Category: American Pop Rock


Power Pop Weirdness and Power Pop Perfection: Robyn Hitchcock’s Chronology and Ralph Covert’s “Big E Chord”

Filed under: American Band Rock, American Pop Rock, IRE/UK Folk-influenced Rock, IRE/UK Rock — Leave a comment
December 19, 2011

I suppose I have to admit that I’m a major label fan of Robyn Hitchcock. I was with him for Globe of Frogs, Queen Elvis, and Perspex Island. Each of those albums contained Hitchcock’s signature strangeness, Beatles-influenced melodies to the weird, but they also had accessible moments. Globe of Frogs had “Flesh Number One (Beatle Dennis)”—a sitting-on-the-side-of-the-stage-with-a-tambourine laidback rocker. Queen Elvis had the riff-heavy, drone-like “Freeze”. And Perspex Island had the radio-friendly power pop of “So You Think You’re in Love.”

2011 brought Hitchcock’s Chronology which only featured one of those tunes, “So You Think You’re in Love.” Erstwhile, the compilation points to the strange, diverse world of Hitchcock. Unfortunately, from Globe of Frogs, the choice was “Balloon Man,” a bouncy tune that’s just too odd with its picture of a balloon man exploding with strips of flesh and tomato sauce. And yet, the collection does give you an overall picture of Hitchcock’s mad universe and penchant for indie pop rock tunes.

Yet, 2011 wasn’t without power pop. Go back and grab Ralph Covert & the Bad Examples’ Smash Record. Covert—who in his kid-friendly garb is known as Ralph’s World—lays out Beatlesque pop rock that can also conjure up memories of the Kinks. Smash Record works in the varied styles explored by the Beatles—big rock (“Big E Chord”), piano-led pop (“Pictures of a Masquerade”), and hint-of-twang-and-roll (“No Message in Your Bottle”). Think the Smithereens, and you start to get in the neighborhood. The rockabilly flashes compare to the Spanic Boys or to Ian Hunter’s recent work.

While there are certain moments of joy on Smash Record, nothing quite comes close to the power pop opener “Big E Chord.” It’s three-minutes of pure bliss dedicated to rock music. It’s big chords, clanging guitar fills, and a Traveling Wilburys/Jeff Lynne-like bridge. Those “clashing guitars” make me want to put the track on repeat—a very, very unlikely thing for me to do. (Thanks to Pop Geek Heaven for turning me onto the song).

Meanwhile, I’m hunting for a good copy of Globe of Frogs on CD, since apparently it’s out of print and not available for download. Here’s to a good hunt, because that album finds Hitchcock in fine form.

Robyn Hitchcock
Yep Roc Records
Ralph Covert/Waterdog Music

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Trimming the Tree (and Trimming the Music): Hillsong’s Born is the King

Filed under: American Folk-influenced Rock, American Pop Rock — Leave a comment
December 15, 2011

Stress meant that I forgot I had already posted about this EP. Fortunately, I had about the same opinion both times.

They call it an EP although at eight tracks, it’s nearly a complete album. However, Hillsong may have better off to chop of Born is the King at six tracks. Skip the attempts at “O Holy Night” and “Silent Night.” Both seem like compulsory add-ons lacking the originality of the rest of the EP.

The EP starts off strong with the instrumental prelude, “The Westward Procession,” leading into a drone-led, banjo/folk background “Joy to the World.” “Joy to the World” pairs Hillsong’s worship choir characteristics with that folk-influenced vibe, just hinting at the Decemberists or Jars of Clay. The stomp down, African tribe-like feel of the original “Born is the King (It’s Christmas)” recalls some of the work of Caedemon’s Call. The track jumps out as a top song for the 2011 season. “We Three Kings,” blending new melody lines with echoes of the traditional, comes on as a singer-songwriter coffeehouse version. “O Come Let Us Adore Him” marches in slowly, bearing in its hands “O Come All Ye Faithful,” even as the song then spills out into a swaying, tribal chorale.

Hillsong

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Cherry-picking Christmas Tunes: Hillsong’s “Born is the King (It’s Christmas)” from Born is the King EP

Filed under: American Folk-influenced Rock, American Pop Rock — 1 Comment
November 26, 2011

Despite the fact that I’m most often a completest who advocates buying albums and not singles, I’m not confident that Hillsong’s 8-song Christmas EP Born is the King is worth picking up as a complete disc. Cherry-picking from the tracks, though, one of the two originals here is worth seeking out as a single download.

Matt Crocker and Scott Ligertwood have written “Born is the King (It’s Christmas).” It’s a rootsy stomp beginning like a family band gathering around to jam in the holiday house, while the chorus brings out the worship anthem qualities of the praise band that Hillsong is. I love the varied textures of this track, the celebratory nature that casts off everything that encumbers, and the way Hillsong pushes itself beyond what’s expected. Elsewhere on the EP on traditional tracks like “Joy to the World” and “O Holy Night,” we don’t get much beyond what you’d guess: plaintive, safe renditions. “Born is the King,” though, shakes off the safe and serene to deliver something original, fresh, and warm.

