Pop That Goes Crunch!

Seven Decades Of Melodic Rock & Roll

Archive for the tag “Powerpop”

We Get Stacks And Stacks Of Records!

Well, digital files — and lots of them — but you get the idea.

Here’s the first of several round-ups of worthy new music that has recently crossed our virtual desk.

a2459102903_16Bertling Noise Laboratories, The Flehmen Response: Chicago-based multi-instrumentalist Nick Bertling “writes the songs, plays the instruments, sings the words, [and] records it.” He does all of those things quite well on his second solo outing.

Despite the monicker under which Bertling records, The Flehmen Response is not an exercise in noise pop. Instead, it fits squarely within the melodic rock idiom, alternating effortlessly between upbeat rockers, quieter acoustic expressions, and the occasional left-field sonic exploration.

These contrasts begin immediately on The Flehmen Response.  The opening track, fittingly titled “My Opening Remarks,” is a piano-based rumination on life lived previously, and the promise (and possible dread) of the unknowable future. “Radio” is sunny, slightly rocking pop song, the sort that once frequented the radio. The swaying, acoustic “Sea Shanty” is enlivened by occasionally soaring keyboards. “I Don’t Want To Rock” thumbs its nose at rock ‘n’ roll posturing, while rocking quite nicely indeed. The standout track, “You Won’t Know Me,” will have you singing along unconsciously, even as it takes you on unexpected twists and turns:

The Flehmen Response was released at the tail end of 2015. It’s a shoo-in, however, for my “best of” list for 2016. That is quite an achievement from the perspective of late-January.

a0371773716_16Coke Belda, Nummer Zwei: This is another late-2015 release destined for my year-end “best of” list. Nummer Zwei delivers hit-after-hit-after-hit. It is filled to overflowing with non-stop hooks, beautiful stacked vocal harmonies (supplied exclusively by Belda), and sharp, pointed musicianship that thrills repeatedly without becoming indulgent.

The bouncy “Rainbow” kicks off the festivities, with those layered harmonies on prominent display, and punctuated by synth lines ripped from the mid-70s. “You’re Not In Love” is the first of several “gentle” guitar-based rockers. Its combination of jangle and rhythm will have you bopping along within moments. “Hold Me Tight” explores similar sonic territory, until its vocal harmonies chime in and transport you to the early-60s. “Another  ****ing Song,” the second in a two-song mini-suite of tracks about songwriting, rocks quite nicely for two minutes, and then hits even harder with some of the finest high-register singing put to rockin’ pop music in quite some time:


The hits, though, don’t stop there. Not even close.

“Mustard Trees” is a jaunty, hook-laden pop rocker that walks generally in Beatle-y territory. If you listen carefully toward the end, however, you’ll detect a bit of guitar shredding at the bottom of the mix. Tasty slide guitar nicely compliments the somewhat winsome “Where I Am.” “It Shines For You” is a pounding rocker punctuated by the occasional shiny guitar.

Nummer Zwei is a big leap in quality over Belda’s first solo outing, which itself is quite good. You can get  both for one low price at Belda’s Bandcamp page. That could be the best music deal of the year.

*******

Several tracks from The Flehman Response and Nummer Zwei can be heard in regular rotation at Pop That Goes Crunch Radio, which has a new home and can be accessed directly from this page. Just click on the “Listen Live” headphone icon at the top of the sidebar to your right, and you will land on our player page. You can also click on the “Pop That Goes Crunch Radio” link above the title on this page for more information, and a link to the player page as well.

Happy listening!

 

Top 10 EPs of 2015

a3090438272_16

Andy Reed is a perennial on this blog, whether as a solo artist, a producer, a sound engineer or as a member of The Legal Matters, who grabbed the top slot on my list of the best albums of 2014. It is therefore fitting that his 2015 EP, Relay Vol. 1 captures the top slot of my list of the finest EPs of 2015. Relay is five songs, perfectly conceived and executed, beautifully sung and played. There is no excuse at all not to get it.

The other nine EPs that made my 2015 list fit snugly within the rockin’ pop genre dissected throughout this blog. The Crush, The Persian Leaps and The Foreign Films return from my 2014 list. Yorktown Lads have the distinction of making my top EPs and top LP lists with a pair of fine late-2014 releases.

Links are provided for your sampling, streaming and purchasing pleasure.

