Here’s what we have for this week from Sir Mike Baron. The Bloody Red Baron focuses on only the best of the best that is coming out there in ‘Power Pop Land”. The crap? Well, if you don’t see it here, eventually – you know, it’s got some issues.
If you have heard any of these, as always, feel free to share your input/opinons below. Your opinion matters so share away, Pop Pioneer!
MEYERMAN: Who Do You Think You Are? (Pretty Decent)
Power Pop Prime would have been a good name for this album if it weren’t already taken. The too-short “Intro/Tonight” delivers a jolt of what’s to follow and is every bit as infectious as Ed James’ “Welcome to the Show” from Poprocket. Meyerman has chops similar to the Knack, the Plimsouls and other bands that put the power into pop. Focusing on upbeat power surges and mellifluous bridges, Meyerman glides from song to song like an Audi R8 climbing through the gears.
“Immaculate Mansions” features guitarist Mike Eckhart’s stadium-ready guitar. “Tour of Japan” should be huge in Japan, a power pop version of “Dancin’ in the Streets.” “Indecision and Inertia” features Byrdsian jangle and mesmerizing bass. The bass is likewise seismic in “Metalface” while Eckhart’s guitar is like repeated electric stimulation to the pleasure centers. “Bitter End” is self-explanatory and should always be their encore song. “Elephants” contains the lyric, “No one knows what they’re thinking beyond their youth and hair.” I just like saying that.
Four and a half stars.
Buy at Kool Kat – Here
KENSINGTON: Borders (Zip Records)
This Dutch quartet explodes with a fully-formed sound that could be described as Field Music meets Big Time Chime. Guitarists Casper Starreveld and Eloi Youssef intertwine like two strands of a helix and their Everly Brothers-inspired harmonies light up every song. Drummer Niles Vandenberg is highly melodic and not afraid to step out front. Bassist Jan Haker rises from the depths to sing like a whale.
“I Was Too Scared” is a mini-suite with a tricky stop and go meter and mesmerizing instrumental fills. “All That I Know” begins and ends with a capella passages worthy of Jackdaw 4 or Take Six, bookending a sea of churning rock. “So Am I” is another harmonic delight with a touch of blues. “Waiting For a Sign” is cockeyed urgent Brit Rock with more than a nod to the Buzzcocks.“Franklin Exits” highlights the boys’ unique guitar style, Eloi Youssef picking out angular pizzicatos in the sky. Drummer Vandenberg steps out front for “Not As Bright” using some kind of wood chock device that evokes the Casbah as the guitars lay down a descending figure that transitions suddenly from minor to major chords. “Friendly Fire” suggests XTC but really, these guys have a unique sound and there’s not a duff track on the disc.
Four and a half stars.
Buy from Kool Kat – Here
THE DITCHFLOWERS: Bird’s Eye (Sunshine Drenchy)
Bird’s Eye has the feel of an old-fashioned seventies-era album wherein all members contribute songs resulting in a wide variety of styles when actually lead guitarist Ed Woltil had a hand in all and wrote most. “Sunshine Lifeline” melds southern rock swagger with Elton John melody. “You Could Hurt Someone,” about an angry woman with dagger eyes is a mid-tempo churner that slows down in the middle and turns torch with insouciant guitar reminiscent of Dan Hicks. “Simple Guy” is an easy-loping ballad with lovely synthesized flute and pedal steel guitar. “Rainout” has a touch of Crowded House.
“In Memory of the Day” is a last call song with a dirge-like melody that changes up in the middle brightening the whole song. “Love the Conqueror” has a Ringo-sensibility. With “We Are the Time” the band comes perilously close to rocking on the instrumental break. “I Feel Sorry” has a sixties feel in its classic structure and of all the songs here most merits the term power pop. “Tuesday is Dead” is a brooding minor key slice of bad juju poetry with an intriguing descending guitar riff. “Home” is as warm and square as a farm breakfast, and “Lost Without You” touches Nilsson-like zen in its singer/songwriter purity.
