PowerPop Overdose

Curty Ray

Although Gates and Plouf still play almost everything on their second outing, they make things more interesting by fooling around with a greater variety of instruments (adding more keyboards particularly) and getting outside guest vocalists to harmonize on a few songs. The songwriting (now handled by Gates exclusively) gets more penetrating as well, and the production is more imaginative (but does not approach slickness). At their most morose they recall "sadcore" groups like Low and Spain, but the Spinanes have more diversity than those acts. -AMG

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Boasting a big, highly melodic psychedelic sound, the Lucky Bishops' debut shows a very ambitious and talented group of artists. Almost sounding like a British equivalent of an Elephant 6 band, the Lucky Bishops' craft texturally dense compositions that show off their excellent group harmonies as well as their proficiency in an impressive array of instruments. Opening with the whirling organs of the anthemic "Stratosphere," the album quickly switches gears into the acoustic Lennon-esque intro of "Right Direction," which soon melts into being a sunny, uptempo, psychedelic pop song. Certainly, elements of the Beatles are heard frequently enough, as well as touches of the Beach Boys and the Who circa The Who Sell Out. The schizophrenic tempo changes of "I'm Convinced" fit well with the more straightforward Brit-pop of "Ashtralia," which, when added to the more progressive elements of their music, amounts to a very challenging and listenable debut. Overall, a very sonically pleasing album which shows considerable promise. -AMG

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Curty Ray

Stag is the kind of band that formed for exactly the right reason: because the five members found joy in making music together. If that seems simple, and old fashioned in a way, there was once a time when that was the only reason music was ever crafted by any rock band. It was that reason that inspired bands in dank clubs of Liverpool, beery barrooms of Cleveland, or in the tiny taverns that made up the Seattle music scene back in the day.

On their new EP, Seattle-based Stag accomplish the hard task of making music seem entirely joyful and easy. Even when the lyrics are sharply dark, as on the title track here “Paper Crown,” the guitars and vocals soar with an exhuburance that evokes the “High Numbers”-era Who, or the best seventies power pop.

Stag's EP is now available at Sonic Boom as well as iTunes, Amazon and CD Baby.

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Curty Ray

Can any one help with the name and artist of this song?

Here are the lyrics

you left on a later train
i saw you
i called your name
there's a lot of the time ahead
and a whole new life
we had such good times together
we fought forever
they all thought we were brothers
we didn't care

and we live in different ways
just too many loose absent friends

how i want you home again
won't you ride back home
how i want you home again

it's funny how when you look back
it's always the road so sad
it's funny how we can't see that
it's human right
maybe we're scared to turn back
to live on, and move on
maybe we even have some right
to cover up tracks

and we live in different ways
just too many loose absent friends

how i want you home again
won't you ride back home
how i want you home again

Answer!! Thanks to reader Powerpako

Curty Ray

Critics normally prefer an album to contain both good songs and bad songs -- it makes the album easier to review, since you can compare and contrast. So the Clarks' latest effort is kind of irritating. How can all 12 songs be such perfectly formed slabs of emotional power pop? And for that matter, how can a band this good have remained largely a Pittsburgh-area phenomenon for so long? No matter. What's important is that from the huge and cathartic "Snowman" that opens the album to the gently soulful "If Memory Serves" that closes it, Let It Go just moves from strength to strength: "I'm a Fool" is a confession of romantic helplessness that veers from spare funk to roadhouse country-rock; "Born Too Late" name-checks various historical heroes over a shimmering bed of 12-string guitar; and "Flame" juxtaposes looped drums with jazzy guitar chords and a subtlety brilliant bassline. No, the lyrics aren't very deep; songs with titles like "Chasin' Girls" and "Better Off Without You" don't offer any surprises. But who needs surprises? There's enough pure pleasure in this album to make you give up sophistication for good. -AMG

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The Britannicas are very much 21st century men… fully embracing technology and a DIY attitude to make classic pop music. They’ve dispensed with the idea of being a traditional band allowing them to completely by-pass the music scene in their respective cities and go straight to the world.
Every note and every scene in “Talkin’ ‘bout Summer” was produced by the band members from three different countries - Sweden, United States and Australia.

Summer is here…. enjoy!

Herb Eimerman...Joe Algeri...Magnus Karlsson...The BRITANNICAS

Curty Ray

The Finkers were a powerpop four piece from Sydney, Australia. Formed in 1998 around the nucleus of powerpop drummer/collector Mickster and pop producer Michael Carpenter. Their debut live show (July '99) was also the album launch for their debut album "Fresh Set-o-Prints", and within 12 months they had released a followup in 2000's "Double Back & Go". In 2001 The Finkers toured Spain, France and Germany to promote the double 12" re-issue for the 2 albums. In 2002 Japan's Wizzard in Vinyl label released a Finkers compilation titled "Whole Lotta Fun", and 2003 saw THE FINKERS final recordings released as the "Stance".

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Curty Ray

When they hit the major labels, Urge Overkill followed through on their promise with the blistering Saturation. It's stadium rock by clever post-punkers who are smart enough to not let their carefully crafted image interfere with the music. Every one of the 12 songs is a killer, from the outlandish menace of "Stalker" to the moving ballad "Back on Me," as well as the tongue-in-cheek "Woman 2 Woman" and the radio hit "Sister Havana." -AMG

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Third album from The Meows (Spain). Rock and roll with a heavy blues touch, a twist of punk spirit and atmosphere like recorded in 60's or 70's. Songs are presented very fresh and loose but still are made with eye for detail. Lot's of rocking guitarriffs and leads. The rhythym section keep up the tempo while melodies cross now and then. Vocals are both firm and bluesy with a lot of variation. A lot of nostalgia but nevertheless interesting and uplifting between all fake-ass (pop)rock nowadays.......

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Curty Ray

Formed in 1997 by Jeff Slate, The Badge was immediately recognized amongst the throng of mod-leaning bands as the one to keep an eye on. Slate recruited three musicians he’d played with over the years and with whom he shared a musical and aesthetic bond and crafted The Badge’s spectacular debut, “…digital retro…” Slate knew he was onto something, but as happens in the world of musicians the band soon headed in separate directions; with Dido, Jewel, They Might Be Giants, and such.