1.  Andy Reed — Relay Vol. 1

2.  Jeff Litman — Primetime

3.  The Foreign Films — The Record Collector (Side 3)

4.  Yorktown Lads — $200 EP

5.  Chris Richards and the Subtractions — 3Peat -That Covers That (3)

6.  Persian Leaps — High & Vibrate

7.  The Crush — Someone For You

8.  Hidden PicturesCalifornia Plates

9.  Herb Eimerman — Five Dimensional Man

10. Jay GonzalezThe Bitter Suite

Top 40 Albums of 2015

Caddy -- The Better End

We’ve taken some time off lately. Unfortunately, real life occasionally interferes with what is really important.

Nevertheless, we’re back with a run-down of the top long-players of 2015. This year, the list is expanded from 20 to 40, and there will be no list of the top songs of the year.

The decision was made to focus on longer form works, and recognize more artists for releasing music that is engaging over the course of eight or more tracks. Each of the albums on the following list would be a worthy addition to the collection of any serious music listener. A couple of entries were released in late-2014, but were were much more a part of the previous twelve months than they were of 2014.

Caddy’s The Better End captures the number 1 spot on this year’s list. The August 30, 2015 review on this site noted that Thom Dahl spiced his long-player with “rather liberal doses of layered, often jangling and chiming guitars, entrancing mid-tempo rhythms, swirling harmonies, beguiling tempo shifts and sunny, relaxed vibes straight out of early-70s Southern California.” Run, don’t walk, to your nearest electronic portal and get this record immediately, either digitally, on CD or on vinyl. Its one of the finest releases in recent years.

Although each of the long-players on this year’s list fit within the broad spectrum of melodically-based rockin’ pop, there is substantial variation in the mix, including old-school rock, acoustic pop, baroque pop, Americana, punk rock, and much more. Links are provided for your sampling, streaming and, of course, purchasing.

1.  CaddyThe Better End

2.  PugwashPlay This Intimately (As If Among Friends)

3.  Nick PiuntiBeyond The Static

4.  William DukeThe Dark Beautiful Sun

5.  The New Trocaderos — Thrills & Chills

6.  Love AxeSouth Dakota

7.  Stereo TigerTwo Weeks

8.  The HangaboutsIllustrated Bird

9.  The Junior League Also Rans

10. Susan JamesSea Glass

11. Ryan Allen & His Extra ArmsHeart String Soul

12. Cleaners From VenusRose Of The Lanes

13. Daniel Wylie’s Cosmic Rough RidersChrome Cassettes

14. The TurnbackAre We There Yet?

15. Michael CarpenterThe Big Radio

16. Steve Robinson & Ed WoltilCycle

17. Mono In StereoLong For Yesterday

18. Kurt BakerPlay It Cool

19. The See SeeOnce, Forever & Again

20. The NinesNight Surfer and the Cassette Kids

21. Pop4 — Summer

22. Gordon WeissIts About Time

23. The PopgunsPop Fiction

24. Yorktown LadsSongs About Girls And Other Disasters

25. Gretchen’s WheelFragile State

26. Summer FictionHimalaya

27. Travel LanesLet’s Begin To Start Again

28. Joel BoyeaHere Again, And Lost

29. Three Hour TourAction And Heroes

30. DC CardwellPop Art

31. Trip WireGet In & Get Out

32. Dr. Cosmo’s Tape LabBeyond The Silver Sea

33. Brandon SchottCrayons & Angels

34. The Corner LaughersMatilda Effect

35. WattsFlash Of White Light

36. Nato Coles and The Blue Diamond BandPromises To Deliver

37. Jonathan RundmanLook Up

38. The WeaklingsThe Weeklings

39. Plastic MaccaSensation

40. The ConnectionLabor Of Love

Timeless Music From Kurt Baker and Cleaners From Venus

Kurt Baker, Play It Cool

Kurt Baker, Play It CoolKurt Baker is a hit machine. He has the uncanny ability to record song-after-song filled with hooks, sing-along choruses and memorable melodies. You can call it Power Pop, if you want. Back in the day, though, Baker’s sound was just called “rock ‘n’ roll.” Whatever the label, his new long-player, Play It Cool, hardly disappoints. It delivers twelve rockin’ pop nuggets that should keep you movin’ and groovin’ over the coming cold months of winter.

