July 2022 REVIEWS
by Mike Baron
DAVE SCARBROUGH: Happy Ever After (Futureman)
One of those jaw droppers that come along every three or four months offering hope for humanity. Happy Ever After was recorded in Atlanta, Sweden, and Sioux Falls, South Dakota from whence Dave hails. Happy recalls Marshall Crenshaw’s first or Kurt Baker’s debut, one slam dunk after another. Traces of Nick Lowe and Greg Pope but mostly, a fresh new vein of perfectly balanced power pop, like “Wachet Ouf.” Like Lowe, or Broken Promise Keeper, Scarbrough can’t write a bad song.
Eli Stokkan adds chocolate fudge harmonies on the title track, “The Coming Good,” and “Wanna Believe.” You can almost hear Rick Derringer playing “As Far As I Know?” Scarbrough masterfully mixes major and minor chords on virtually every song. “Runaround” is Midwest Bye Bye Blackbirds, and “Hilary” is worthy of Crenshaw. Debut of the year.
THE 1957 TAIL-FIN FIASCO: Don’t Go Anywhere (Kool Kat)
Intense power pop with technicolor harmonies, Tail Fin Fiasco is a child prodigy with attention deficit disorder channeling Mozart and Jackdaw4. Only two guys, David Myer lyricist, everything else, Malcolm Moore. Exceptional and arresting harmonies.
“Reno’s Electric Stairs” throws out a technicolor grappling hook in the stunning chorus. Steely Dan comparisons are inevitable, as in “Here All Week,” with its rainbow bridge. Steely Dan, by comparison, was a little reserved, a little bebop. Tail-Fin is pure pop. The chorus on “The Son of Mrs. Queenie Brown” could have been written by Emilio Castillo for his band, Tower of Power. “Best Bitters” is a lush charmer with the usual knockout harmonies. The Steely Dan is strongest on “Heligan Begin Again,” but when it’s over, you want to hear more Tail-Fin. I can only compare them to Jackdaw’s successor, The Dowling Poole, or Jellyfish on crack.
LAURIE BIAGINI: Stranger In the Mirror
Sunshine rock maestro Laurie Biagini’s music sounds as if it had to come form southern Cal. She perfectly encapsulates the Beach Boys between Chuck Berry and Pet Sounds, as on the exquisite “Do What You Gotta Do,” or the Beach Boys inspired doo-wop of “In The Here And Now.” Laurie throws in circus calliope on “Busy Body,” and roller rink keys on “On With The Show.” “Hey Mr. DJ” has the kind of chords Explorers Club favors. It’s not just the Beach Boys. It’s the Rip Cords, Jan&Dean, and the Sun Rays. That could be Brian Wilson on the piano. Her version of Gerry Rafferty’s “Stuck In The Middle With You” should cause a revival.
NICK FRATER: Aerodrome (Big Stir)
Nick Frater has hit the sweet spot where he can do no wrong. Sounds like he does most of his composing on piano, which leads to more interesting chord changes than just guitar. Not that you can’t come up with astounding songs on guitar, it just seems to me that keyboards are more conducive to experimentation. This is densely orchestrated rock, and the handsome package says, “Check-out any time you like!” which is the opposite of Hotel California. From “Stuck In My Ways” with its irresistible sing-along chorus, to the Jason Brewer like “Aerodrome Motel,” Aerodrome grabs you by both ears. “Rough & Tumble” is anthemic, horn-driven rock, more Bacharach than Tower of Power. Playful, creative rock in the style of the Dukes of Stratosphere, as in “Dear Modern Times” and “Dancing With Gertrude,” every song is a delight. “White Courtesy Phone is a languid charmer with cowpoke overtones in the pedal steel, and an echo of “Que Sera Sera.”
DAVE COPE AND THE SASS: Julee (Kool Kat)
Most of these songs were recorded a decade ago in Philadelphia, but Cope has dusted them off and given them new arrangements. “Julee” is a thermonuclear blast of melody and harmony. Jellyfish comparisons are inevitable. Dave channels Jeff Lynne on “Love Heist.” A strong strain of ELO flows through the album. “They Never Say Hello” edges into Burt Bacharach/Explorers Club territory with lush harmonies and a perfect balance of minor/major chords, and “Topsy Turvy” is a double helix of exuberant vocals and live wire guitar, reminiscent of XTC or the Blood Rush Hour. “Where You Been Maxine” is Beatlesque and George Martinish, while “Where You Been Maxine” is particularly Shazam-like. The album sags a bit in the middle but finishes strong.