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Curty Ray

The Connection are a band from Portsmouth, NH/Boston Ma. Four Rock N Roll veterans (of The Guts/The Queers/Rydells/Red Invasion/Jonee Earthquake Band) have combined to form your new favorite band!
They play stripped down '60s influenced Rock N Roll!.

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Curty Ray

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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Curty Ray

Introducing... may have represented Asteroid No. 4's trip into druggy space rock, but its sophomore release is the band's ode to '60s garage. The "Psychedelphia" quintet's rock is stripped down from its effects-laden guitars, drawing from the likes of the Kinks, Nick Drake, and the Who. Several tracks, such as the upbeat "Monday Morning Gloom," are closer to traditional rock & roll, while "Poor Man's Falls" avoids electric guitar altogether, opting for flute-assisted folk. Of course, there are still psychedelic elements in the band's agenda (perhaps encouraged by the production of the Lilys' Kurt Heasley). These constants come in the form of gleeful harmonies, Byrds-esque guitars, and Mellotron. Surely enough to fulfill the needs of the psychedelia enthusiast. -AMG

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A fun EP from Chicago's Squat the Condos. Give it a listen!
Curty Ray

Curty Ray

Let's get one thing straight right off the bat...Ed James is the total package; a singer/ songwriter, and performer that grows leaps and bounds with each new release! His latest,"BIG TIME" leads off with the killer track "You And Whose Army",that is why we made it "Single Of The Week" AT POPBANG RADIO.This cd will appeal big time to fans of Nick Gilder,The States(remember them?)and The Rubinoos,as well as the fans of huge hooks and harmonies.A very welcome return to the scene from one of the top acts in power pop today!Great stuff without question! -Popbang Radio

Curty Ray

Born under the original moniker Hardy Nilsson, Tommy 16 brought on their influences of Teenage Fanclub and Big Star to their home country of Sweden. Consisting of Urban Holmberg (vocals/ guitar), Lars Hall (guitar /vocals), Jan Pettersson (guitar), Niclas Marklund (guitar), Mikael Eriksson (bass) and Patrik Sundqvist (drums), Tommy 16 soon found themselves being heard on the radio with the release of their first single appropriately titled "#1 single." After signing to the local indie label A West Side Foundation, Tommy 16 soon established themselves as Swedish pop icons with their first album Shauna. Followed by the singles "Racerboy" and "Come on, Come on (Please Let Me See It)" in 1997, their follow-up album, Rockin' Big Budda, came out that same year around the time of their first full-fledged Swedish tour. -AMG

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Sweden's the Soundtrack of Our Lives have been swinging for the rock fences for a decade. Origin, Vol. 1, the band's second stateside-issued full-length, offers close, up-front proof of the inspiration for perseverance. These tracks are drenched with unabashed homages to TSOOL's heroes from rock's family tree, from the Beatles and the Rolling Stones to Love, pre-Tommy Who, the Doors, the Stooges, Barrett-era Pink Floyd, etc. And while it is true that TSOOL have dipped into the well before, on Origin, Vol. 1 they immerse themselves in it. The set opens with "Believe I've Found," a midtempo rocker. Echoes of psychedelic music from the ages waft through its mix, as Ebbot Lundberg traces through the wasteland of his past and underscores his new sense of mental and emotional equanimity without saying what it is. With a great hook, a roaring electric guitar and organ chorus, and poignant lyrics, it's one of the best tunes in the band's catalog. "Transcendental Suicide" comes right out of TSOOL's obsession with the Who, with a dramatic, tight-wristed strummed acoustic six-string flourish that gets eclipsed by an anthemic electric thrum and a propulsive bassline that rings above it all, driving the tune out of the groove and into the backbone of the listener. Lundberg spits his words, doing his best garage band wail à la Rob Younger from Radio Birdman. "Bigtime," the album's first single, is a bit more problematic. There isn't a riff and the song's hook is skeletal at best. Endlessly repetitive, it is also drenched in cheesy sequenced keyboards that are thankfully overshadowed by the electric guitars in the refrain and then eclipses itself in an orgy of noisy distortion in the bridge. Why it was chosen as a single is puzzling, to say the least. "Heading for a Breakdown" is a layered psych rock tapestry with a barely disguised riff from Buffalo Springfield's "For What It's Worth," while its overdose bass pummel displaces the hook and turns it over into a beautifully textured heavy pop song. The whomping "Mother One Track Mind" comes right out of the band's longtime Stooges worship -- and it works. Snarling, razor guitars overshadow Lundberg's vocal until the chanted distorto-groove chorus. "Midnight Children" features a guest duet vocal by Jane Birkin. Underscored by a minimal organ that threads the melody, Lundberg references Lou Reed as Birkin wafts and winds her way around his words and croons sweetly in the refrain. The Serge Gainsbourg influence on the cut is pronounced, but doesn't carry it off into parody. The hook feels organic and the duet is seamless. Ultimately, Origin, Vol. 1 is a look back through the past -- musically, personally, poetically, and culturally -- as a way of moving toward the future, celebrating its influence and shaking free of its baggage. TSOOL have arrived after a decade of carefully and meticulously crafting a passionate and compelling rock music that incorporates everything it finds genuine and necessary in pursuit of a music and lyricism that powerfully and beautifully articulate that which is less than obvious. -AMG

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Chicago rockers, THE LAUREATES announced that their second full-length album, Spells, will hit the streets June 28, 2011 on 12” vinyl on the band's own imprint, Funambulist Recording Company. In 2010, while the band recorded and released a cover every month as part of their “Year of The Covers” experiment, they also wrote and recorded another 10 original tracks with all the passion and grit expected of these Chicago favorites. Spells’ basic tracks were recorded by Johnathan Crawford on an 8-track tape machine at Catalyst in Chicago, and finished at Clown Town during the summer and fall.

