The Mood Elevator - Listen Up! - 2000

Falling squarely into the category of power pop bands that don't take themselves too seriously, the Mood Elevator crafted a jovial and lively debut album in Listen Up! In the course of 11 tracks, the band runs through a few rave-ups ("Leisure Time Provider," "Day of Renee") pure pop ("Butterfly Net"), ska -- sort of ("Cool Nights") -- and a ragtime-based piano rocker ("Better Than That.") For a debut, the diversity in songs is surprising and refreshing, as the album doesn't tire after a few listens. The downside, really, is that the lyrics are often too silly, detracting from the rest of the picture, and the hooks are not nearly as interesting as those written by their peers. Still, it's too easy to point out what's wrong with a pop album rather than what's right: And what's right here is that this band has managed to craft an engaging debut album that manages to be diverse and adventurous while still maintaining the band's pop roots. And that's more than most can really hope for anyway. -AMG

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Swirl 360 - Ask Anybody - 1998

Borrowing from every pop band from the Beatles to Oasis, Swirl 360 may be a little hard to pin down, but that's part of the reason why their debut album, Ask Anybody, is so enjoyable. Favoring the sweet pop of McCartney over Lennon's brittle rock & roll, Swirl 360 augment that melody with crackling modern rock production. If they get a little too slick -- and let's face it, anyone who collaborates with Desmond Child is bound to get a little slick -- they make up for it with sharp collaborations with Adam Schlesinger (Fountains of Wayne) and Ken Stringfellow (Posies), a crisp attack, and uncluttered arrangements. Denny and Kenny Scott, the twin masterminds behind the band, still need to find their own voice, but Ask Anybody remains a cheerful, pleasing debut. -AMG

Chris Von Sneidern - Sight & Sound - 1993

The first solo album by ex-Flying Color singer/ songwriter Chris Von Sneidern is a terrific slice of '90s power pop, roots and ruefulness division. Von Sneidern's slightly rough voice isn't particularly suited to chipper material, and so the better tracks here are the darker ones like "Bad Black Lonesome" and the downright bleak closer "Never Again My Love." Von Sneidern is capable of his lighter moments as well, like the sweetly jangly "Annalisa" and the lighthearted homage "Hey Nino Tempo," but the best parts of this album, which features guest appearances by fellow Bay Area luminaries like John Wesley Harding and American Music Club guitarist Vudi, have an emotional depth and richness not often associated with the sometimes facile world of power pop. At 16 tracks, Sight & Sound is a little overstuffed and could use some pruning, but minimal use of the skip tracks buton will turn this CD into something special. -AMG

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Second Saturday - Here`s The Deal - 2002

GREAT power pop band - hard to find 2002 debut album. Imagine(go with us here) The Beach Boys(but not literally) playing Fountains Of Wayne, The Argument, Jetpack and Ben Folds. Or Jeffrey Foskett teaming up with new up and comers The Blakes, The Rentals, Light FM or Adventures Of Jet. Huh? What`s all this? It`s spiffy, up-beat lightly tinged new wave power pop for modern made to splash water on stiff, established pop contributions of late. Second Saturday`s music is a fine-woven blend of catchy, energized, and powerful sugar-pop tunes with beautiful melodies, up-beat tempos, rip-rocking guitars, infectious synthesizer, and four-part harmonies that can be matched by the likeness of only Brian Wilson. Every song a winner! -Not Lame

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Big Hello - Orange Album - 2000

After neo-power pop group the Elvis Brothers disbanded, drummer, songwriter Brad Elvis formed a new outfit in late 1994, which he dubbed Big Hello. Despite a rash of early personnel changes, the band built a following in its hometown of Chicago and around the Midwest through extensive touring. The remainder of the lineup eventually settled on vocalist Chloe Orwell, guitarist Johnny Million, and bassist Tom Atteberry. In addition to contributing to several power pop compilations, Big Hello gained increased exposure through hosting Chicago Pop Mondays, a highly successful series of concerts at the Beat Kitchen. -AMG
  
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Doug Powell - More - 2000

For his third outing, Doug Powell follows much the same formula as with his first two albums: straight ahead rock songs with a definite, pronounced pop leaning. Powell's influences are plastered all over this, from Jellyfish-like vocal harmonies to Todd Rundgren's brand of smooth pop and Cheap Trick-style guitar crunch. But thankfully, Powell does manage to mold the record into more than just a sum of its parts. The album's best songs -- the uppity rock of "Dinah Might," the soulful pop of "The Scent of a Rose," and the hard rock of "Empty V," amongst a few others -- are extremely well-crafted modern pop. While not exceedingly commercial or adventurous, the devotees of verse-chorus-verse song structures and gooey background vocals will agree that not only is More catchy and memorable, but it manages to steer clear of potholes of derivation. With that being said, there are a few flaws that keep More from being a classic. The production is appropriately crisp but strangely tinny, and on the requisite mainstream music rant "Empty V," Powell appropriately gives the musical finger to MTV and their ilk. But the problem is that the listener is torn between believing whether it's appropriate commentary or a cranky old man who is upset that he never got his commercial due. Maybe it's a little of both, but that assessment is probably a bit too harsh given the songwriting expertise displayed by Powell here and with his band, SWAG. And something does seem wrong if a song as infectious as "Rise" isn't all over mainstream rock radio. The true assessment, then, is that More is very much music by a pop fan who hates MTV, for pop fans who hate MTV. It can't be fairer than that. -AMG

The Sun Sawed in 1/2 - Bewilderbeest - 2000

St. Louis' Sun Sawed in 1/2 made a major departure from their flexible, inventive power pop on Bewilderbeest. Recorded partially in the Ukraine, Bewilderbeest tries to make world music a palatable influence in power pop; of the disc's 14 tracks, three are world music-styled instrumental tracks. The remaining tracks sound heavily influenced by Eastern European rhythms and music, and it makes Bewilderbeest an admirable and ambitious affair. The album's highlights include "Kiss Her Like You Mean It," an excellent up-tempo rocker that sounds like a lost Jellyfish classic, the moving ballad "Shining Knight," and Ken Kase's "Song No. 11." While it's not quite as solid of an album as the defining Fizzy Lift, the ambition alone of this album makes it a worthwhile listen for both fans and the curious. -AMG

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Save Pluto - Age of Lowered Expectations - 2007

Their debut album, Age of Lowered Expectations, is reminiscent of Barenaked Ladies meets Matthew Sweet. It’s fun, it’s smart, and it rocks. The group’s musicianship shines through on the album, with all three band members sharing lead vocal duties on various songs.
Shawn Moynihan (vocals, rhythm guitar) and Alan Miller (guitar, vocals), songwriting partners since high school, have been recognized by Billboard Magazine's National Songwriting Contest, and were commissioned to write the theme song for the New York Yankees' minor league team on Staten Island. Miller's guitar skills, displayed prominently on the album, have also been featured in Guitar One Magazine. Gautam Peri completes the lineup on bass and keyboards. -CD Baby

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Another album, another band, another name.

Matthew Bannister has made numerous records under different names, with different people - first Sneaky Feelings in Dunedin in the 80s, then the Dribbling Darts of Love in Auckland in the 90s, a solo release as One Man Bannister - Moth (2007) - and another band effort -The Weather’s Aroha Ave (2008). And now the Changing Same.

Why so many names? Why not just use your own? “I’ve never felt comfortable being a solo artist. Music to me is something you do with other people. That’s what makes it fun. When I get new people, it’s a new project. Of course it’s a bit of a disaster from a publicity/career point of view.”

Since 2008 Matthew has been living in Hamilton, where he works at Wintec, who also support his music activities. “I make a CD, and it counts as research!” The album was mostly recorded at the studios in the Music Dept there. “But I have the same software at home, so I could take away live backing tracks and overdub in my own time. You get live feel, but also lots of time to fiddle with additional parts - the best of both worlds.”



The Changing Same are:
Matthew Bannister: guit./bass/vox
Nick Johnston: keys
Stan Jagger: drums

The Changing Same’s CD is available through Powertool Records, or can be downloaded at the bandcamp site. They’re also on Facebook.

The Jigsaw Seen - My Name Is Tom - 1991

This is the Jigsaw Seen's 1991 EP for the now-defunct New Jersey-based Skyclad label. The mini-CD featured an early version of "Persephone Again" (the track was later re-recorded for release on the Swedish-released Pop Under the Surface, Vol. 1 compilation and the band's own self-released Zenith from 2000) and a cover of Love's "The Daily Planet." -AMG

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The Rumble Strips - Girls and Weather - 2007

The Rumble Strips don't take any chances on Girls and Weather, but that's because they don't need to. If the Devon foursome's fun, innocent, and refreshingly light tone -- not to mention their eschewing of guitars in favor of horns -- isn't enough to make their debut album stand out, then their musicianship and wry lyrics certainly are. It takes a few listens to discern the Rumble Strips' technical proficiency, because it's all too easy to get caught up in the fun that they're having instead. There's no build-up to the revelry -- Girls and Weather gets off to a rollicking start with "No Soul," a tune that sounds a bit like a Kaiser Chiefs tune that replaces synthesizers with a deliberately off-kilter brass section. It's immediately followed by "Alarm Clock," which tells the story of a young slacker through the use of an infectious melody, singalong chorus, and cheery self-deprecation. Happy melodies coupled with bittersweet lyrics are a running theme throughout the album, but it's a formula that works well for the Rumble Strips, especially when they're poking fun at the Walter Mitty-like fantasies of average Joes. The best example of this on the album is "Motorcycle," a riotous take on the "cars and girls song" that alternates between the mundane reality of a 10-speed bike and the sunny fantasy of a motorized chick magnet. There are times when the band's giddiness is a little too overwhelming -- the repetition of the chorus on "Clouds" quickly goes from endearing to annoying -- but it's a minor complaint in the end. Girls and Weather loses neither steam nor charm throughout; it's an album for adults who want an excuse to behave like kids again. -AMG

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Zumpano - Look What the Rookie Did - 1995

The title says it all. This debut effort from Vancouver's Zumpano is an astounding piece of infectious, guitar-driven pop. The group's original material is outstanding, but the lone cover proves to be one of the album's highlights -- a compelling version of Jimmy Webb's "Rosecrans Boulevard" (previously recorded by the Fifth Dimension and Johnny Rivers). With Webb as an influence, it's no wonder Zumpano end up crafting such sophisticated yet melodic compositions of their own. In the '60s, tracks like the Zombies-esque "I Dig You" would have been all over the charts and the radio, but in the 1990s, there seems to be less of an audience for such inventive, intelligent pop. However, the freshness of Zumpano's sound, combined with adventurous melodies and rhythms, makes this an essential piece of work. -AMG

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Parthenon Huxley - Mile High Fan - 2005

Parthenon Huxley had a pretty sweet job between 1987 and 1993 -- he was a contact songwriter with MCA Music Publishing, and he got to spend his work days writing tunes, recording them with first-rate musicians and getting paid for the privilege. Best of all, it appears no one was riding herd over Huxley regarding what he should be writing about, judging from Mile High Fan, a 15-song collection of Huxley's demos from the period, which includes catchy songs about heroin addiction, soaring real estate prices and urban sprawl. According to Huxley's liner notes, a number of his MCA demos became basic tracks for his first album, 1988's Sunny Nights, and the recordings collected here sure don't sound like songwriting demos -- the combo Huxley put together for these sessions evolved into his band P. Hux, and they sound professional as all get out, especially guitarist Rusty Anderson, whose Eddie Van Halen-esque Stratocaster gymnastics are certainly impressive if more than a bit overstated on several cuts, and drummer Rob Ladd, who pounds with conviction. Huxley's material here walks a tightrope between witty power pop and muscular hard rock, and the two sides don't always get along, with the guitar shredding often getting in the way of the melodic side of these recordings. But there are some good tunes here that work just fine with the band, especially "This Isn't Yesterday" and "Bazooka Joe," and Huxley's smart-ass wit is welcome throughout. Mile High Fan isn't perfect, but it's as polished and satisfying as any of Huxley or P. Hux's "real" albums, and this certainly deserved better than sitting on a shelf at some publisher's office for 13 years; Not Lame are to be commended for finally giving this music the public hearing it deserves. -AMG

True Believers - True Believers - 1986

Legend has it that the True Believers' pre-production process with producer Jim Dickinson before they began sessions for their first album consisted entirely of a conversation in the car as the band picked him up from the airport and drove to Austin's Arlyn Studios. While Dickinson has a splendid track record producing maverick rock bands, for this project money and time were in short supply, and the True Believers album suffers a bit accordingly. The sound is thin and lacks the punch that the group's three-guitar lineup demanded, and the gated snare sound on Kevin Foley's drum kit is such a mid-'80s cliché that it sounds almost comical more than a decade down the line. But if True Believers captured a great band under less-than-ideal circumstances, it leaves little doubt that this really was a great band; Alejandro Escovedo, Javier Escovedo, and Jon Dee Graham all sing, write, and play guitar well enough to lead fine bands on their own, and together they were a guitar army in the truest sense of the phrase, thinking and performing as one and leaving behind some inspired music as a result. (Bassist Denny Degorio also helped write a number of the album's best songs, and drummer Kevin Foley holds down the backbeat with smarts and precision.) True Believers was the only album this group would release during their lifetime, and while it doesn't get the full impact of their live show on tape, it gets just enough of it down to prove that this band's reputation as one of America's greatest roots rock bands wasn't just talk. -AMG

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The Shore - The Shore - 2004

The Shore's full-length Maverick debut offers enthusiasts of the AAA radio format a palette-pleasing aggregate of spacy Britpop and dusty American rock texture. It's a fashionable, well-appointed album, impeccably designed for the leisuring iPods of listeners who like their music furiously in the moment. Ben Ashley -- songwriting brains and frontman of the Shore -- channels Richard Ashcroft brazenly, particularly the cheekboned one's more dramatic solo work. But that won't matter to those swooning over the Shore's sun-spackled piano ballad "Take What's Mine," or the dusky, loopy, string-laden opener, "Hard Road" -- the sound might be shockingly derivative, but since three out of five Americans have either forgotten or never knew of the Verve and Ride, the Shore's lapping pace and gentle waves will wash forth as fresh and new as a watercolor daydream. "Waiting for Sun" plays soft pop verses off a chorus melody worthy of Embrace's grandeur (more keening strings, stat!), while "It Ain't Right" and "Firefly" do nice things with tensile electric guitar dynamics and changes into fluttery vocal harmonies. In its weaker moments ("Everything We Are"), The Shore drifts into middling alterna-pop. -AMG

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Sweet Apple Pie - Between the Lines - 2004

Pitched somewhere between Sloan, the Apples in Stereo, and Club 8, France's Sweet Apple Pie provide a sound much like their name: warm, sweet, and wholesome. Between the Lines is their second album, and it is a huge step forward from their first. In fact, it is one of the better indie pop records you will hear in 2004. The songwriting is tight, the arrangements are fully realized, and the group vocals are large and lush, sometimes coming close to Polyphonic Spree proportions. Songs like "Harder Than We Thought," "Pray Before," and "Oyster" reflect a '70s influence, sometimes sounding like Squeeze, sometimes like a more flexible ABBA. Always sounding good and hooky, Between the Lines is full of laid-back charm; it's the kind of record that radiates warmth from beginning to end. Playing it is like hanging out with the kind of friend with whom you don't have to say anything; you just have to be there. Add Sweet Apple Pie to the list of bands making adult pop (Walker Kong, the Heavy Blinkers, Young and Sexy) drawn from the '70s and '80s but sounding completely modern and completely fabulous. -AMG

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Rick Parker - Wicked World - 1991

Parker's dynamic voice allows him to sound like three very different vocalists on the same album. On tracks such as "Cause Your Mine" and "Sally's Home" his voice bears a striking resemblance to that of Mark Knopfler. When the music slows, however, his sound metamorphoses into something more akin to Corey Hart. He rounds out his range with some INXS/Michael Hutshens style vocals. But with strong, consistent backing vocals bi guitarist Josh Blake, the album flows nicely. - L.A. Times

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The Hellacopters - Payin' the Dues - 1999

The Hellacopters reconvened for a second album in 1998, churning out a platter that retained the raw ferocity of their debut while featuring even better songs. Payin' the Dues is a winner from start to finish, but special kudos go out to "You Are Nothin'," "Hey!," "Where the Action Is," and "Soulseller." One has to wonder how huge these guys would be if they were American instead of Swedish. The record did so well in Europe that vocalist/guitarist Nicke Andersson (aka Nicke Hellacopter) decided to quit the security of his day job on the drum stool of death metallers Entombed to concentrate on the Hellacopters full-time. Unfortunately, co-leader Dregen chose to carry on with his main band, Backyard Babies. -AMG


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A Gift From John Wicks and the Records!

With Fall comes change. And, thanks to a new Records' Facebook promotion, you can keep yours in your pocket while getting some FREE music
to listen to. John Wicks, lead singer of The Records and co-writer of the hit songs Starry Eyes and Hearts In Her Eyes, has decided to post
a complete live set via his Facebook fan page found right here. Starting
October 2, each week John will be posting one of nine live songs from a set that was recording earlier this year. With guest appearances
from Debbi Peterson of The Bangles and Andy Qunta of Icehouse, this recording is truly one of a kind.

Just "like" the page, and the mp3 is yours.

We'll post one track per week, leading up to the re-release of Rotate due out Noverber 8, this time with three bonus tracks and an all new, pedal
to the metal version of The Records' classic hit "Starry Eyes".

Starting October 2, go to www.facebook.com/TheRecordsFeaturingJohnWicks and click "Like", refresh your browser, and the mp3 will be available
to you...FOR FREE. Check out The Records' main website at www.johnwicksandtherecords.com for news, tour, or any other additional information
about The Records or the new version of "Starry Eyes".

The Feedbacks - Nothing A Little Pop Won't Cure - 2002

The Feedbacks began to play in Mieres (Asturias) at the beginning of 1995, when Adolfo, (singer, guitar player and composer), his brother Carlos, and two friends, Diego y Javi, with nearly no experience with bands, gathered together to kill the time and also to emulate their idols, ancient melodic punk rock and power pop bands. On this excellent third installment of the Asturian Feedbacks, they expand thier horizons with more sedate but equally strong and vigorous songs.

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POP GEEK HEAVEN - Arrives This Friday! (special beta for Power Pop Prime buyers)

Bruce from over at Pop Geek Heaven sent us this little reminder.

I've been working on the Pop Geek Heaven project in my extra time for a good part of 2011. The dream of it, a lot longer.

It's finally ready - but before the 'rest of the world' can see and enjoy POP GEEK HEAVEN, I wanted to give you the first look at it.

Think of it as your Backstage Pass to a new kind of experience for the power pop fan.

This V.I.P. Access is one way for me to say "Thank You So Much!" for picking up my "Power Pop Prime" book this summer! (by the way, my digital gifts that I promised are going to be sent out in a few weeks so they are coming - and news on two other books coming next week, too!)

On Friday, you'll be ushered through the back door to check it all out first. Before anyone else!

So, when does Pop Geek Heaven launch?
Answer: Just go to this link on Friday at 1 p.m. M.S.T.


Please Understand: THIS IS A BETA TEST phase. There could be some issues and weirdness. If so, let me know what you're seeing - and be patient.

This is important - to enjoy everything at PopGeekHeaven when you go there on Friday, you must become a member of PGH (which costs you nothing so don't stress on it!).

I mention this so you are clear PGH is not some big company, corporate thing - it's a 'free'/gratis project that one person has been working on and will be supported by sales at the Pop Geek Heaven Store.

Everything with PGH has been a BIG vision in my head for years - and it's just been one person(me) working on the development of this(and I'm no techie so I've been limited with the resources to pull this all off).

But PGH is all about us, the fans - and the artists making the music.

Our passion for music and our interest & devotion to 'power pop' is what will make it work.

It's that simple. I really hope you dig it......

It's Live
RIGHT HERE on Friday!

Peace 'n (good) Pop,

Bruce Brodeen
(Just Another) Pop Geek

The Pyramidiacs - Nobody's Fools - 2001

Characterized by a upbeat power-pop feel, the Pyramidiacs sound has remained consistent since the group's 1988 origins. Based in the Sydney suburb of Fairfield, Australia, the original line-up of Eddie Owen (guitar/ vocals), Bob Susnjara (bass/ vocals) and Mickster Baty (drums) took upon a musical idolization for the Replacements, Teenage Fanclub, Big Star and Matthew Sweet. With the 1992 addition of guitarist Mick O'Regan, the Pyramidiacs would eventually release a slew of singles and compilation tracks before their 1993 full-length debut, Don't Wish It. The following year saw the Pyramidiacs' second album, All You Want, released through Pink Flamingo Records before their 1995 European tour. The group's third album, Teeter Totter, came out in 1996 courtesy of Ranezz Records -AMG



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The Silver Seas - Starry Gazey Pie - 2004

Daniel Tashian (vocals, guitar) was already an established solo artist when he enlisted the help of producer/keyboardist Jason Lehning to fashion the '70s-inspired classic pop/rock of the Silver Seas. Formerly known as the Bees (U.S.), the group formed in Nashville, TN, with John Deaderick (bass) and David Gehrke (drums) rounding out the lineup. The band's self-pressed debut disc, Starry Gazey Pie, was released in 2004 and received support from such influential radio stations as Boston's WFNX and L.A.'s KCRW. This, coupled with a national tour alongside Guster, enabled the group to release a follow-up, 2006's High Society. Cheap Lullaby signed the Bees (U.S.) in April 2007, and the Nashville band changed its name to the Silver Seas that September, citing a legal conflict with the British outfit A Band of Bees. The following month, Cheap Lullaby re-released High Society. -AMG

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Moods for Moderns - Loud & Clear - 2001

Stealing more than a few pages out of the power pop handbook, Moods for Moderns has officially arrived as a veritable force with Loud & Clear. Big guitars, lush harmonies, and incessant energy mark this reverent, yet altogether refreshing, arena pop. Whether channeling Big Star influences on "Lust for Luster" or cavernous Left Banke-ish sounds on "Long Distance Dedication," Moods for Moderns is overwhelmingly on target with its decidedly backwards-looking pop confections. While the Zombies, Elvis Costello, and the Rolling Stones are all evoked at different moments, it's quite obvious that this band's loyalties lay in classic '70s rock. As this dedication has supposedly manifested itself in the band's members refusing to listen to any music recorded after 1979 during Loud & Clear's recording sessions, as well as only using recording equipment from that period, the result of their devotion is undeniably rewarding. Fairly predictable and obviously derivative, Moods for Moderns nonetheless succeed in presenting straightforward rock at its most undiluted. -AMG

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True Love - Wings - 2005

Power pop torchbearers True Love deliver a gutting slab of melodic rock on their third studio release, Wings. If the title and cover art are meant as a humorously ironic allusion to Paul McCartney's post-Beatles group, the music therein also takes a similarly opposing direction from Macca's soft rock/AOR. Much like their guitar-heavy self-titled sophomore release, True Love rip through a series of über-melodic and somewhat emotionally pyrrhic mini-rock epics that bring to mind such icons of the genre as Cheap Trick, the Replacements, Elvis Costello, and others. This is pretty great stuff that will obviously appeal to the pop underground faithful, but deserves a much wider audience. -AMG

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The Stands - All Years Leaving - 2004

U.K. quartet the Stands traffic in gentle jangle pop rooted in the Byrds and the '60s West Coast sound, the mid-'60s Beatles, country Dylan, and in their missing and missed countrymen the La's. Their debut album, All Years Leaving, is coated in honey-sweet vocal harmonies, rollicking tempos, gently strummed guitars, and a general sense of easy nostalgia. Many, many bands have treaded this leaf-strewn, autumnal path and the Stands don't do much to distance themselves from the pack, nor do they stumble significantly. Middle of the packers then and that's not so bad. In fact, it is unfailingly pleasant. The tunes tend to blend together in a sepia-toned wave of gentle melancholia, but there are worse ways to spend 40 minutes. There are even a few that you will want to throw on mixtapes, like the dreamy opener, "I've Waited So Long"; "The Love You Give," which has a languid beat, slow-motion guitar plucking, and fine la-la-la backing vocals; and the album's crown jewel, "Here She Comes Again." It's definitely a cousin to the La's' "There She Goes," with a lovingly similar melody (and an almost direct lift from the Cars' "My Best Friend's Girl"), but it adds some Byrds-y 12-string and an emotion-packed bridge that does what a bridge should and jumps the song's intensity up a notch. It's the kind of song that you will want to listen to about five times in a row every time you hear it, the kind of song that would make you want this album even if the rest stunk. If they can come up with a couple more like it on their next record, they might take a giant step to the front of the pack. Until then, All Years Leaving is a fine, solid debut. -AMG

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Bill Popp & The Tapes - Popp This - 1989

A unique and unconventional veteran of Manhattan's Lower East Side club scene, Bill Popp has often combined unapologetically Beatlesque power-pop with elements of punk and new wave. By the time his debut album was recorded in 1989, Popp and various editions of his band, the Tapes, had been playing live for eight years -- often getting a favorable response playing "Eleanor Rigby" for punk rockers at CBGB! Listening to the strong hooks and powerful melodies of "Don't Hold It Against Me," "She's in the Sky," and other gems on Popp This, it's impossible to miss the influence not only the Beatles, but also, other British Invasion icons like the Yardbirds and the Zombies. One could easily assume that the undeservedly obscure singer/composer (whose last name really is Popp) is British himself. But in fact, Popp was raised in the blue-collar College Point section of Queens. He consistently comes across as someone who is determined to play exactly what's in his gut -- and darn the consequences. -AMG

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Summercamp - Pure Juice - 1997

The alternative rock quartet Summercamp first began to take shape in 1987, when vocalists/ guitarists Tim Cullen and Sean McCue first met in high school in their native Santa Barbara, CA; another fellow student, bassist Misha Feldmann, joined after graduation, and with the 1994 addition of drummer Tony Sevener, the group's roster was complete. After signing with Madonna's Maverick label, Summercamp issued their 1997 debut LP, Pure Juice.  -AMG

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The Bristols - Tune In With - 2001

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 Japans Thee Michelle Gun Elephant a year later on Vinyl Japan.

Then they released two singles and albums on Damaged Goods before calling it a day in 2003.

After the split Fabienne Delsol has gone solo and released two albums so far 'No Time For Sorrows' (produced by Liam Watson at Toe Rag) and "Between Me And You" released in 2007

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Music of Note

Kris Rogers has played in a lot of the bands with (Kurt Baker, The Connection) and his new album is out this week called "Kris Rodgers and The Dirty Gems". It's old school piano rock n roll/pop featuring some cool doo-wop harmonies and tons of keyboards. Kurt Baker plays bass and sings a few back ups as well. For more information go to krisrodgersmusic

Kris Rodgers: Piano, Organ, Rhodes, and Vocals
Kurt Baker: Bass, Backing Vocals
Wyatt King: Drums
Tyler Johnson: Electric Guitar
Zach Uncles: Pedal Steel
Meg Doherty-Scannell: Backing Vocals

E.D. Sedgwick just put out a new record "Love Gets Lovelier Every Day" on Dischord. The limited edition 3-song single, released August 22, 2011, includes a full-length (11-song) MP3 download.

Customers who purchase the 7 inch in stores will get a coupon to download all 11-songs. If you buy the 7 inch from dischord.com the songs are automatically added to your personal account to download.

The Power Pop Trio "The Perms" from Winnipeg are set to release their 5th album"Sofia Nights" this fall. In an industry where bands are lucky to last past their first single, this group has stood the test of time and continued to find success in creating stick-in-your-head songs. Their friendship and shared passion for making music that matters has been the motivation that drives this band forward.

When The Perm's started writing for the new album, it became clear that the band wanted to push the boundaries of their songwriting while keeping the hooks and energy...
For more Information go to thepermsmusic.com

Fresh out of Sheperdstown, West Virginia RoZwell Kid has arrived on the scene with his self-titled debut release. RoZwell Kid is the stage name of Jordan Hudkins, drummer for his hometown act The Demon Beat. He's taking a little break from his gig as a drummer to step out on his own with this eclectic, electro pop effort that is decidedly different from the genre of music that he's accustomed to playing, and finds a common balance between the two that shows his ability to branch out in different genres with remarkable ease. -Music Box Pete

Red Planet - Let's Degenerate - 2001

The second Gearhead full-length from California's Red Planet finds the boys adorning the cover in coordinated black and red outfits that immediately conjure up preconceptions that the music inside will sound like those other fashion plates the Hives and the White Stripes (which wouldn't seem like too much of a stretch, since Gearhead also served as home to the Hives). Thankfully, looks can be deceiving. Red Planet's crunchy guitar attack and big choruses owe far more to power pop than garage rock, and, odds are, the band's members own more Cheap Trick live albums than Velvet Underground bootlegs. The vocals show traces of the playful snottiness of Robin Zander, but this record has the fingerprints of outfits like the Knack, the Nerves, the Flamin' Groovies, the Raspberries, and the Cars all over it. Although the album hardly changes the group's formula, it's a suitable follow-up to 2000s Revolution 33 and is sure to go over well with fans and select newcomers. This is a fun slab of straight-up, guitar-driven power pop with big vocals for those who find the Loch Ness Mouse too syrupy, Supergrass too British, and Superdrag too indie. It's also a surprising foray into power pop for Gearhead, a label normally associated with punks and garage throwbacks. -AMG
 
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Cloud Eleven - Cloud Eleven - 1999

Rising from the ashes of the L.A. retro-pop group Jiffipop, Cloud Eleven is the meisterwork of Rick Gallego, who wrote all but one of the tunes on here and plays almost all the instruments. There's a 60s retro vibe, all swirly and psychedelic, with a strong pop base to everything on here, recalling Sgt. Pepper era pop pastiches. Highlights are numerous, but "Spiral (Come Way Down)," "Tokyo Aquarium," "Take Control," "Rainbow Station" stand out as lush, vibrant tunes with production values equally as forceful. Most clever songwriting award goes to "Look Of Sky," a pastiche of Left Banke lyrics and titles inspired by that group's leader Michael Brown. Light, trippy power pop that really hits the spot, this is one charmer of an album.   -AMG

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Colin Clary and the Magogs - Her Life of Crime - 2004

Simplicity and subtlety are combined with solid songcraft and pristine arrangements to create an achingly poignant album of considerable emotional and lyrical depth all wrapped up and disguised as a sunshine pop record. If you like to make out to the Beach Boys and have ever fallen in love or had your heart broken then we consider you among our peers and this album is about someone like you. You know how Pet Sounds can sound beautiful and break your heart at the same time as it sticks in your head and wraps you in melody and harmony? Well, Colin Clary & the Magogs have taken that template and done their own thing, creating a pop album about small town life and the universal themes of heartbreak and forgiveness. This proves to be a fresh look at the problem of love in the modern era. This album allows the Magogs to apply their studio mastery and knack for mouth-wateringly simple and buoyant arrangements to Colin`s song cycle and the playful vocal interplay of Clary/Wall. The result is 12 tracks that make up one of the most listenably catchy and thought-provoking records of this year. -Not Lame
 
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Chewy Marble - Chewy Marble - 1997

Chewy Marble's self-titled debut is a sparkling power-pop effort spotlighting founder Brian Kassan's versatile songwriting skills, which touch on influences ranging from Badfinger ("Loneliest Man") to the Zombies ("Peculiar") to even contemporary chamber-pop revivalists like the High Llamas ("Teacher's Pet"). -AMG

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The Millions - MIllion Dollar Rock - 2003

Chicago's Millions turns in a chunky, fizzy, and promising set of glam-tinged modern rock on the band's self-released debut, Million Dollar Rock. Every inch of these songs that isn't filled with vocalist Dan Edwards' energetic if a bit workmanlike vocals is jammed with the roaring and screeching of Millions' twin guitars. This inescapable rattle puts the record in line with the smirking, anthemic alt.rock of acts like Lit or even Goldfinger. With just a bit of tweaking, "No Good Without You" could be a hair metal stomper in the vein of Mötley Crüe's "Don't Go Away Mad (Just Go Away)," and that's a good thing. These guys happily seize on the same mantle of enormous, slightly goofy rock held aloft by the Crüe -- but this being the 21st century, their cock rock is cut with a healthy shot of modern rock mojo. Standouts include "Today Is the Day" and "Gimme Gimme," where fun, studio-tweaked harmonies ooze all over a cool Cars chord progression. The impossibly huge metal soloing of the title track is pretty spectacular, too. Overall, Million Dollar Rock is painted with the same broad strokes and primary colors as the comic book superheroine depicted in its artwork. But it's equally as fun and curvaceous, content in its two-dimensional sugar high. -AMG

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Stag – Don’t Lead With Your Heart 7″

You can order the new vinyl 7″ right now at Fin Records, also there is a bunch of cool shows coming up this fall including:


Sept 24th- w/ Daniel G. Harman & the Trouble Starts, Western Haunts, In Cahoots- The Comet

Oct 22- City Arts Festival – Capsula, Whalebones – The Comet

Don’t Lead With Your Heart –


Ides of March –

BUY the 7″ directly from Fin Records – limited to 500 on pink vinyl !
Stag – Official Website
Stag on Facebook

Amateur Lovers - Virgin White Lies - 1997

With their sugary harmonies, sophisticated song structures and fiendish hooks, Amateur Lovers filters '70s gloss like Billy Joel, Supertramp and 10cc through the raggedy ethos of post-grunge Seattle. After working the Seattle club scene, Pearl Jam guitarist Stone Gossard signed them to his Loosegroove Records label. Released in late June, "Virgin White Lies" brings back the halcyon junior high school days of teacher crushes and first love blushes in 12 delightfully hummable tunes.- Dave Ford

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The New Fidelity - The New Fidelity - 2005

Debut album from The New Fidelity sound like a power pop version of Green On Red, The Connells, early Teenage Fanclub and The Dream Syndicate. There`s some Pixies and lots and lots of New Zealand pop sounds from the early/mid 90`s with bands like The Bats and Straightjacket Fits. Like some of these bands, there`s a mid 80`s desert rock sound that step alongside this pop bands` sound, making it sound fresh, vibrant and exciting, not cut from the loin cloth of just any generic band. "Aside from their masterful harmonies, the New Fidelity sound nothing like The Beach Boys and everything like the soundtrack to an 80`s movie that was never made"-Calender. That is a apt and amusing statement, actually..and accurate(we`re going for the `a` motif with our descriptives it appears!). Each listen reveals something new, some new vibe to latch onto that listen earlier did not even hint at. Layers of sublime nuance and easy-to-enjoy, hard driving guitar melodies. Extremely Highly Recommended! -Not Lame

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Cosmonauts 7” on Bad Afro

Bad Afro is very proud to introduce the first 7" on the label with an American band. And what a great and especially LOUD release it is. Cosmonauts was formed in 2009 and resides in Orange County in sunny southern California and sound like a bunch of kids that don't like the beach too much and spend their time inside taking drugs and complaining that it never rains. They have a huge buzzing sound that rely on broken amps and not pedals that most bands use to make noise. Derek Cowarts vocals appears as an instrument in itself that resembles the way that David Yow used to influence the sound of Jesus Lizard (although Cosmonauts does not sound like Jesus Lizard).The 7" includes the two exclusive songs Emerald Green and Motorcycle One and will be released later this year.

Cosmonauts released their great self-titled debut album in 2010 on Permanent Records in Chicago although it was originally released on tape on Burger Records. They also have a 7" out on the Italian label Goodbye Boozy. They have recently completed the recordings of their second album which will be released on Burger Records.



And here's a video for Yer So Rad from their debut album below




Bad Afro Records
Halmtorvet 29, bygn. 12 A
1700 Copenhagen V
Denmark

http://www.badafro.dk

The Stereotypes - 1 - 2002

San Diego's The Stereotypes, formed in 2001 by John Finkbiner and Mike Kamoo, have a classic sound that mines late-60's jangly psych-pop, indie-garage-rock, and 80's alternative with a post-punk D.I.Y. aesthetic.
The band released it's first EP (“1”) to much critical acclaim. The Stereotypes, with their infectious guitar pop melodies, soon began opening shows for the legendary Buzzcocks, Spoon, Supergrass, among others.

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Papas Fritas - Helioself - 1997

On their second album, Helioself, Papas Fritas displays an increased sense of songcraft and a sharper sense of melody, resulting in a bright, effervescent indie rock record. Where their debut was occasionally brittle, Helioself is rounded and warm, and one of the most infectious pop records in the post-alternative indie rock world of the late '90s. -AMG

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Einstein's Sister - Einstein's Sister - 1999

The debut album from Quad Cities' power popsters Einstein's Sister (originally released under the name Douglas and Tucker, the principal songwriting duo) is, as described by the band themselves, a "demo on steroids." Bill Douglas and Kerry Tucker were basically the whole band at this point, and while its clear that the blueprint for the Einstein's Sister releases to come was mostly in place, there are a few notable differences. The band's obvious musical touchpoints -- Elvis Costello, Squeeze, and XTC -- are all evident here, but there is significantly less focus. For example, "King in Name Alone" sounds just like Reckoning-era R.E.M., "Play God" and "My Own Country" are harder-rocking, Who-influenced numbers, and "Little Known Fact" pulls in the influences of oldies and blues. That's not necessarily bad, but it does show that the band hadn't quite yet found their voice. And then there's the "demo on steroids" part: the album is basically a collection of eight-track demos recorded with a rotating list of studio musicians to fill in the parts, meaning it occasionally lacks some of the cohesion found on later Einstein's Sister records. Overall, the whole thing comes across as a bit folksier and a bit rougher, but almost as charming and every bit as catchy as what would come later. -AMG

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Touchy/Feely A Music project in New York, NY by Frank Bango

Brambles - Next Big Thing - 2000

Preferring to believe that the glass is half full rather than half empty, these brothers tend to have rather soft and gentle harmonies over some breezy, laid-back pop/rock arrangements. The opening title track is a good example of this, evoking images of the Beach Boys and endless summer California days. "Gotta Be Love" continues in a tight and dreamy pop sequence, with the appropriate singalong portions and "doo do doos." A good portion of the album keeps a framework that works well, but at times the lyrics and overall feeling lose some of their energy. "Wish" is such a case, as the closing minute is just repetitive and should have been edited. Slower or alternative tempo ballads like "This," "She'll Never Know," and "A Need for Knowing" recall bands such as the Rembrandts and even the La's, particularly during the brief but inspired guitar solos. One of the finer songs and perhaps the album's best is "Baby Girl." Both Tim Anthony and Lou Anthony complement each other quite well, but the vocals aren't powerful or over the top, relying on the music to lead the way, as on "Feels Like Forever." The result is a series of adequate and quite melodic summer pop tunes, culminating in the pretty "Happy Ending." -AMG

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The Glands - The Glands - 2001

Eponymously-titled albums that follow a previously released debut (especially once the band signs to a major label) usually seem to indicate that the band is going back to square one, and this self-titled album by the Glands -- who hail from the college burg of Athens, GA -- does just that, offering up refreshingly enigmatic, artfully arranged and bouncy Confederate pop that blends porch swing guitars, jazzy basslines, and jangling Paisley Underground and Britpop aesthetics. "Work It Out" sounds like a pre–Mersey Beat Britbilly workout that woulda rocked the U.K. back in '62, while "Straight Down" is pretty straight-up indie rock. Vocalist/guitarist Ross Shapiro's endearing but heartbreakingly frail vocals have been compared to Village Green vintage Ray Davies, but fans of Olivia Tremor Control's Bill Doss or the Flaming Lips' Wayne Coyne may hear a little of them in there too. Doug Stanley's airy keyboard burbles and Craig McQuiston's keening lap steel will appeal to fans of the Elephant 6 collective sound as well. -AMG

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Sparkwood - La La Crutch is avialable at a special price

Bart Padar of Sparkwood says if anyone is interested in purchasing their first CD, "La La Crutch", he is selling them through Amazon for $7.49.