in 2010. You wouldn’t mistake their sound for anyone else except possibly Jackdaw 4, in “Harlots,” with whom they share an affinity for abrupt time changes, tonal shifts, and the voice of the British music hall.
Like many artists with a signature sound, such as Josh Fix, Greg Pope, Ed James and Broken Promise Keeper, Stanton does it all himself. “Hey mate – yes I did. The guest vocalists were the voice overs on the track “paranoia strikes” (fans from Instagram) and I’ve got a friend doing the female voice in the band interactions (Lucy) otherwise it’s all voiced, sung, played, performed, arranged and produced by me for better or worse. I even supplied the sandwiches.”
The jittery “Harlots” has abrupt tonal and rhythmic shifts, in contrast to the lushly romantic “Hand Up In The Sky,” reminiscent of The Foreign Films. Stanton is a compelling singer, mostly contralto, and would be an excellent audio book reciter. “Paranoia Strikes” is built on a bluesy boogie that tracks on like a caravan. “Bugger All” is a muscular piano-driven ballad with English music hall overtones and vocals. Through it all, Skeleton Staff maintains a unique and instantly identifiable sound, the mark of a mature artist at the top of his game.
BILL LLOYD: Working the Long Game (Spyderpop)
This may be Lloyd’s best album, overflowing with gorgeous chords and adult themes. Like Jim Basnight, Lloyd avoids group harmonies, telling his stories in a voice that is conversational and musical, starting with “Satellite.” Not a record for which you need lyrics. You hear every word. “Working the Long Game” could have come from the Brill Building or Laura Nyro. It has that timeless quality. “What Time Won’t Heal” starts in minor key and hits you with a major hook. Both “The Day That I Break Down,” with its unforgettable guitar riff, and “Go To Girl” strike that perfect balance between tonic, bridge, and hook that marks all great power poppers, including Basnight, Gary Ritchie, and Kurt Baker. Every touring band can identify with “Merch Table.”