It’s a beautiful record but it never gets out of third gear, more classic rock than power pop.
Four stars.
Buy from Kool Kat – Here
THE WELLINGTONS: In Transit (Zip)
This Melbourne quintet has an instantly identifiable sound that for sheer sunny glee rivals Iowa’s Hawks and the young Osmonds. It almost seems too sweet until they hit the crunch chords and you realize speed X mass = power. Much of the warmth comes from lead singer and songwriter Zac Anthony’s caramel voice. “Keep Me Holding On” starts the record like a carnival train barreling downhill and the record never lets up. “I’m Feeling the Same Way” has a Raspberries dynamic in the bridge and the chorus. One can easily imagine any of the great girl groups such as the Ronettes, Betty Everett, or the Shangri-Las singing it. “Adamant” has a classic Kinks guitar riff. Listening to this record is like being love-bombed by a crazy cult you wouldn’t mind joining. “Your Love Keeps Bringing Me Down” combines the Hawks’ major chords with a hint of Beach Boys in the chorus.
Kate Goldby sings “Baby’s Got a Secret” in a sex kitten wail. A trumpet fanfare launches “I Just Want to Love You Girl,” which would be a great cover for Sir Tom Jones. “I Fell For You” gives the listener a chance to catch his breath and hold her close. for a slow dance. An epic guitar solo precedes a voices and keyboard interlude before the whole band jumps in. “Hope You’re Happy Now” is a mini-epic with bittersweet chords. I could go on. Every song merits repeated listening. The Wellingtons have produced a joyful album with a unique sound that rocks from end to end.
However, the tracks on the back cover are needlessly jumbled. Boyz, take pity on the poor journalist trying to read the liner notes.
Four and a half stars.
www.the wellingtonsmusic.com
Buy from Kool Kat –Here
FREDDY MONDAY: Everything Anyhow (endo)
NY-based Freddy Monday has a successful career providing songs for TV shows including The Young and the Restless, Dark Blue and Burn Notice. Monday’s first solo record is a heartfelt collection of radio-friendly songs which would not be out of place on a Tom Petty release. Monday opens with the powerhouse “Give Me Your Love,” a lilting rocker in the vein of Orleans’ “Still the One” with anthemic chorus and Rick Horvath’s neon guitar solo. “Please” is very Petty-like with a typically strong Monday melody. “Another Memory” emits a whiff of Laurel Canyon eucalyptus with its handclaps and ukuleles. “She’s a Teazer” is one of those songs you play while driving at your own risk, as it tends to make you want to go faster. John Snow provides the elegant guitar solo.
“Fracture” is a dense, moody and sweet with churchish piano and the feeling of a mini-suite. “Who Am I Gonna Dance With” is a soaring power ballad. “Trail of Tears” is a minor key stomper. “Not Satisfied” starts with a reggae beat and is a refreshing update on your all-purpose protest song. Monday sings in a strong, confident tenor. The writing on this record suggests he could do something a lot more ambitious.
Four stars.
AN AMERICAN UNDERDOG: Always on the Run (popfactoryrecords.com)
“Your Reign Is Over” is how you begin a power pop record, with an epic surge worthy of Bryan Scary or Timmy Sean. Could become an anthem on the order of “Another One Bites the Dust.” “Beautiful Dreamer” is a languid ballad with strings and a folk/rock chorus reminiscent of Pentangle or Green Pajamas. “Always On the Run” is a McCartney-esque charmer with a cool synth line. There’s a touch of T-Rex in the slinky “Nothing I Can Do.” “Put Out the Fire” starts as slow-churning Beach Boys pastiche with a heavenly chorus, takes a turn into “Penny Lane” with the trumpet fanfare. “I’ll Miss You Girl” has the bones of a classic pop rocker from the sixties. “Parades” brews slow-simmering tension until the cathartic bridge. Brett Mitchell’s highly musical drums are a highlight. “Train” closes the record with train sounds and slow rolling acoustic folk.
Four stars.
Buy From Kool Kat – Here