The festivities start with “Sends Me To Mars,” a riff rocking garage stomper. Then, “Enough’s Enough” finds itself in more familiar Baker territory, with big vocals, hooks galore and some tasty keyboard parts. It’s a chart-topper . . . somewhere:

The next track, the breakneck “I Got You” will get you boppin’ along like its 1979. “Just a Little Bit” slows things down, but just a little bit. The basic riff of “Can’t Say No” sound-checks Joe Jackson’s “I’m The Man” as it tells the tale of a busted relationship that just won’t go away:

Play It Cool remains throughout quite indebted to the history of the rock ‘n’ roll form, but without residing in lifeless suspension at some wax museum. “Talk Is Talk” is a cool mid-60s rockin’ pop song, complete with 12-string guitar and vintage electric piano. “Prime Targets” might have been playing on “new wave” radio back in ’82, with its space age analog synth parts taking center stage. “Back For Good” time travels further to the glory days of AM radio with sweet harmonies and an easy-going chorus. The LP comes to a close with “I Can’t Wait,” which is probably playing right now in a bar near you. This is timeless music for today’s people. 

Play It Cool is, well, just cool. It’s also one of the finest slices of rock ‘n’ roll released the year. Get it via Bandcamp, either digitally or on disc from those stellar purveyors of real rock ‘n’ roll at Rum Bar Records.

Cleaners From Venus, Rose Of The Lanes

Cleaners From Venus, Rose Of the Lanes: Martin Newell returns with another fabulous collection of low-key pop and psych tunes recorded entirely on a Tascam DP-006 Pocketstudio with the assistance of Audacity freeware. As noted by the folks at Soft Bodies Records, the company that released Rose of the Lanes, these are “songs of immense distinction.” They’re stripped down and seemingly effortless. They are, however, constructed with great care, and Newell’s writing continues to be marked by a keen attention to detail. These are songs that make you take notice immediately.

The title track sets the tone for the fourteen that follow. Its consisted largely of a simple strummed acoustic guitar, a muted lead guitar, and rather uncomplicated drumming and percussion. Its nothing fancy at all. Its melody, however, conveys a beautiful, swaying melancholy that doesn’t easily let go:

“Little French Blue” is more muscular, with a slightly fuzzy electric guitar sitting in the middle to  compliment Newell’s urgent vocals. “Isn’t She The Biz” practically defines simplicity. Its hook is so basic — “isn’t she the biz/isn’t she the buzz” — that it seems like its been done thousands of times previously. It hasn’t, though. Its pure Newell, and completely original:

“Queen Khartoum” adds a bit of exoticism and a slow, burning lead guitar to the mix. “Third Summer of Love” bounces around amid slashing 80’s “alt rock” guitars, while asking the question “what if those hippies had been right all along?” “Lazy Elaine” is positively “old timey.”

But its the more “pop” songs that ultimately carry the day on Rose of the Lanes. The jangling “Liverpool Judy” is another slice of pop perfection, with yet another simple chorus — “Liverpool Judy/Liverpool Jude/you were the only one for me” — that thoroughly resonates. The even more jangling “Billy Liar” plays homage to the novel and film of the same name. The brooding “Denmark Street” places the listener on the historic London street famous for its publishing houses, recording studios and music shops, but threatened by continuing “redevelopment.”

Rose of the Lanes is, simply, a wonderful record of rich textures and engaging melodies hiding behind a casual facade. It’s a thoughtful record that is rooted in the great pop craft of the best of the past fifty years of English rock, and a shoo-in for my “Best Of” list this year. Get it via Bandcamp.

Mark Helm’s Lost And Found Classic

Mark Helm -- everything;s ok

Mark Helm released his one solo album, everything’s ok, in 2001. Reviews were great. “Elegant…more hooks than a fly fisherman’s vest,” declared the Washington Post. An “orch-pop noir gem,” gushed Gary “Pig” Gold.

Years passed. The road of life took its unexpected twists and turns. Helm ultimately found his way to Nashville, and to a career as an English professor. Music seemed to be a part of the increasingly distant past.