Hillsong

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Through the Transistor’s Static: The Postelles’ The Postelles

Filed under: American Band Rock, American Pop Rock
June 22, 2011

Coming through a transistor-like static of your memory, the Postelles’ self-titled album shimmies with late 50’s/early 60’s pop rock. Of coure, they take that pop rock and play it through a fuzz of the Kinks and a stagger of the 101ers/Joe Strummer. “Sleep on the Dance Floor” sways its way into your psyche even while the guitar flourishes couldn’t possibly let you sleep. Here and elsewhere I hear echoes of the Spanicboys. The walking chord line of “123 Stop” infects your pulse. On “Can’t Stand Still,” again the guitar flourishes jump out as the highlight—bright flashes that pick up the beat even as the base of the song is the bass. Of course, all of those songs are fueled by a chase for a girl who seems to be escaping, breaking up, or being elusive. This culminates in the emotional and sonic peak of the album, “Stella”—a backbeat barnburner where the verses bounce on floor toms and the choruses send up gang vocals and that quick strumming guitar.

Elsewhere, “Hey Little Sister” adds a little classic Stones to the mix. “Sound the Alarm” adds a blues rock dimension on some muscly guitar lines. “Blue Room” definitely works in the realm of a Beatles ballad. The album closes with the heavy “She She” guitar line. Although the verses really have a similar timbre to everything else here, the choruses smash and wail.

Generally, then, the Postelles are like the foundational sound White Rabbits work with before adding all of their complexities and rhythmic fills. The Postelles are doing a 60’s rock slightly punked up with extra energy and that will do the listener very well.

The Postelles
+1 Records

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New Wave of the Nails. . .a.k.a. The Cars’ “Blue Tip” from the upcoming, Move Like This

Filed under: American Pop Rock
March 24, 2011

Curious about the new Cars album. Check out the video below for one of the first singles, “Blue Tip.” Best description is that the Cars are definitely sitting within their New Wave moniker. This is not the guitar-rich The Cars. This is the keyboard bounce pop that at the same time seems to defy being straight-up pop. It’s got that wave of freshness but also an undercurrent of darkness. It’s the Nails, really. Bouncy darkness ready to break out of your pop bubble.

Move Like This will be released May 10 via Hear Music/Concord Music Group.

The Cars

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No New Horizons But Still Good Territory to Experience: Luminate’s Come Home

Filed under: American Pop Rock
January 20, 2011

True, they aren’t breaking open any new territory musically; you’re not going to pick up Luminate’s Come Home for the way it expands the horizons of rock ‘n’ roll. However, if you want something comfortable, something akin to Britrock anthemics without the attitude, something worshipful without being pasted over in syrup, then try checking out Luminate. Dustin DeLong’s keyboards make these songs roll even as the guitars chime in piano-imitation. The synthesized strings that open up “Healing in Your Arms” raises up the anthem even while percussion beats propel the song forward. It’s those beats that also help give shape to “Innocent” and “Come Home,” a shape much needed in this pop rock genre. One wonders what would happen, though, if Luminate really let those beats lead them to break loose, because “Innocent” sounds as if the great awakening of rock ‘n’ roll is pulled back tight, not quite breaking open to what could be something less like Leeland and more like Remedy Drive. Spiritually speaking, the acoustic prayer “Hope is Rising” speaks a better word than many similar songs sung to the Holy Spirit.

Come Home is released on January 25.

Luminate
Sparrow Records

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Brylcreem Guitar and More 50′s/60′s Goodness: The Black’s Sun in the Day Moon at Night

Filed under: American Band Rock, American Pop Rock, Country-influenced Rock
January 6, 2011

The Black mention “listening to Leonard Cohen on the AM band” on their song, “Now I Am Here,” but that’s like looking at a mirror inside of a mirror because the album is like listening to the Black on the AM band. Sun in the Day Moon at Night is a trip back to early rock ‘n’ roll from the red dust clouds outside a studio in Texas where Buddy Holly was holed up with the boys. “Freeway (Exiled)” rocks on with a backbeat, Brylcreem guitar, and a black Chevy hotrod attitude. “Death’s Bell” has that honky tonk rock that has long been picked up by AltCountry acts like the Old 97’s. Then there’s the 60’s Dylan harmonica on the plaintive “Throwing Away.” All in all, it’s a nice blend of 50’s and 60’s rock hopping down the tracks of the 10’s.

The Black

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Pop Voice Like Matthew Sweet’s Sweeter Moments: Noah Kussack’s A Momentary Lapse in the Key of W

Filed under: American Folk-influenced Rock, American Pop Rock
December 29, 2010

The Music Spectrum Notebook Series digs into my handwritten notes and reviews on older releases still getting my attention as 2010 comes to a close.