The songs on Spells combine the crystalline, modern-pop sensibilities of their first album, There Are No More Gentlemen with the more echoed, vintage analog acoustics of the No Kontrol EP, producing an electrifying amalgam of the energies of their previous recordings. The new album finds the band straying from the 3-minute pop song formula on tracks such as “Life of Leisure” and “Moon Bitch,” the former starting out as a bouncy strut of sunshine-y pop before veering into darker psychedelic noise, and the latter closing out the album as a slow-burn vamp that brings to mind a marriage of Ziggy Stardust and Doolittle. The narrator on the menacing track, “Robbers” slips in and out of paranoid nightmares of both the sleeping and sleep-walking varieties while the drums shuffle along in concert with a Velvets-inspired guitar riff. But the record still retains The Laureates’ signature blasts of pop on songs like the anthemic “Changes, Etc.”, the angular “Don’t Lose Your Cool”, and the weary but bright-eyed “Oh, Delusion.”

Curty Ray

I posted the wrong links for The Wake Ups. The links have been corrected . I apologize for any inconvenience.

Curty Ray

Curty Ray

With feel-good power pop and snappy songwriting, the Wake Ups follow in the footsteps of acts like Big Star and Cheap Trick, but never make the mistake that many of their contemporaries fall prey to -- pop/punk. Nope, the Wake Ups maintain a crunchy, Beatles-loving, retro sheen, and while not as original as, say, Brendan Benson, songs like "Can't Believe My Luck" recall Big Star's "September Gurls," while "Second Time Around" resonates with a '70s countrified flavor. The Wake Ups can do a little glam rock, too ("Nobody Slows"), but they never seem to simply be rehashing old territory. By the end, despite all the different influences, the sound of Wanna Meet the Wake Ups can come off a little homogenous, but this record is a substantial debut that forecasts good things to come. -AMG

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Curty Ray

Like a box of chocolate truffles with BBs hidden in them, a Housemartins album offers deceivingly simple and tuneful pop songs that are designed to cause you some discomfort once you start chewing on them. Singer and songwriter Paul Heaton sings with a disarmingly boyish voice, high and adenoidal, and his bandmates contribute angelic harmonies as well as sweet and straightforward guitar pop instrumental settings. But listen closely to Heaton's lyrics and you find yourself plunged into a world of class resentment, bitter economic disappointment, and strangled rage. "Get Up Off Our Knees" includes the deathless couplet "Don't point your fingers at them and turn to walk away/Don't shoot someone tomorrow that you can shoot today," while "Sitting on a Fence" ridicules those who "see both sides of both sides" and "Sheep" bemoans the apathy of the downtrodden masses. Heaton is no simple lefty -- his politics are a strange amalgam of Marxism and Christianity -- but his views are brutally uncompromising, and they constitute a very iron fist wrapped in the velvet glove of the Housemartins' blissful guitar pop. Agree with him or not, there's no denying the music's power. -AMG

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The Dentists on a major label? An American major label at that? Something not to be imagined, and yet such was the case when Behind the Door surfaced on EastWest in 1994. In some ways it's not so surprising -- after all, the Dentists' core strength was always an instant, thoroughly catchy and captivating guitar pop sense, as commercial as one could ask for, one might think. None of that was lost along the way here, and if there's a subtle pushing up of some elements for even easier digestion -- Michael Murphy's voice is even more clear here than before, for instance -- the beauty and rush of the band isn't gone at all. Longtime fans will find no cause for complaint, and it's easy to imagine new ones picking up on the album's many joys. The changes and approaches on the album are but slight in comparison to the past, but sometimes totally effective -- whether it's the excellent interweaving of Bob Collins and Mark Matthews on backing vocals throughout, or the very sudden stop-start on the shimmering jump of "Space Man." Then there's the gentle but still good trancebeat on "In Orbit," the slow but sure build and surge of "Gas," and many other moments besides, all while retaining the sprightly, energetic feel that characterizes the band. Lyrically, the group's eye for life's seemingly smaller details and crises and how to make great music out of them remains unchanged. "Sorry Is Not Enough," on the surface, may just be about coming home too late, but the sweep of the music matches the perhaps surprising emotional heft of the words, especially in the surprisingly effective synth-tinged mid-song break. Add in an amusing cover with Grigg's bald head covered with little toys and trinkets, and Behind the Door is another fine Dentists album. -AMG

Curty Ray

Many bands break up at the right time, or at least a little past it, but the Lemonheads' disbandment seemed premature, particularly because it didn't seem like they officially broke up; they just faded away. For Lemonheads leader Evan Dando, it was a surprisingly quick fall from glory -- or at least from being a Sassy star and one of People's Most Beautiful People, touted as the next big thing after Kurt Cobain, to being alt-rock's most notorious also-ran. Not long after the group's fourth album for Atlantic, 1996's Car Button Cloth, he quietly pulled the plug on the group and slinked away from the spotlight, taking a long, long time to recharge. After seven years, he resurfaced with a sleepy but likeable solo debut called Baby I'm Bored in 2003, and that activity apparently lit a fire underneath Dando, since three years later he reunited the Lemonheads, releasing an eponymous album that fall. The album only confirms the suspicion that the group should never have broken up -- unless that Dando needed the time to sober up and get refocused, since he certainly couldn't have made a record as tight and direct as this in the mid-'90s. Lord knows he tried, but for as wonderful as much of 1993'sCome on Feel the Lemonheads and Car Button Cloth are, both are ragged and filled with aimless filler, two things thankfully missing from The Lemonheads. Like the 1992 power pop classic It's a Shame About Ray, this is brief, lively, and tuneful, filled with two-to-three-minute songs that make their point and then get out of the way. If this isn't as incandescent, joyful, and effervescent as It's a Shame About Ray, that's because this is the work of a different band, one that's a bit older and not quite as exuberant, but one that nevertheless displays a renewed vigor and sense of purpose. And not only does the band sound excellent -- whether they're working as a trio or being goosed along by J Mascis, who provides typically excellent guitar on occasion here -- but they have a good batch of songs here that add up to Dando's most consistent album in years. They're zippier and catchier than anything on Baby I'm Bored, and even if there aren't any outright immediate classics along the lines of "If I Could Talk I'd Tell You," song for song this builds into not only a strong comeback, but one of the group's better records. The best thing that can be said about The Lemonheads is that it sounds like the album Dando and company should have released in 1995 -- and that it sounds like they could turn another of these out soon and that it'd be every bit as good. Which is the right kind of return for a band that should never have gone away in the first place. -AMG

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Fountains of Wayne sign to Yep Roc, plan to release new album in August.