Helm, however, dusted off everything’s ok in July 2015, and reissued the long-player on Bandcamp, along with a generous (and growing) collection of odds and ends. This is a work of broad eclecticism. Its sounds run the gamut from guitar-propelled Power Pop to quiet orchestration to acoustic folk to “alt rock” to baroque pop. Its themes capture life’s ups and downs, the good, the bad, the in-between and the indifferent. It is at once a deeply personal work, but it nevertheless conveys universal truths and familiar emotions. Its “handmade” quality is reminiscent of Cotton Mather’s Kontiki, in execution and in the way Helm expertly melds disparate pop and rock elements into a cohesive whole whose overall quality exceeds the combined virtues of its various parts.

everything’s ok begins with “So Faraway,” its spare instrumentation and harmonies imparting a hymnal quality to this brief tale of loss. Next, the rocking “Galaxy Of Cars” rips the hooks right off of that fly fisherman’s vest, and delivers a chorus that will unconsciously ring around in your head all day long:

“What Holds The World Together” emerges from a dream and sits in delicate suspension, broken only by a brief baroque interlude. “[T]his is a very obvious nod to ‘strawberry fields’/’penny lane,” Helm says in the notes that accompany the reissue. The acoustic “Haircut” would feel quite at home on Big Star’s Third. “Week Of Days” begins with a blast of distorted guitar. Then, a muscular sound takes over and nicely compliments the song’s themes of romantic ambiguity and mystery. “Airplanes and Radiosignals” is a quiet rumination about crossed signals and how, sometimes, its “hard to tell what’s real, what’s ridiculous.” That everything’s ok is an ambitious, challenging and ultimately quite stunning work is evidenced by the beautiful, orchestral piece, “Sweet Dreams Baby,” which appears about three-quarters of the way in:

The digital reissue of everything’s ok is rounded out by a collection of ten bonus tracks, including a nice, digital four-track acoustic recording of “God Only Knows,” and Helm’s covers of Gene Clark’s “American Dreamer” and ELO’s “Strange Magic,” both of which appeared originally on tribute LPs released by Not Lame Recordings.

everthing’s ok is a great “lost and found” record, rising unannounced to enliven the second half of the year. This is music that can be enjoyed equally on a dark and lonely night, or on the brightest and sunniest of days. Its also a steal — 26 tracks for a mere $5. Run, don’t walk, to Bandcamp and get it. Or, you can simply click right here.

Late Summer Roundup, Volume 3

The calendar, and the weather, says it’s still summer. So here’s the third installment of my roundup of some of the finest tuneage to find its way to my digital desk over the past few months. This time, the focus is on the more rocking end of the spectrum.

Mono In Stereo

Mono In Stereo, Long For Yesterday: Back in the summer of 1984, I combed the traffic-clogged streets of Los Angeles working as a car messenger. College radio was my constant companion. The Minutemen, Husker Du and The Replacements ruled the airwaves, and brought order to those mean streets.

Those days have long since left the rear-view mirror. However, Mono In Stereo, a four-piece band out of Rockford, Illinois, has managed to capture the Spirit of ’84, and has sprinkled it brilliantly over twelve quite fine tunes that run the gamut from blistering punk rock assaults, to pounding anthems that shout their way out of the speakers, to mid-tempo reflections on the past, the present and the future, to Americana-tinged Power Pop, and more. The band calls its approach “Midwest Punk,” and cites its influences as ranging from “Springsteen to Mould, Earle to Costello.” It’s an apt description.

The band lays its cards on the table in the opening track, the rousing “Late Night Confessor” which tips a hat to The Dead Boys’ “Sonic Reducer,” before veering off in its own direction. The pounding title track will have you yelling out its chorus in no time. “What We Sang” is a paean to doing what you love, knowing that others out there certainly feel the same way:

The mid-tempo, “Woke Up In Haight,” has the band showing off a more expansive sound aided, in part, by some sneaky piano supplied by the seemingly ubiquitous Kris “Fingers” Rogers. “Bakersfield” is an eminently catchy Power Pop romp with a country backbone. The closing track, “Another Man’s Time,” is a quiet rumination on crime, punishment, family and mistaken identity:

Long For Yesterday is overflowing with hook-filled, guitar-based rock ‘n’ roll that knows no real boundaries. That’s how the best did it back in ’84, and that’s how Mono In Stereo’s influences do it as well. You can get this timeless music via Bandcamp. You will be glad you did.

