The Everyothers - The Everyothers - 2003

A big-sounding mix of glam rock, garage, power-pop, and straight-ahead rock, the Everyothers' self-titled debut recalls the similarly gutsy but smart sound of Cobra Verde and Urge Overkill. Unlike many other New York rock bands of the moment, the Everyothers opt for a relatively polished production on their debut, which alternately helps and hinders their sound. The clean sound gives the album's best moments, such as the opening track "Can't Get Around It," "Ticket Home," and the jangly "Break That Bottle" an extra kick, but it also makes some of the album's less-inspired moments such as "Surprise Surprise" and "Dead Star" sound overly slick. However, most of the album falls into the "pretty good" category: "Make Up Something," "Like a Drug," and "Go Down Soon" are entertaining in the moment but don't tend to stick with listeners after they're done playing. The band's undeniable chops and Owen McCarthy's charismatic vocals -- which recall David Bowie and Mott the Hoople's Ian Hunter -- carry them through these moments, but occasionally it seems like the Everyothers have more attitude and technique than memorable hooks and melodies. In those departments, the second half of The Everyothers fares better than the first: "In My Shoes" adds just enough pop to the band's sound; "No Right Time" is jaunty and pissed-off with soaring choruses; and "English Cigarettes" has a flashy, almost cabaret feel that makes it one of the album's most distinctive tracks. Overall, The Everyothers is a good debut album that would've made an even better debut EP -- there's enough right with the Everyothers' sound and style that it makes the band's occasional stumbles that much more frustrating. -AMG




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Bill Lloyd - Standing on the Shoulders of Giants - 1999

Bill Lloyd makes no bones about his interest in mid-'60s, Beatles-style pop/rock, especially on this, his third solo album, the title of which describes his posture exactly. If you think 1965 and 1966 were the greatest years in human history, when sainted young men with jangly guitars sang melodic three-minute songs about love over peppy beats, this is music for you. Many of the basslines and guitar solos will be familiar, and, like the album title, many of the songs specifically refer to earlier music, especially the Beatles on titles like "Dr. Roberts Second Opinion" and "Turn Me on Dead Man." (Remember the "Paul is dead" rumor?) Lloyd assembles a cast of like-minded friends for these frisky goings-on, including ex-NRBQ guitarist Al Anderson, Cindy Bullens, Marshall Crenshaw, Smithereens drummer Dennis Diken, Henry Gross, Al Kooper, Cheap Trick bassist Tom Peterson, Greg Trooper, and Poco steel guitarist Rusty Young. But he actually plays most of the instruments himself, and the guests never get in the way. There are songs here that would fit seamlessly onto Nuggets, not to mention the Beatles' Yesterday...and Today, and that's a high compliment. Of course, the music has nothing to do with the contemporary country music scene where Lloyd made his mark, or with much of contemporary pop music. But, hey, it sounds really cool, and we're not complaining. -AMG

Downbeat 5 - Victory Motel - 2006

Victory Motel is a gritty, powerful, no-frills rock n roll rampage that hs no boundaries. Taking it's cues from '60's Beat and Soul and 70's inspired Punk and Garage, The Downbeat 5 create their own wall of sound filled with foot-stomping beats, three-part harmonies, and JJ's ripping lead guitar riffs accenting Jennifer's sensual vocal screams and primal rhythm section featuring Mike Yocco on bass and Eric Almquist on drums. You don't listen to Victory Motel, you experience it. "Make Your Mark" speeds the blood rushing through your veins; "Out in the Streets" sends shivers down your spine, "Laughin' Out Loud" pummels you with gospel and soul, and "Lonesome Town" sends you down the road with a lonely country twang. Victory Motel is an album for ALL fans of Rock 'n' Roll. -downbeat5.com



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Mike Viola & the Candy Butchers - Falling into Place - 1999

In the mid-'70s, British singer/songwriters like Graham Parker and Elvis Costello launched careers with music that tempered the onslaught of punk to a more melodic rock sound reminiscent of mid-'60s Beatles music and its many followers, and, while retaining punk's lyrical anguish, explored more complex emotions with more eloquent words. On his debut album, Mike Viola, whose voice most people heard for the first time singing "That Thing You Do!" in the movie of the same name, resurrects the sound of Parker & the Rumour's Howlin' Wind and Costello & the Attractions' This Year's Model, fronting the rhythm section known as the Candy Butchers, with occasional added keyboards by the Band's Garth Hudson. Viola's rough voice has much of Parker's urgency to it, and his songs, less substantial than those of Costello, are nevertheless concerned with many of the same elements of romantic disappointment and its attendant frustration. Indeed, he seems to be rewriting the same song over and over: "All day I'm thinking about you, " he sings in "Give Me Some Time," and "You are always on my mind" in "Can't We Do Anything Right," a title followed one song later by "Doing It the Wrong Way." One song is called "Falling into Place," another "Falling Back Down." Viola's music for these confused and ambivalent sentiments is raucously played by the Candy Butchers, and occasional horn and string charts add grace without robbing the tunes of bite. Mixer Bob Clearmountain has given the album an explosive sound in which every instrument seems simultaneously very loud and distinct. Chip-on-the-shoulder sensitivity is a good combination of feelings in the ever-adolescent world of rock & roll, and it works as well for Viola on this debut album as it has for others in the past. The next question is whether, like Elvis Costello, he'll evolve out of it or, like Graham Parker, keep repeating it.-AMG

The Lillingtons - Death by Television - 1999

Originally issued on Lookout Records in 1999, the Lillingtons' pop-punk classic Death by Television has been remastered by Mass Giorgini (who produced the original album) for this 2006 reissue through San Francisco-based Red Scare. Burnt out from covering girls and heartbreak on their earlier work, the Lillingtons switch things up for this super-charged record, thematically basing their songs around sci-fi movies and UFO type phenomenon -- that's right, their rollicking energy is now channeled into songs where aliens are taking over the world and Neil Armstrong is taking bananas away from moon-bound Apemen. The guys are pretty straightforward in their Ramones-styled approach; a handful of different chord progressions, a quick beat, and an unwavering vocal delivery are all that's needed to deliver 14 invigorating songs that aren't anywhere near as tedious as that description might suggest on paper. The Wyoming crew's muscular pop-punk sits alongside underground faves like Screeching Weasel and the Queers, but with a much more lighthearted and less sarcastic line of attack. Death by Television has been considered by many as not only the Lillingtons' best work, but also one of the strongest pop-punk releases to come out of the '90s. But regardless of that well-deserved distinction, most people probably missed this gem the first time around. So now is your chance at redemption with that guy with the Ben Weasel shrine in his room -- just be sure to thank the nice folks at Red Scare for your newfound street cred as you're rocking out in your car. -AMG




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Takin' today off!

Gonna celebrate my birthday with my family...See Ya tomorrow!

Marc Teamaker - Marc Teamaker - 2003

Marc Teamaker's gentle vocals and consummate guitar playing often draw comparisons to Todd Rundgren, Matthew Sweet and James Taylor. Although a relatively unknown artist outside of the East Coast, fans of melodic pop would do well to seek out the recordings of this highly articulate singer/songwriter. -AMG




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The Travoltas - Endless Summer - 2002

If The Netherlands seems like an unlikely point of origin for Travoltas -- perhaps the world's finest surf-punk band -- it's important to remember that Beach Boys and Descendents albums are available worldwide. Fusing elements of those influences to a sturdy rock charge, not unlike blink-182, this talented quintet, fronted by Perry Leenhouts, fires off roaring, airwave affable anthems in quick succession. "One for the Road" launches the disc by chronicling van life from tour stop to tour stop amid a powerful guitar attack. "I'm Sorry" puts the group's most impressive asset -- killer three-part harmonies -- on display, while "Liv Tyler," is a sunny ode to a starlet with an undeniable approach akin to pop/punk jokers Nerf Herder. If the title cut sees these Europeans longing to revisit the sandy shores of Southern California through an exhilarating, handclap propelled rocker, "Lori" is a timelessly structured love song with an edge. Anchored by the steadfast kit work of drummer Woody, and in the spirit of the Ramones under the guidance of Phil Spector, Travoltas' musicianship is damn impressive. Succinctly put, in a perfect world, these lads would be chart-busters.-AMG



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Cheese - Flip Your Lid - 1996

Born and bred in the smelly heart of the Garden State - Ben Toro, Owen McCarthy, Joel Cannon and Brian Gabriel joyously plagiarize, modernize and bastardize supercharged classic rock and pop riffs nobody's thought to steal in years. Touted as "Electrifying Acid Rock" (which comes pretty damn close) by the re-energized and re-focused folks at Curb, The Cheese blast off with a swaggering slab of Aerosmith-meets-Cheap Trick radio-ready retro-rawk before paying happy, unabashed homage to a veritable Who's Who of influences ranging from Grand Funk to Urge Overkill - with stops along the way to incorporate the foursome's winking, smart-assed appreciation for Bowie, the Stones, the Beatles, Oasis, Peter Frampton, Badfinger, Nite Ranger, Queen, Jeff Beck, The Greenberry Woods, Supergrass, The Move, ELO, Pink Floyd, the Who and anything else catchy enough to stick in their ear as they were growing up. Despite a near parody-album level of lifted licks and musical moments that'll leave you asking yourself, "Now, where've I heard that before?"; The Cheese manage to pack enough energy, enthusiasm and warped inspiration into their Classic Rock 101 update to earn Flip Your Lid a slot somewhere in the list of best-of-1996 albums. (Thanks reader Jim!) -Al Muzer



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Gonna Take A Few Days Off!!

Any requests, coments or anything else, just email me at Powerpopoverdose@gmail.com!


Later

Richard Lloyd - Field Of Fire - 1985

After a six-year silence, Richard Lloyd (backed by mostly Scandinavian performers) released his second album, this one on the Swedish Mistlur label. This top-quality platter is more upfront and energetically rocking than its predecessor, Alchemy. Showy, hard-driving songs like "Watch Yourself," "Lovin Man" [sic], and "Backtrack" (this last sporting a fine bluesy harmonica solo) are typical of the approach here. "Losin Anna" [sic] is a no-nonsense Rolling Stones-derived boogie number which is spoiled a bit by Lloyd's hoarse vocal. "Soldier Blue" ironically weds angry anti-war lyrics to danceable rock stylings. "Keep on Dancin" [sic] snitches a prominent guitar lick from the Ramones' "Suzy is a Headbanger" for its rocking texture. Other songs like "Pleading," "Black to White," and the title track show affinity for the vibrant guitar stylings of Television; the title number in fact contains lengthy, ringing guitar solo sections much like those of that band's first album. Lloyd's vocal shortcomings are most noticeable on this particular song. Sound quality and production are generally good. Despite its few small blemishes, this release is an excellent one worth hearing. -AMG




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The Baskervilles - Twilight - 2008

wilight, the Baskervilles' second full-length album, gathers together all the singles released via the Twilight 14 project into one big indie poptastic bite. And in many ways, this album could be seen as a real debut for the Baskervilles. Their sound is solidifying; they've meshed the jangly simplicity of their 2004 debut and the nocturnal synthiness of 2005's Midnight EP into the kind of rollicking, summery pop that nods to acts like the Shermans and Stereolab. And this is Twilight's main draw -- if the Baskervilles have anything, it's a knack for summery indie pop songs. One such song, "Caught in a Crosswalk," is far and away the album's best track. Jangly, upbeat, and shot through with just the right balance of synths and trumpets, it's the perfect showcase for vocalist Stephanie Finucane's shimmering vocals. Twilight finds the band experimenting with its catchy pop songs; the tracks are often embellished with layers of reverb and goopy chamber pop flourishes. This approach lends the album a level of complexity it might not have otherwise had; that said, it seems like the album would have been better off if the Baskervilles had held back from throwing in all the musical ideas they could. The sheer quantity of instrumental bric-a-brac on "Where Did My Summer Go?" (Trumpets! Spacy synthesizers! Crazy theremin-type effects! And an opera singer!) is interesting, to say the least, but in the end these touches end up distracting from the song's graceful, buoyant skeletal structure. The Baskervilles are ultimately at their best when they tone down the swollen synth effects and let their infectious pop hooks shine through. And thankfully, there are plenty of places where they do let them shine, especially when it comes to electrifying tracks like "A Little More Time" and "Smash." It's songs like these that make Twilight well worth a spin or two, especially for those who like their indie pop on the fun and sprightly side.-AMG

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The Tickets -The Tickets - 2006

The Tickets revel in the simple joys of power pop: crisp, hooky love songs about boys and girls. This Orange Country, CA, outfit of Anglophiles draws its inspiration from such British performers as Squeeze, Nick Lowe, Elvis Costello, and, naturally, the Beatles. While the music sounds quite fresh today, these tracks actually were recorded in the late '80s. The Tickets, a popular southern California act from 1985-1995, put out a cassette-only release, The Tickets Make a Record, in 1990 that forms the basis of this CD. Occasionally their influences show through a bit too readily, as in the Beatlesque "Dream About Me" or the Costello-like "The One That I Loved"; however, this album sails along with an infectious energy. Frontman/songwriter Bryan Shaddix proves to be a real discovery. He pens instantly catchy tunes and delivers them with robust vocals. A fine guitarist as well, Shaddix receives support from his lively rhythm section. Marcos De La Cruz's active drumming recalls Blondie's Clem Burke, while bassist Andy Winston has a bit of the Attractions' Bruce Thomas in him. The disc's buoyant pace flags only slightly on the sole ballad, "Everything," but it immediately bounces back with the wonderful rave-up "How the Good Things Come," one of the Tickets' top efforts. Another notable number is "Heartland," a splendid love song built around a chiming melody and enriched with classic pop harmonies. The disc augments the original release with two songs from a 1986 single. "She Got Away" is a little-known Katrina Leskanich (from Katrina & the Waves fame) tune, while the mega-poppy "Yesterday's Girl" features early member Donald Mabbott on vocals. The disc's final two tracks showcase Shaddix's lead vocals on tunes originally sung by rhythm guitarist Brian Martin, although Martin's vocals are perfectly fine. The Tickets found the proper person to resurrect their music in Walter Clevenger. Clevenger, who fronts his own terrific Orange County power pop group, stewarded the remastering job and even contributed some keyboards to the final product. Songs like "How the Good Things Come" and "Our Two Hearts," for example, benefit from their latter-day keyboard embellishments. Not that much embellishment was needed. The original songs are so terrifically tuneful that power pop fans everywhere will delight in having them available. Well worth the discovery. -AMG




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