Fountains Of Wayne's long-awaited new album, Sky Full Of Holes, will be released in the US on August 2 via Yep Roc Records. This is the acclaimed band's first new release since 2007's Traffic And Weather.

Recorded in New York City, Sky Full Of Holes features 13 new songs by Chris Collingwood and Adam Schlesinger, ranging from high-energy power pop to intimate, acoustic-driven ballads. Songs like "The Summer Place," "Action Hero" and "Richie And Ruben" showcase the band's renowned storytelling abilities and flair for creating memorable characters; elsewhere, they take a more impressionistic approach, as in the shimmering "Someone's Gonna Break Your Heart," the lilting "Firelight Waltz" and the elegaic closer "Cemetery Guns." In signature FOW fashion, the album manages to be simultaneously witty and wistful, imaginative and personal.

Formed in New York in 1996, Fountains Of Wayne took its name from an iconic garden store in nearby Wayne, NJ (which, sadly, closed recently). The band has received steady critical accolades since its inception; "Dean Of American Rock Critics" Robert Christgau has called them "lyric poets" and "true art heroes." The group's line-up, which also includes guitarist Jody Porter and drummer Brian Young, has remained unchanged since they toured in support of their 1996 self-titled debut album. FOW were nominated for two Grammys, including a slightly belated Best New Artist nod, in 2003, after scoring a hit with their third album, Welcome Interstate Managers.

Sky Full Of Holes is the band's fifth full-length release, not including 2005's two-disc B-side compilation Out-Of-State Plates. Produced by Collingwood and Schlesinger, it was mixed by longtime collaborator John Holbrook, who also worked on Welcome Interstate Managers and Traffic And Weather.

The band will tour extensively in support of the new album, beginning with a string of US dates in August and September. - Yep Roc Records

Curty Ray

A must for indie-rock fans! The Brandos play with great verve on this strong set of compositions. "Gettysburg," an anti-war song that spans three generations of loss has both passion and purpose. Further on, they cover John Fogerty's "Walk On The Water" making it their own in the process. While often coming off like angry young men, "Come Home" shows a softer, more melancholy side of a band that can rock out with the best of them. It's a shame more hasn't been heard from them. -AMG

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The Crayons first appeared as a boston based group around 1998. There was some recording and playing but the project was shortlived. Singer/ songwriter Keith Caruana took flight from Boston and after a short stay on the West Coast returned to his New Jersey hometown. While playing solo acoustic shows as "The Crayons", Keith recorded an acoustic e.p. at a friends garage. The 6-song "236 astor" was released in 2001 on Keith's own Shimmerwax label.
Capitalizing on favorable reviews and successful live shows Keith played throughout the Northeast finishing the year with a month long tour of the Southeast.
With a desire to expand the sound Keith turned to his friends, indie pop masters The Churchills.
The recording was done at Frankensound studio in North Brunswick,NJ. The Churchills both produced and lent thier playing skills to the sessions. The combination proved to be a perfect fit. The resulting 10 track disc is a collection of pop hooks, harmonies, and lots of guitars. The new release will come out under the New York based indie label Cropduster Records. This label features some other great artists such as Bob Perry, of Winter Hours fame,The Health and Happiness Show and Patti Rothberg to name a few. -CD Baby

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The Action Figures' debut posits the group as worthy inheritors of the power-pop tradition -- their sound is darker and more spare than most bands in the genre, resulting in a more immediately distinctive identity than usual, and while not all of their songs are memorable, Big Wonderful certainly holds promise for the future.-AMG

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The name of the band and the title of the album pretty much say all you need to know about this groovy Hollywood side project. For those who were born and grew up in the 1970s, watched Saturday morning cartoons religiously, sported feathered and blow-dried hairdos, wore tube tops or half-shirts, and swooned or danced to Shaun Cassidy records around the family hi-fi, After School Special is a fabulous flashback to a golden pop past. The album is full of expert examples of musical shoplifting. "Bitchin' Camaro," for one, is essentially the Rolling Stones' "Street Fighting Man" all jacked up to muscle car viscosity, at least up until the chorus, and "Sugarland" is a great knock-off of Brownsville Station's "Smokin' in the Boys Room," with its huge drum kick and dirty guitar riff. The riff on "Hot Mom," although considerably more fuel-injected, is nicked straight from the piano chords that open the Monkees' "Daydream Believer," and "Demolition Girl" swipes the arena-filling beat of Gary Glitter's "Rock 'N' Roll, Part 2" while suitably referencing Farah Fawcett. After School Special is certainly knowing and ironic, but it sounds much more like a loving tribute, a joyous celebration of everything that made and still makes the music of the 1970s so campy cool. Teen Machine makes no musical judgments. The band throws every '70s genre into the same pot, and treats it all with the same adoration. Glitter rock, bluesy boogie, bubblegum (a cover of the Ohio Express classic "Yummy Yummy Yummy" is included), power pop, and disco -- even the Laurel Canyon sheen of Fleetwood Mac from time to time -- all make appearances on the album, although the band leans most heavily on the shining guitars of power pop and the thick beats of glam. The songwriting duties are shared by Fuzzbubble main man Jim Bacchi (who is probably the band's pseudonymous lead guitarist El Diablo) and lead vocalist Cody Jarrett, and the co-ed septet also includes members of Dig and Felicity cast member Amanda Foreman, one of the trio of female background singers dubbed the cartoon-like Tube Tops. Their LP collections seem to all have the same records in common: Sweet, T. Rex, Kiss, Cheap Trick, the Partridge Family, the Brady Bunch, Leo Sayer, and Elton John. And they know how to combine them into wonderful pastiches, as on their cover of ABBA's "Does Your Mother Know?," which in their hands sounds as if the rhythm section of Blondie, straight from the sessions for "Heart of Glass," hooked up the Bay City Rollers with Leif Garrett taking the lead vocal. Jarrett's wonderful, raspy voice puts the music all the way over the top. He can sound like John Lennon one minute and David Cassidy the next. In many ways, the record is more a game of "spot the reference" than anything else. It doesn't pretend at anything like originality, but that is precisely what makes it such great diversion, an imagined time capsule to a one-of-a-kind era. As Bacchi writes in "Sugarland," you can "check your brain at the door" while spinning After School Special, but definitely not your sense of humor and bitchin' retro fun.-AMG