Travel Lanes

Travel Lanes, Let’s Begin To Start Again: This four-piece band out of Philadelphia also digs deep into the history of American rock ‘n’ roll, spiking its catchy tunes with liberal doses of R&B swagger, Americana and seeming bar band sloppiness. Travel Lanes, however, is no amateur act. Accomplished playing is instead the order of the day, lifting Let’s Begin toward the head of the class.

Low, crunching guitars and Frank Brown’s menacing vocals let the listener know immediately that the field trip at issue in the opening track, “Class Trip,” might not be the kind of happy event normally associated with elementary school. The next track, “In The World,” lightens the festivities considerably, with its memories of a “summer so sublime.” “Little Out Of Love” sports a mellow, melodic vibe with 70s’s country undertones. “100th I Told You So” is melodic rockin’ pop at its finest. It would climb the charts in alternate universe:

The band returns to darker themes on a couple of slower, largely acoustic Americana tracks,”The Year” — the one where “everything fell apart”– and on the “Death,” both of which are standouts. Hope is not entirely lost, however, as the band quickly serves up the sweet, upbeat “Cream Soda.”

If there are any bum notes, or boring filler, anywhere on Let’s Begin To Start Again, these ears were unable to detect them. Get this highly recommended longplayer from the good folks at Kool Kat Musik.

 

The Big Show, Season 2, Show #8

The Big Show

The eighth installment of the second season of The Big Show features a  Southern California, summertime feel. The accompanying photo on the left was taken recently at sunset behind Lifeguard Station No. 30 at La Jolla Shores in San Diego, California.

William Duke kicks off Show No. 8 with the title track from his wonderful long-player, The Dark Beautiful Sun. Drink in the tasty harmonies alternating perfectly with the song’s memorable guitar riff. We’ll be hearing more from Duke in coming shows.

One Like Son follow “The Dark Beautiful Sun” with some late-summer reverie, “Summer Days,” which appears on their excellent, recently released LP, Classic.

Caddy checks in with the first of two tracks from The Better End, one of the finest albums of the year. “Beautiful Strange,” the third song in the show, is a shoo-in for my year-end list of the best songs of the year.

The sunny vibes continue with Summer Fiction doing “On And On” from this year’s Himalaya long-player. Trip Wire and Susan James, featured in Show No. 7, contribute two fine tracks, “330 Days Of Sunshine” and “Truth or Consequences,” respectively.

Gordon Weiss and Identical Suns round out the episode’s recently released music, with “I’m Your Fan” and “Baby I’m Down.”

Make sure to listen to the end of the show. Andy Reed and Brandon Schott do a beautiful acoustic version of the Big Star classic, “Ballad Of El Goodo,” that you most certainly need to hear.

As always, the entire tracklist is below the embed. Crank up the volume, and check out Pop That Goes Crunch radio, streaming the finest in melodic rock n’ roll 24/7.

Tracklist:

1.  William Duke, “The Dark Beautiful Sun”

2.  One Like Son, “Summer Days”

3.  Caddy, “Beautiful Strange”

4.  Summer Fiction, “On And On”

5.  The Autumn Defense, “Winterlight”

6.  Susan James, “Truth Or Consequence”

7.  Identical Suns, “Baby I’m Down”

8.  Bill Simpson, “It’s Been A Long Time”

9.  Cosmic Rough Riders, “Annie”

10. Matthew Shacallis, “Where Were You”

11. Caddy, “Chasing Clouds”

12. Trip Wire, “330 Days Of Sunshine”

13. The Bopp, “Paisley Underground”

14. Gretchen’s Wheel, “The Fourth Wall”

15. The Greek Theatre, “Even You Will Find A Home My Friend”

16. Lightships, “Sweetness In Her Spark”

17. The New Mendicants, “High On The Skyline”

18. Nada Surf, “Whose Authority”

19. Michael Oliver & The Sacred Band, “Neverlast”

20. Gordon Weiss, “I’m Your Fan”

21. Ice Cream Hands, “Embarrassment Head”

22. Andy Reed and Brandon Schott, “The Ballad Of El Goodo”

The New Trocaderos Deliver Non-Stop Thrills And Chills

thrillsThis blog has championed the six previously released tracks by The New Trocaderos, the “supergroup” consisting of Brad Marino and Geoff Palmer of The Connection, and Kurt Baker. They scored a track on my list of the best 30 songs of 2014, and nabbed a spot on my list of the best EPs of 2014. I also had the opportunity recently to discuss the band and its future, with Michael Chaney, who primarily pens the lyrics, hooks and melodies that form the bases of the blistering, melodic, real rock ‘n’ roll The Trocs record.