Where Noah Kussack’s band XOXO excels in pop gems that bounce, Kussack’s own A Momentary Lapse in the Key of W resonates and rests awhile in that pop. The first half of the disc features full band and hearkens back to Matthew Sweet’s sweeter moments and Semisonic’s pop hooks. Revisiting XOXO’s “Life. . .In General” is a good choice; the song driven along by keys and Kussack’s wry pop voice. The second half of the disc finds Kussack back in coffee house mode, stripped back to acoustic guitars and fewer backup instruments/voices. Strongest here is the Elliot Smith-like “The Dingo Ate Your Baby.” The stripped-back songs themselves have potential to speak—even the inspired covers of New Order and the Kinks—but there’s also a very real danger of the disc getting sleepy. Kussack does his best work when his airy pop voice gets some rhythmic pounding for backdrop.

Noah Kussack
24 Hour Service Station

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Year in Review Reviews: Ryan Star’s 11:59

Filed under: American Pop Rock
December 27, 2010

The Music Spectrum Notebook Series digs into my handwritten notes and reviews on older releases still getting my attention as 2010 comes to a close.

I’ve been digging the pseudo-Britrock music on the opening credits of Fox’s Lie To Me. Seeking out the song, “Brand New Day,” led me to release it is by Ryan Star from his 2010 release, 11:59. The song rocks in that indie pop way where it’s definitely sliding towards pop without losing some edginess. The track itself has some funky dance hints even as it becomes anthemic at other times as if Coldplay slipped into a poppier mold. That’s what makes the song crack your consciousness and catch you singing along. Plus, the production keeps the track full of interesting fills and effects including a tremendous piano break.

Elsewhere on 11:59, Star mainly seems like a beefed-up pop artist, such as I hear on Kill the Alarm, where it’s compelling enough to attract attention of indie lovers but still keeps that pop foundation.

I realize now that Star came to international attention after being on the reality series Rockstar: Supernova back in 2006. However, that part of the story missed me. This may explain why Star slips and falls on occasion, letting those pop sounds get a little cliché especially on the “sexual desire/we’re going to start a fire” of “Start a Fire” which borrows a guitar riff from “Eye of the Tiger.”

In some ways, this might be compared to where Charlie Sexton began. Now an Americana/roots artist with great production chops, Sexton originally released two solo albums while he was quite young which showed off some guitar skills despite the pop production elements. Star might have what it takes to grow out of the pop production elements and let his voice shine in unvarnished way.

Ryan Star
Atlantic Records

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A Gift to Shoppers: Target’s The Christmas Gig

Filed under: American Folk-influenced Rock, American Pop Rock, Atmospheric/Prog/Psych Rock, College/Art Rock, Hip Hop/Rap — 2 Comments
December 15, 2010

One of my favorite Christmas albums is unavailable now (except for a couple of copies through Amazon). Decorations was a compilation released back in 1993 as a gift to shoppers at a mall—Southdale Center in Edina, Minnesota. A tremendous collection of both the sacred and the trivial, it included many artists with Minnesota ties like Greg Brown, Moore by Four, and Chan Poling. Plus, “Snow Day,” a story by Kevin Kling caps it all off making you hope that the sky will open up and leave you with a snow day in front of the fire, so you can put the CD player on repeat.

Now in 2010, Target Stores had the opportunity to offer something similar to shoppers with their free gift of music through The Christmas Gig compilation and ad campaign. And while I really appreciate how Target supported many indie artists with this compilation/campaign, and while I enjoy many of the songs, still I was disappointed that the compilation focused so much on shopping—rather than the true spirit of giving and of Christ.

Those were the things that made Southdale’s Decorations a great CD. It combined elements of frivolity of the season with the spirit of giving and renewal in songs like Paul Metsa’s “Christmas at Molly’s” and Greg Brown’s “Wash My Eyes.”

Nevertheless, kudos to Target for including artists on The Christmas Gig that may not otherwise be getting such airplay. The Crystal Antlers’ “10,000 Watts” is an awesome post-punk tribute to electric light celebrations. It’s probably also my most favorite commercial of the campaign, matching the song with flashes of huge light displays.

Guster offers the charming, 60’s folk pop strums of “Tiny Christmas Tree.” That 60’s folk vibe continues on Jenny O.’s “Get Down for the Holidays,” a melancholic look at the joy which may (or may not) lift us up at the holidays. Coconut Records’ “It’s Christmas” rings out with that same 60’s air—swaying, slowly marching its way into your heart.

Darker My Love retains some of their dark, psychedelic charm while lightening up for “Snow is Falling.” (Click for a full Darker My Love review). Best Coast and Wavves team up for “Got Something for You,” which like Bishop Allen’s “You’ll Never Find My Christmas,” is another song about being really good at hiding presents. Or is it?

I don’t like the commercial which makes it look like the holidays are all about doing everything at once to make them perfect, but the song by Little Jackie, “Mrs. Claus Ain’t Got Nothin’ on Me,” is infectious. Then there’s “Electronic Santa” by Blazer Force which brings it all down to the dance floor.

The Christmas Gig Free Download

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