Curty Ray

For fans of AM Pop of the 60's and 70's, listening to Blue Cartoon will be like a visit from an old friend. Their self-titled debut release favors timelessness over trend in a 14-song calling card deftly produced by 20/20's Ron Flynt. Press reviews draw comparisons to Marshall Crenshaw, Alex Chilton, Teenage Fanclub, and Elvis Costello. -CD Baby

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The hottest 2 piece female sensation out there featuring Lynda Mandolyn on guitar and vocals and Christa DiBiase on drums and vocals - Their amazing harmonies are mind blowing and can only be beat by their insane outfits!! Check it at http://press.badabuzz.com/sassyarmy/

Curty Ray

Fabienne Delsol & Liam Watson’s garage supergroup featuring amongst it’s ranks Bruce Brand (Milkshakes/Headcoats) Owen Thomas (Graham Coxon Band/Cee Bee Beaumont) Parsley (The Adventures of Parsley / Dutronc / Dee Rangers) and the glorious vocal talents of Miss Fabienne Delsol they released two full length albums on Damaged Goods and three singles. They released their first single on Hangman’s Daughter in 1994 followed by a split single with Japanese giants Thee Michelle Gun Elephant a year later on Vinyl Japan. -Damaged Goods Records

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Danish act Telstar Sound Drone have released "Mirror pieces" b/w "Golden needles" on Bad Afro on May 30

Telstar Sound Drone formed in 2007 when Hans Beck convinced Mads Saaby to join him in a project called Les Aprés L’amour Sonnes, an artist collective working with media such as sound and video. The first project was to add sound to old educational movies, playing along with the projections. With the addition of Sean Jardenbæk and Mads Løwe the project turned into a band and settled with the name Telstar Sound Drone.
The band recorded a self-titled EP that led to a show at Roskilde Festival in 2009. After that Telstar Sound Drone took a break while internal problems almost destroyed the band. At one point Hans Beck was the only member of the band playing all the instruments. The problems were solved and in early 2011 they recorded two brand new songs at the Black Tornado studio in Copenhagen with this single in mind.
Telstar Sound Drone cleverly blend shoegazer, drone and psychedelic rock and even though the noise breaks are quite breathtaking the music is always melodic making this release one of the most promising singles on Bad Afro in a long time.
The Telstar Sound Drone line-up is: Sean Jardenbæk (Vocals, Guitar), Mads Løwe (Bass), Mads Saaby (Guitar) and Hans Beck (Drums). The two last mentioned also play in Baby Woodrose.

Telstar Sound Drone - Mirror Pieces

Most recent Bad Afro releases are available for download including a fair share of rare stuff previously only available on vinyl. We’re connected to iTunes, Amazon, Fairtrade, E-music, Klicktrack, TDC PLAY, FNAC, WIMP, Spotify, Napster, Inprodicon, Rhapsody, Nokia and many more digital shops. Search for our artists at your favorite download joint and you will probably find them!

Curty Ray

An excellent addition to the catalog of British garage-punk, icon Billy Childish teams up here with chanteuse Holly Golightly of thee Headcoatees. Her group is the female companion to his legendary Headcoats, and the duo share a passion for the monotony of lurching mono-chord riffs. Hence, In Blood is a concept album based around a message -- that three chords is too many. Backed by the Medway Delta Review, the band is effectively the Headcoats with the addition of Johnny Gibb of the Wildebeests. The group burn through a series of variations on the E chord -- staggering the beat and twisting the riff into every possible variation within the formula. The duos combined voices and lyrical wit make In Blood a kind of post-punk Lee Hazlewood/Nancy Sinatra affair. A compelling highlight in the expansive cannons of Billy Childish and Holly Golightly this comes highly recommended. -AMG

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The 2000 debut from the French band Phoenix gleefully combines the electronic- laced melodicism of their fellow countrymen Air with the sensibilities of 1980s UK pop (in the mode of China Crisis and Prefab Sprout) and imbues the results with a dance-floor sensibility. Toss in a bit of classic '70s stadium rock and tongue-in-cheek country, and you have UNITED, a Frankenstein's monster of a record, guaranteed to have something to please nearly any ear.

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Curty Ray

Hey all you crazy wild and cool funky people!
Exciting news today! I've just released another brand new track called "Why You Gotta Lie". As it was with the last single I released, "Don't Steal My Heart Away", this tune was recorded by the awesome Jon Wyman here in sunny ol' Maine, and features my group : Geoff Useless (The Queers, the Guts), Josh Malia (Hi Fivin' White Guys, The Taxis), Craig Sala (Planeside, Paranoid Social Club), Kris "Fingers" Rodgers (Goodnight Process) and a special lead guitar solo by Miek Rodrigue (Holy Boys Danger Club).-Kurt Baker

Here's a special promo video for the tune

My friends at Oglio records are offering up a special offer! Woah!

BUY "Why You Gotta Lie" and get "Don't Steal My Heart Away" FOR FREE!

http://blogoglio.com/2011/04/26/kurt-baker-special-offer/

"Why You Gotta Lie" on sale at iTUNES

http://itunes.apple.com/us/album/why-you-gotta-lie-single/id424764998

"Why You Gotta Lie" on sale at AMAZON

http://www.amazon.com/Why-You-Gotta-Lie/dp/B004RA1710/ref=sr_1_1?ie=UTF8&s=dmusic&qid=1303843303&sr=8-1

"Like" and share "Why You Gotta Lie" on bandcamp!

http://kurtbaker.bandcamp.com/track/why-you-gotta-lie

UPCOMING SHOWS

4/28/11@ Empire Dine Dance - Portland ME

w/ Steiner Street + The BF's, Northern Lungs, More!

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4/30/11 - @ Production Lounge, Brooklyn NYC w/ Hellfish, One Short Fall, New Rochelles + More!

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5/1/11- Paul Collins "Power Pop-a-Licious Fest" @ Asbury Lanes - Asbury Park NJ

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5/2/11 - @ Charlies Kitchen, Boston MA w/ THE BF's, Beware the Dangers of a Ghost Scorpion + More

Well, that's enough spam for one day right? haha! I hope you dig the new tune and come drink a beer and party with me at the upcoming shows!

Curty Ray

In 2011 it’s 10 years ago that Lorenzo Woodrose started his own label Pan Records and released the Baby Woodrose debut album Blows Your Mind. The album is still a favourite among many Baby Woodrose fans and along the years the album has sold almost 10.000 copies on LP and CD and an unknown amount of downloads. To celebrate the 10 year anniversary Bad Afro will release Mindblowing Seeds & Disconnected Flowers April 25th – a collection of 15 of the original 4 track demos that led to the release of Blows Your Mind. Below Lorenzo Woodrose explains how the album came about:

“In the late summer of 1999 I was in quite a difficult situation, having no home, no job, no girlfriend, no money and perhaps worst of all, the band I was playing the drums in at the time lost our guitarist, so I was even fearing I was without a band, something that has always meant a lot to me. Usually, I ended up crashing on the couch of my friend The Hobbit and often in our rehearsal room in a northwest industrial area of Copenhagen. Sometime during that summer I had also been introduced to the magic of the Woodrose seeds and somehow the experience, combined with my rather desperate state of mind, spawned a creative outburst of unforeseen proportions.

I decided to call the project Baby Woodrose, because several of the songs (Baby Blows, Living A Dream, Spinning Wheels) reflected my experience with the seeds earlier that summer. I had a vision of a vast ocean and I saw what I believe was an image of my creative potential personified in a naked woman, mysteriously filling one water bucket at a time, dragging them ashore and piling them up on the soft sandy beach. Somehow, I figured it meant that I just had to start working. For several months during that autumn, I did nothing but write and record on my little Fostex Multitracker X-30. The result was something like fifty highly distorted demo tracks in a sixties garage punk style.

I have always felt that the blueprint for the soul and spirit of Baby Woodrose is really within these very first recordings of my own, so it feels great to finally have them on vinyl and I hope some of you can appreciate the beauty of these rough diamonds. I have picked out 15 tracks, many of which also ended up on the album in final versions, but two of them were released separately under the alias Disconnected Flowers on a 7” which is virtually impossible to dig up by now and a few are previously unreleased. Polishing these tracks proved a thankless task, but luckily I still had most of the original master cassettes and the original tape machine, so this album is basically a 24bit digital dump and a careful remix of the stuff I think is the most interesting”.

Lorenzo Woodrose 2011

Baby Woodrose on Bandcamp

Bad Afro Records

Bad Afro Records
Halmtorvet 29, Bygn. 12 A, 1
1700 Copenhagen V
Denmark
http://www.badafro.dk

Curty Ray

The Jessica Fletchers' free-spirited, effervescent approach to indie pop, steeped in the influence of psychedelic and bubblegum pop groups of the 1960s (the Monkees, the Association), nods to the Bicycles, Tullycraft, and the Apples in Stereo. Originally comprised of Bjorn Rune Lie, Vegard Syrstad, Andreas Mastrup, Thomas Innstø , and Rune Somdal, the group formed in a suburb of Oslo, Norway, in 1997, naming themselves after the crime-fighting mystery writer, played by Angela Lansbury, central to the hit television series Murder, She Wrote. The band self-released its debut album, I Can Shoot You from Here, one year later; the album subsequently caught the attention of the folks at Perfect Pop Records, who signed the band before the year was out. The Jessica Fletchers' first EP on that label, Sorry About the Noise!, came out in 2000; drummer Lie amicably split with the group after the disc was released, and was replaced by Jan Henning Sørensen. The Jessica Fletchers' profile was given a healthy boost later that year when they competed in and won Zoom, a Norwegian "battle of the bands"-style contest; the group toured Norway (which was part of their Zoom prize winnings) in the months that followed, during which time "Sorry About the Noise" became a fairly popular song on Norwegian radio.

Their next EP, (Come On) It's Only Nine (funded, at least partially, by the band's Zoom winnings), came out in 2002; Vegard Syrstad left the group that summer and keyboardist Ivar ("Ravi") Chr. Johansen was brought into the fold. The group's debut full-length, What Happened to The?, was released the following year, and the band was signed to the New York-based label Rainbow Quartz soon after. Johansen left the group around this time, citing a desire to work on a solo hip-hop project, prompting Innstø to bring his brother Mats into the band. The Jessica Fletchers toured heavily over the next year, embarking on their first major European tour and making an appearance at the 2004 SXSW festival. Their third full-length, Less Sophistication, was released in Norway that fall. Another full-length album, You Spider, came out in 2007. -AMG

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Curty Ray

CURATED BY POWER POP LEGEND PAUL COLLINS (THE NERVES, THE BREAKAWAYS, THE BEAT) POWER POP-A-LICIOUS! FEST TO FEATURE 19 RENOWNED AND UP & COMING POWER POP, GARAGE ROCK & PUNK-POP ACTS

The first Power Pop-A-Licious music festival will take place on Saturday April 30th & Sunday May 1st at the legendary rock club Asbury Lanes in Asbury Park, NJ. Conceived and curated by power pop legend Paul Collins (cofounder of THE NERVES, THE BREAKAWAYS and THE BEAT) the fest will bring together some of the finest young guitar-driven power pop, garage rock and punk-pop bands from across the U.S. and Canada. Power Pop-A-Licious is a unifying rally cry for this thriving rock-n-roll subculture, and is a means for power pop fans of all ages to discover a wealth of talented new music acts in one power-packed weekend.

Collins explains the concept behind the festival, “I was touring all over the country with my Beat Army Tours, when it hit me, I gotta bring all these great bands I’m playing with together for one crazy weekend!”

This all-ages event is ground zero for a burgeoning DIY power pop scene that’s been fueled by the immediacy of the Internet, the devotion of its fans, and social networking sites like Facebook and Twitter. Each day will feature bands from different regions of the country, with local DJs spinning sets to create an all-day dance party atmosphere. Similar in approach to “happenings” in 1960′s London, Power Pop-A-Licious is no mere rock n’ roll concert, it’s an event. DJs, performance artist’s video projections, and, of course, the spirited, high-energy live rock-n-roll performances from all these great new bands will provide the entertainment. The world-famous Asbury Lanes, where the two day fest will take place, is a vintage bowling alley, bar and live music venue with a capacity of 300, and is located in the heart of beautiful Asbury Park.

Tickets for the fest will be $15 for Saturday and $10 for Sunday, and will be available to purchase online through TicketWeb: http://www.ticketweb.com

SCHEDULED BANDS FOR THIS YEAR’S POWER POP-A-LICIOUS FEST:

SATURDAY, APRIL 30TH

BAM BAMS (Baltimore)
PEACES (Brooklyn)
NEUTRON DRIVERS (NJ)
BAXX SISI’S (Brooklyn)
LANDLORD (Bloomington, ID)
FUTURE VIRGINS (Chattanooga)
DIRTY SHAMES (NYC)
AMOEBAS (Grand Rapids)
MOTHER’S CHILDREN (Ottawa)
HALF RATS (Indianapolis)

SUNDAY, MAY 1ST

BFs (Gloucester)
KURT BAKER (Portland, ME)
THE ABOVE (Brooklyn)
THE SPECTACLES (Maryland)
ELECTRIC MESS (NYC)
GLORY FIRES (Birmingham)
THE WALNUT KIDS (Montreal)
THE SIGHTS ( Detroit)
PAUL COLLINS (NYC)

PAUL COLLINS may just be Power Pop’s greatest champion and spokesperson. Through extensive worldwide touring, and connecting to like-minded bands, artists and fans through social networking sites, Paul has created THE BEAT ARMY, a DIY network of people connected by their love of power pop, punk, new wave and rock-n-roll to help ensure its success at the club level – where rock-n-roll lives and breathes. While THE BEAT ARMY only began last March, Collins has already amassed over 2,700 members. In addition, he’s been touring heavily in support of both THE BEAT ARMY and his new album KING OF POWER POP! (on Alive Records). “Since forming THE BEAT ARMY we’ve done 50-plus shows throughout the South, Canada, East Coast, Midwest and the West Coast involving over 60 bands from around the country,” Collins states. “The shows all have low ticket prices (averaging from $8 to $10) and we book them ourselves. ‘By the people, for the people’… that’s our motto.”

FOR MORE INFO ON ASBURY LANES:

http://www.asburylanes.com

FOR MORE INFO ON PAUL COLLINS:

http://www.thepaulcollinsbeat.com

FOR MORE INFO ON THE BEAT ARMY:

http://www.facebook.com/pages/THE-BEAT-ARMY/346148489520

FOR MORE INFO ON ALIVE RECORDS:

http://www.alive-totalenergy.com

Power Pop-A-Licious is sponsored by The Beat Army, Hotel Tides Restaurant & Spa, The Empress, Comet Ping Pong, Vinyl District, GaragePunk NYC, BigMusic.org, JJ’s Bohemia, Sluggo’s Vegetarian Cafe, Alive Records, and Hoboken Recorders.

Source- Pavement PR

Curty Ray

Don't let the frantic bash-and-crash opening of "California Sun," the first cut on the Makes Nice's debut album fool you -- for all their outward scruffiness, these guys are popmeisters of the first order, and by the time the third track, "Enough Is Enough," has rolled around, they've pulled out their prettiest harmonies, and the title cut suggests what you'd get if you fused the Raspberries with the Who and transplanted their souls into three dudes jamming in a California garage. Josh Smith's melodic but elemental guitar runs definitely carry their share of rock & roll weight but don't overpower the hooks along the way, while drummer Jack Matthew and bassist Aaron Burnham fuse slightly teenage energy with a sense of musical discipline that never gets in the way of the fun. Cranking through 13 songs in less than 32 minutes, the Makes Nice clearly believe in the virtues of short and sweet, and can bring just enough smirk and swagger to keep things from getting too sweet (cue up "November Girls" or "Cop Killer" for evidence). The Makes Nice play forceful pop music with a punk rocker's lack of pretension, and Candy Wrapper & Twelve Other Songs is a debut that leaves the listener wanting more; let's hope they have another half-hour this impressive in them a year or so down the road. -AMG

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Curty Ray

Not exactly your mother's Easybeats, this debut from the Vanda/ Young side project found some seriously deranged songwriting, with quirky but attention-grabbing music peppered with pointy, strange lyrics. A soundtrack for the dark side of the moon that's well worth searching out. -AMG

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Curty Ray

Fun? is the second album from the Oxford- based quintet featuring brothers Nick and Mark Cope on lead vocals and rhythm guitar, respectfully. Released in 1993, Fun? is written entirely by the Cope brothers, along with lead guitarist Nick Burton, and is a jangly slice of British-tinged alterna-pop. The lyrics, mainly dealing with failed relationships, contrast the sweetness and lightweight feel of the music. "Wembley," the opening track, is a joyous pop/rocker despite the all too obvious interjection of soccer crowd cheering during a referential line. The tribal shuffle and blistering guitar on the title track, the country feel of the lilting "House at the Top of the Hill," and the effects-laden guitars on the psychedelic "You Are Here" are all highlights showing the band's musical diversity. Lyrically, things can be morose to the point of annoying as on "Everything Falls Apart." However, the acoustic "Grass," with its sweet harmonies and lyrical resilience, and the gorgeous closer, "All Over Now," more than make up for any shortcomings. -AMG

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Curty Ray

I just realized that Power Pop Overdose has turned 3! I am amazed. Thanks to everyone for helping keep PPO going.

Curty Ray

Curty Ray

Freddy's influences are under the surface, a mix of old and new. From the Beatles to Elton John to Marvin Gaye to Oasis, the result is fresh and captivating. Country music influences from childhood battle with Britpop influences from Freddy's years of living in the United Kingdom, when Pulp, Suede, Blur, Oasis, and the Stereophonics ruled the charts, and Craig David was just emerging. From the first time you listen, you get that tingle in your spine. Because the four right chords can make you cry, and when it's right, the first time you hear it will feel like forever. Acoustic meets electric, dark meets light and opposites blend seamlessly.

This special blend is now available in "Things You Never Thought I'd Say", the debut album by Freddy. The album's 11 songs were written over the course of ten years and represent the diversity and depth of Freddy's writing. It is a mix, and some songs are alike while others aren't. Listen with heart, mind, and gut, for they speak to all. From the edgy strings of "Apart", to the soaring chorus of "Let It Go", and the deep soul groove of "Secret", the album speaks in many ways but in one style: Freddy style. As you listen and enjoy, you find that genre becomes much less important than the music itself. -CD Baby

Curty Ray

Sharing the writing duties, lead singers Adrian Allen and Duane Smith come across as the Fastball from down under. Sweet guitar hooks steering a tight rhythm section kick off "Every Moment," and from there on, every moment on this album brims with power pop ideal for long car rides in the summer. "Make It Happen" relies more on the melody and makes small use of either a xylophone or triangle, something Smith opts for throughout the record. On the other hand, Allen uses more guitar for a slightly harder, edgier sound, such as "First Time -- Last Time." The first few songs are all possible singles, and there is no hint of filler, but the title track seems to have the finest single quality. "C'Mon Everybody" is one of the weaker tunes here and sounds a bit like the Beach Boys. One of the best tracks is "Round and Round." It's one of the few times drummer David Huck Shaw gets to show his chops. "Goodbye Sally" is another stellar power pop song and has a hint of a string section near its conclusion. If there's one negative to the album, it's perhaps how interchangeable the songs are. While all very strong, none particularly stand out, but "Angelina Jolie" has far more urgency and intensity than the other songs. The same could be said for the adorable "Sleeper," with its great guitar finish. "Sunshine" has a melody similar to Wet Wet Wet's hit "Love Is All Around." -AMG

Curty Ray

There’s a huge number of great bands in Japan right now and one of the best is right here, right now on Dirty Water Records. With a sound that’s tough, breakneck yet soulful, there’s also real proper tunes coming from this trio. Yeah, this is freaked-out 100mph fuzz-bucket guitar garage rock’n’roll, and all executed with more than the usual amount of frenziedly primitive zeal, but it’s all delivered by people who actually know what they’re doing, who know how to play their instruments. This is no thrashing around garage-punk-by-numbers.

Their debut album “Left My Mind” was released in 2007 on Motor Sounds Records. The band then released their debut single on Dirty Water Records(UK) in April 2010 and in March 2011, their version of "Stormy" on Groovie Records .

Now, Their new album "Alligator" is out on Dirty Water Records.

The Routes are on

REVERBNATION

FACEBOOK

OFFICIAL WEBSITE

Curty Ray

Saturday, April 16, marks the fourth annual "Record Store Day" at independent record stores throughout the US and the rest of the world.
It is a day that retailers hope will draw both loyal and new customers to celebrate the indie record store and all that it has to offer. The first three Record Store Day celebrations were deemed a success by the independent retail community, and they certainly were as well here at Kool Kat! We are once again proud to be joining our independent brothers and sisters for this annual celebration!

Even though we're not a traditional "brick and mortar" retailer like the ones referred to above, we do share that same passion and enthusiasm for music that they do.

So, in support of the "indie" guys like ourselves (and, as a giant "Thank You" to you, our loyal customers), we have once again decided to
participate in the festivities and offer our customers another "Virtual
Record Store Day" on Saturday. And, just like we've done the past three years, we're extending it to be a "Virtual Record Store Weekend" as the below-outlined promotion will run on Saturday the 16th and Sunday the 17th!

Here are the particulars:

THE PROMOTION RUNS APRIL 16 & 17. ORDERS PLACED BY PHONE OR
INTERNET ON THESE DAYS ARE ELIGIBLE FOR THE BELOW:

10% off our entire Power Pop/Alt Country Online Store catalog
including new and used CDs, vinyl, magazines and DVDs.
Discounts will be applied at the time your credit card is charged.
Paypal payments will be refunded accordingly.
(Does NOT include April 18 New Releases or Pre-Order titles)

PHONE ORDERS WILL BE ACCEPTED FROM 10AM-5PM (EDT) ON SATURDAY.

WE JUST LOVE PHONE ORDERS! WE LOVE TALKING MUSIC WITH OUR
CUSTOMERS - JUST LIKE IN A COOL RECORD STORE! SO, PLEASE FEEL
FREE TO PHONE YOUR ORDERS IN! IF WE'RE ON THE OTHER LINE LEAVE
US YOUR NUMBER AND WE'LL PHONE YOU BACK!

ALL DOMESTIC ORDERS WILL BE ELIGIBLE FOR A RANDOM "FREE
SHIPPING" DRAWING.

Please do not hesitate to contact us with any questions you may have about the promotion. Here's to another successful "Record Store Day"
and to hoping you'll find something fun at Kool Kat in the process!
Again, thank you so much for your continued support!

Best,

Ray Gianchetti
KOOL KAT MUSIK

Curty Ray

Mike Scott had been pursuing his grandiose "big music" since he founded the Waterboys, so it came as a shock when he scaled back the group's sound for the Irish and English folk of Fisherman's Blues. Although the arena-rock influences have been toned down, Scott's vision is no less sweeping or romantic, making even the simplest songs on Fisherman's Blues feel like epics. Nevertheless, the album is the Waterboys' warmest and most rewarding record, boasting a handful of fine songs ("And a Bang on the Ear," the ominous "We Will Not Be Lovers," "Has Anybody Here Seen Hank?," and the title track), as well as a surprisingly successful cover of Van Morrison's breathtaking "Sweet Thing." -AMG

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