The Trocs just dropped their debut longplayer called Thrills & Chills, which, as advertised, delivers thrill-after-thrill-after-thrill — along with liberal doses of chills — spread over the course of twelve Chaney originals that alternate between glee, pathos, self-deprecation, anger, lust, passion, disinterest, and humor  — sometimes swirling around in the same song. The sound this time is expanded greatly, with the addition of the occasional horn and harmonica, and inclusion of some of the finest backing vocals put down in quite some time courtesy of Palmyra Delran, Kim Shattuck and Line Cecile Dahlmann. Kris “Fingers” Rogers, who played on last year’s EP, returns to deliver tasty some keyboard lines, while The Connection’s Rick Orcutt pounds the drums with controlled abandoned.

The festivities begin with a bang on the loud and unrestrained “What The Hell Did I Do,” with Marino assuming the voice of a misbegotten fellow finding himself tracked by the police after a particularly blurry lost weekend. Next up, “I’m So Bad” proudly flashes its influence, as Marino  swaggers that “I drink a lot more booze than Keith” amid slinky slide guitar fills and a pounding, mid-tempo R&B beat. Close your eyes and “I’m So Bad” might as well be a lost track from Exile On Main Street.

Thrills & Chills changes focus by the third track, “Crazy Little Fool,” with Palmer supplying sweet lead vocals over a decidedly British invasion vibe:

Things get even more interesting on “Love Anymore,” a bit of updated doo-wop with Baker contributing lead vocals that Chaney describes as being in an “Elvis style, ala ‘Good Luck Charm.'” Throw in some swaying call and response backing vocals, and understated, melodic piano by Rogers, and you have an unexpected stroke of genius. “Love Anymore” also sports one of the great lines of the year, when Baker sings “You’re getting calls from a whole lot of men, and one of them’s older than Roger McGuinn”:

Thrills & Chills shows that Chaney can write, and The New Trocaderos can sing and play, in virtually any style that is part of the basic rock idiom — blues, country, rockabilly, jangle pop, power pop, doo-wop, punk rock, garage rock, etc., etc., etc. Put it all together and you get timeless rock ‘n’ roll for the modern world. Marino, Palmer and Baker also make their own each of the songs they sing, with their distinctive vocals and lead guitar playing placing indelible personal stamps onto Chaney’s fine compositions. Thrills & Chills is year-end Top 10 stuff.

You can get Thrills & Chills right here. When you do — and there is no excuse not to get it immediately — turn it up way past 11, and sing along at the top of your lungs. Great happiness will ensue. Guaranteed.

The Ice Cream Man Does It Again

Ice Cream Man -- Got It LickedOver at Pop That Goes Crunch Radio, we proudly broadcast to the planet the Ice Cream Man Power Pop And More show. Each week, Wayne Ford spins a delectable mix of some of the finest Power Pop, New Wave, Northern Soul, Ska, Garage Rock and Mod sounds ever put to wax, tape, disk and 1’s and 0’s. Last September, Wayne assembled a gigantic, free download of some the highlights of the first year of his show. We featured it right here.

Last week, however, Wayne topped himself by dropping a ginormous collection of — hold your breath on this one — 109 tracks that you can download for absolutely free, legally and with no strings attached. This bit of sonic generosity is likely unprecedented in human history. The good folks over at Futureman Records are hosting it right here for your downloading delight.

Many of the tracks on the compilation are by artists that are perennials on this blog, and over at Pop That Goes Crunch radio, including The Hangabouts, Propeller, Gretchen’s Wheel, Muscle Souls, Eric Barao (doing my number 1 song of 2013), Phil Ajjarapu, Chris Richards & The Subtractions, Nick Piunti, Trip Wire, and Watts. But, with 109 tracks in all, you can do a deep dive (or two or three) and discover a whole lot of new artists for further exploration over the wide variety of genres that Wayne features regularly on his show.

Got It Licked is easily the compilation of the year. Nothing can possibly come close in sheer breadth, quality and rocking bliss. You would be remiss not to let your fingers and mouse do the walking over to the Futureman page and download 109 songs for zilch.

Need further prompting? Check out Daniel Wylie’s Cosmic Rough Riders doing “Another Wasted Day,” as it appears on Got It Licked:

The Big Show, Season 2, Show #7

The Big Show

The seventh installment of the second season of The Big Show is another really, really big show — another 30 rockin’ pop tunes streaming your way for more than 90 minutes. Here are some of the highlights, focusing particularly on lesser-known acts that deserve much wider attention:

Susan James is a Southern California-based purveyor of fine acoustic folk mixed generously with tasty baroque pop flavorings. Her recently released album, Sea Glass, is destined to make my year-end list as it features song-after-song of perfectly updated West Coast pop stylings. Show 7 features “Calico Valley,” whose jaunty tone and melodic string arrangement nicely compliment James’ gorgeous vocals as she sings about environmental mismanagement. You can get Sea Glass right here.

Trip Wire was featured previously in these pages. The San Francisco-based band’s recently released long-player, Get In & Get Out, is rock and roll as it should be, mixing elements of Power Pop, Garage Rock, and 90’s-style alternative rock. Their Bandcamp page quite aptly describes the band’s overall approach: “Our songs are short and catchy and we encourage you to listen and then move on to the next one as we do not jam.” Show 7 features one of the catchiest, and best, tracks on Get In & Get Out, the punchy “1973,” which will have you grooving to it immediately. Get it here.

Cameron Lew is the bass player, and one of the singers, in The Yorktown Lads, featured in these pages earlier this year. His debut solo album, welp, is in the finest of DIY traditions — recorded in his bedroom, featuring Lew playing a bevy of different instruments and utilizing the services of “some cheap AKG Condensor” and a “really crappy mic from the 80s.” You wouldn’t know it, though. The LP sounds quite good — I hear a lot of not-so-well recorded music, and this is not that — and serves as a nice platform for Lew to explore various melodic rock styles. Show 7 features the lead track, “Adieu,” a cool and breezy bit of late-60s-influenced pop. Get it here.

The Pacific Northwest is becoming quite a hotbed of melodic rock ‘n’ roll. Strangely Alright, hailing from the Seattle area, is the latest to push great tunes across my virtual desk. “If I Don’t Laugh I’m Only Going To Cry” builds from humble acoustic origins into an epic wall of sound, while featuring a memorable sing-a-long chorus and Regan Lane’s strong, glam-influenced vocal. You can check out the band’s body of work here.

Show 7 also features music by perennial favorites of these pages, including The Connection, Andy Reed, Sloan, The Ramones, Teenage Fanclub, and The Go-Betweens. It also features two sets of songs from the early days of “alternative” music.

As always, the entire tracklist is below the embed. Crank up the volume, and check out Pop That Goes Crunch radio, streaming the finest in melodic rock n’ roll 24/7.

Tracklist:

1.  Hidden Pictures, “California Plates”

2.  Stereo Tiger, “Runaway”

3.  The Connection, “Treat You So Bad”

4.  Shark Tape, “Long Time Coming”

5.  Trip Wire, “1973”

6.  The Jeanies, “Amilee”

7.  Cameron Lew, “Adieu”

8.  Andy Reed, “Darlin’, You Don’t Know”

9.  Strangely Alright, “If I Don’t Laugh I’m Only Going To Cry”

10. The Reivers, “Sound And The Fury”

11. The Primitons, “All My Friends”

12. Full Fathom Five, “A Little Hope”

13. The Jangle Band, “This Soul Is Not For Sale”

14. Your Gracious Host, “If You Ever Have Your Doubts”

15. Sloan, “Carried Away”

16. Soft Picasso, “Blue-Eyed Boy”

17. Susan James, “Calico Valley”

18. The Autumn Defense, “Estate Remains”

19. Braddock Station Garrison, “Johnny Stone Stole My Girlfriend”

20. The Big Believe, “Creatures”

21. LazyEye, “Katie Jones”

22. The Ramones, “Danny Says”

23. Teenage Fanclub, “Everything Flows” (Acoustic)

24. The Go-Betweens, “Surfing Magazines”

25. The Fad, “The Now Sound”

26. The Lads, “Neighborhood Kids”

27. New Hearts, “Just Another Teenage Anthem”

28. The Beau Brummels, “Laugh, Laugh”

29. The Nashville Ramblers, “The Trains”

30. Material Issue, “I’d Wait A Million Years.”

Post Navigation

%d bloggers like this: