The Posies - Frosting On the Beater - 1993

Frosting on the Beater opens with a thick wall of distorted guitars and booming drums kicking up a very melodic fuss behind Ken Stringfellow and Jonathan Auer's creamy-smooth harmonies on the psych-tinged "Dream All Day," and the track's sweet-and-sour blend immediately announces this is going to be a very different affair than the Posies' major label debut, Dear 23. With noisy rock dude Don Fleming in the producer's chair, it came as no great surprise that Frosting on the Beater was a much harder sounding album than the introspective Dear 23, but surprisingly enough, Fleming also knew how to make the most of the band's expert pop songwriting; with the tempos and guitars turned, the tunes gained a needed physical impact that brought the melodies and hooks into the forefront, where they belonged. Just as importantly, the spot-on harmonies that were the highlight of Dear 23 were still very much in evidence, resting atop the piles of fuzzy guitar chords like a dollop of hot fudge poured over a big scoop of ice cream. And prior to this, who knew that Ken Stringfellow and Jonathan Auer could rock out so hard (and so well) on guitars? One could argue that the big guitar attack of Frosting on the Beater was simply the Posies' way of trying to cash in on the grunge sweepstakes that briefly turned their hometown of Seattle into the center of the rock universe. But one listen also reveals that it transformed a smart but overly precious pop outfit into a hard-charging power pop band that gained a wealth of strength without giving up any of their smarts in the process — not a bad bargain.-AMG

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The Posies - Frosting On the Beater - 1993 pt 1

The Posies - Frosting On the Beater - 1993 pt 2

Teenage Fanclub - Grand Prix - 1995

Without casting off its basic approach, Teenage Fanclub (now including new drummer Paul Quinn) transformed itself into a Byrdsy/Beatlesque country-rock combo on Grand Prix. Completing an organic progression that leaves the group just on the other side of a crucial line in the stylistic sand, the enticing album tones everything down — sounds and emotions. The production is occasionally conspicuous, and the record lets the energy lag in spots, but it's a largely successful course adjustment. With McGinley, Love and Blake each writing a third of the songs, the diverse album takes cues from all sorts of eras and idioms; for every strong country leaning (the Revolver-ish "About You," the Chiltonesque "Neil Jung," the acoustic "Say No"), there's a more familiar-sounding pop number (the swoony "I'll Make It Clear," the daring "Verisimilitude," the rousing "Don't Look Back") and something unprecedented (the piano-based "Tears," the ripping/whispering "Hardcore/Ballad").-[Ira Robbins/Matthew Kaplan] Trouser Press

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Teenage Fanclub - Grand Prix - 1995

Cherry Twister - At Home With Cherry Twister - 2000

The title says it all: Cherry Twister are a homespun pop group, and At Home With Cherry Twister is a collection of their homemade demo recordings. Led by frontman Steve Ward, Cherry Twister embody the D.I.Y. ethic of Ram-era McCartney while sounding like they spend lots of time listening to Beach Boys and Big Star records. The guitars are alternately chiming and crunchy all over this one, with gooey, almost sticky-sweet background vocals drenched over every bridge and chorus. The problem is that it sounds better on paper. Like all too many of their peers, Cherry Twister fail to stumble across anything resembling a truly memorable hook (with a few notable exceptions, such as "Meteorite"). And at 16 tracks, the album is an awful lot to swallow, given the lack of an obvious entry point, and given that Steve Ward's rather pinched vocals are an acquired taste. Even with these limitations, At Home With Cherry Twister became one of the most popular guitar pop cult records of the late '90s, showing that Ward's endearingly quirky songwriting and the Twister's devotion to '60s-influenced three-and-a-half minute pop singles certainly reached quite a few listeners.-AMG

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Cherry Twister - At Home With Cherry Twister - 2000 pt1

Cherry Twister - At Home With Cherry Twister - 2000 pt2

Richard Lloyd - Alchemy - 1979

Shortly after Television's first finish, lead guitarist Richard Lloyd stepped out from Tom Verlaine's shadow with Alchemy, a gem of a solo album. Singing lead on ten of his own songs, Lloyd — backed by Television bassist Fred Smith, Jim Mastro of the Bongos and other New York scenesters — spins a beautiful, understated web. On his own, Lloyd, whose guitar skills remain beyond reproach, also proves himself to be a fine songwriter, a limited but engaging vocalist and a relaxed team player who never hogs the spotlight. The material (especially the wonderful title track and the stirringly pretty "Misty Eyes") is in the melodic, sensitive vein of late-period Television, minus Verlaine's rough edges and manic intensity.-Trouser Press [Ira Robbins]

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Richard Lloyd - Alchemy - 1979

Cheepskates - It Wings Above - 1988

The Cheepskates' "It Wings Above" is rooted in some of the same 1960s rock that informed their early work, but also has a somewhat more modern power pop and alt-rock sensibility. One of the chief traits distinguishing this from other retro-sounding groups is the light and winsome tonality of Shane Faubert's lead vocals, which contrasts heavily with the generic snot-brat garage attitude many revivalist-style combos adopt. There's a little bit of a surf thrust to the tempo and percussive drive of some of the tunes, which are generally airy and peppy love tunes. It's not a major accomplishment, but it's fairly pleasant pop-rock that's neither insipid nor crude.-AMG[Richie Unterberger]

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Cheepskates - It Wings Above - 1988 pt1

Cheepskates - It Wings Above - 1988 pt2

Splitsville - Presents...The Complete PetSoul - 2001

Splitsville's fourth album is a complete departure from anything the band had previously done. Originally recorded as a four-song EP to be given away as a sort of party favor at the first International Pop Overthrow festival in Los Angeles, the much-expanded The Complete Pet Soul is, as the title implies, a dual tribute to both Pet Sounds and Rubber Soul. On the original EP, the Pet Sounds influence came through more strongly, thanks to the heavily orchestrated feel, but on this full-length version, the orchestral tracks are nicely balanced with several new songs that recall the low-voltage, almost folk-rock sound that predominated on the original U.S. edition of Rubber Soul. Still, the Pet Sounds pastiche tracks are the real standouts simply for being done with such obvious affection and good humor, especially the swooning "Caroline Knows" and the almost Smile-like multi-part mini-operetta "The Love Songs of B. Douglas Wilson," which is the album's high point. Musically, it should have been the album's closing track, but instead, a cover of Burt Bacharach and Hal David's "I'll Never Fall in Love Again" recorded for the soundtrack of the cheerleading film Bring It On is tacked on at the end. It doesn't quite match the mood of the rest of the album, and it's certainly not a patch on Dionne Warwick's version, so it's an odd, equivocal ending to an otherwise superb album.-AMG

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Splitsville - Presents...The Complete PetSoul - 2001

Utopia - Utopia - 1982

Utopia followed Swing to the Right, their first album for Elektra subsidiary Network, a mere six months after, dubbing the new album Utopia. Presumably, an eponymous release signaled a new beginning for the group, which is true to a certain extent. Utopia finally became a true collective here, with each member's contributions sounding remarkably similar, in performance and composition. Very few tunes bear an unmistakable Rundgren stamp, and even when they do, it's been processed into a signature Utopia sound — the first time they could truly be said to have a sound of their own. Strangely, this happens on an album where the group makes a self-conscious effort to sound contemporary, dressing in new wave gear for the cover shoot while molding the music after synthesized new wave pop. Granted, that quirkiness masks a fairly traditional set of Utopia arena pop, yet these songs wind up as the most consistent album in the group's catalog — which is saying a lot, considering that the album spreads over three sides. Utopia rarely sags in momentum, and even the weaker songs aren't far removed from the stronger material, highlighted by "Bad Little Actress," "Hammer in My Heart," "Princess of the Universe," and the excellent single "Feet Don't Fail Me Now." They had their moments before, but Utopia is where the band finally made a thoroughly enjoyable record; too bad they couldn't extend it through their final two records.-AMG

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Utopia - Utopia - 1982

The Shimshaws - Subcutaneous - 2004

An amazing CD, arriving out of the blue, looking no different than any other---but *sounding* like something else, something that will ingrain long term memory inside its many beguiling and piquant melodies. It`s an interesting blend of classic power pop, rootsy pop and jangly Americana. Don`t let the last one scare you, pop fans, if yr not into the whole No Depression thing...this is all about well-crafted pop. We`re talking a wide range of coolness.....Bill Lloyd, Richard X. Heyman, The Reivers, The dB`s and "Dear 23"-era The Posies(quite a bit) but also Steve Earle and John Hiatt, you`ll hear in new context. Unpretentious melody, spirited hooks drive the entire CD from start to finish, this is jangle-roots-pop of the highest sort and The Shimshaws` alluring and fetching grasp of melody and illustrious hooks will leave many picking this up dropping us a line and say "Yo, many thanks!". Which brings us full circle: This is what Not Lame is all about. Extremely Highly Recommended.- Not Lame

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The Shimshaws - Subcutaneous - 2004

The Poppin' Wheelies - The Poppin' Wheelies - 2000

In 1995, Robin Wilson, lead singer of Gin Blossoms, had an idea for an animated TV series, called The Poppin' Wheelies: a teenage rock & roll band with a magical guitar travels through outer space while being chased by an evil witch's minion new wave band, the Techno-pops, who try to retrieve the enchanted instrument. The disc's artwork was done by Alejandro Garza (E.V.E Protomecha), one of the top names in the comic book industry. The Poppin' Wheelies character design is largely based on locals of the Tempe music scene, including late Gin Blossoms founder Doug Hopkins. The concept for the show harks back to a time when rock was a staple of Saturday morning. Inspiration for the show came from the cartoons of the 1970s, including The Banana Splits, Captain Kool and the Kongs, Josie and the Pussycats, The Bugaloos, and even The Osmonds. The The Poppin Wheelies soundtrack is as sweet as a bowl of Sugar Crisps cereal and is a collection of ten bubblegum pop songs, including covers of tunes by Starclub and Tommy Keene. Keene, an overlooked power pop musician who heavily influenced Gin Blossoms, is also the inspiration for the main character, Otis. The Poppin Wheelies combines Wilson's true loves: rock & roll, sci-fi/fantasy, comic books, and animation. Fans of Gin Blossoms should track this CD down. It's a fun, Beatlesque record, especially for those who feel that the sweet pop sounds of the 1980s went away too fast. Distributed through Wilson's website: www.poppinwheelies.com and Diamond Comics Distributors.-JT Griffith, All Music Guide

The Poppin' Wheelies - The Poppin' Wheelies - 2000

Model Rockets - Tell the Kids the Cops Are Here - 2002

Saying that a band is power pop may automatically evoke thoughts of Big Star, the Raspberries, or the Knack, but such a narrow definition would completely miss a band like Model Rockets. Yes, they are power pop — whatever that means — but they owe a lot more to late-period dB's than to any of the above. Actually, the dB's comparison is crucial here, as not only does Tell the Kids the Cops Are Here sound pleasantly like Sound of Music-era dB's, but lead vocalist John Ramberg is occasionally a vocal dead-ringer for Chris Stamey. And as if that isn't enough, Scott McCaughey of the Young Fresh Fellows returns to twiddle the knobs on this release. If any of those references sound familiar or give an idea of what to expect, then Tell the Kids the Cops Are Here is almost certainly for you. The Rockets' old sense of humor is intact here, with lighthearted if not explicitly goofy lyrics sprinkled throughout the album, and the songwriting is consistently memorable and upbeat. Model Rockets are very much a jangle pop band, but are easily one of the best bands in that often hit-or-miss subgenre; while many rely too heavily on craft and style, Model Rockets' sardonic wit, unpolished hooks, and willingness to delve into both alt-country and post-punk give this album its vital edge. Even the tracks that don't make an instant impression reveal their charms on repeat listens, establishing Tell the Kids the Cops Are Here as one of those rare pop records that sounds different — and better — on the tenth, 30th, and 50th listens.-AMG

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Model Rockets - Tell the Kids the Cops Are Here - 2002

Sloan - Twice Removed - 1994

This is the sophomore album from critically acclaimed Canadian power pop act Sloan. Twice Removed contains 12 tracks of accomplished pop that evokes the sunny charm and effortless melodicism of The Beatles and The Beach Boys. "4 1/2 stars.. Twice Removed is a clever and varied collection of smart and catchy pop songs. Without the grunge-era production that smothered some of the best songs on Smeared, the sparkling wit of the lyrics and catchy directness of the melodies shine through. All four members write and sing, which accounts for the variation between songs like the punkish opener, "Penpals," and the chiming guitars and "ba-ba-ba" chorus of the sublime "People of the Sky," the highest of the album`s high points. Other goodies include the puckish media slam "I Hate My Generation" and the dreamy, largely acoustic closer, "I Can Feel It," with its harmonies by Jale`s Jennifer Pierce. Not everything works quite so well -- the seven-minute "Before I Do" is at least two and a half minutes too long -- but Twice Removed was the first indication that Sloan was more than Canada`s answer to the Lemonheads."-AMG

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Sloan - Twice Removed - 1994

Velvet Crush - Teenage Symphonies To God - 1994

This is a HUGE classic of the `power pop` idiom and new comers to `the sound` should consider this to be one of, say, 20 `must haves` to represent what insanely memorable and catchy pop music is all about. "4 1/2 stars......Velvet Crush`s second album is an old-fashioned pop record: 12 songs in 40 minutes, filled with ultra-melodic guitar hooks and simple, memorable melodies. While it`s traditional in form, the music on Teenage Symphonies to God isn`t retro. Velvet Crush manage to inject a real enthusiasm and freshness in the standard three-minute pop song, whether they`re playing originals that sound like forgotten classics ("Time Wraps Around You," "This Life is Killing Me," "My Blank Pages," "Hold Me Up") or forgotten classics themselves ( Gene Clark `s "Why Not Your Baby" and Matthew Sweet `s "Something`s Gotta Give"). With a crisp, warm production from Mitch Easter ,Teenage Symphonies to God is one record that deserves to take its title from Brian Wilson ."-AMG

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Velvet Crush - Teenage Symphonies To God - 1994

Any Trouble - Where Are All The Nice Girls? - 1980

Any Trouble was an underappreciated bright spot on Stiff Records, a label which had no shortage of talented artists. Bandleader Clive Gregson's appearance, hardened love songs, and vocal style may have led to comparisons to Elvis Costello, but they were no second-rate rip-off — each of their four albums revealed a songwriter of unique talent and a more-than-capable band to execute the songs.

Stiff enlisted John Wood, a renowned producer (Nick Drake, John Martyn, Richard Thompson) who had recently produced Squeeze, to produce Any Trouble's first album. "Where Are All the Nice Girls?" which had all the makings of a new wave classic, was met with some rave reviews but failed to rack up the big sales that were expected of it. After the record failed commercially, Stiff suggested that Gregson drop the band and redefine himself as a solo artist à la Elvis Costello. Gregson declined, deciding instead to replace the band's weak link, drummer Harley, with the more capable Martin Hughes. They began work on the follow-up immediately.-AMG

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Any Trouble - Where Are All The Nice Girls? - 1980 pt1

Any Trouble - Where Are All The Nice Girls? - 1980 pt2

The Rubinoos - Back to the Drawing Board - 1979

For a brief moment, the Rubinoos seemed to be the last hope for pure pop music, carrying on the tradition of the Raspberries with an engaging blend of innocent bubblegum and power pop. The band was formed in 1973 by teenage friends Jon Rubin (vocals, guitar) and Tommy Dunbar (guitar, keyboards, vocals) along with Royse Adler (bass) and Donn Spindt (drums), but it wasn't until 1977 that they made their recording debut for Beserkley Records. The single, a cover of Tommy James' "I Think We're Alone Now," made an appearance in the lower reaches of the U.S. charts, giving the indie label their first hit. The same year, their self-titled debut LP received rave reviews all-around but failed commercially.

Back to the Drawing Board (1979), another solid collection of bouncy pop songs, again went ignored despite its classic single "I Wanna Be Your Boyfriend." The band effectively broke up the following year.-AMG

The Rubinoos - Back to the Drawing Board - 1979

The Bad Examples - Bad Is Beautiful - 1991

One of the salutary side effects of rock's indie-fueled progression leftward has been a general elevation of bar-band standards. The number of balding journeymen bashing out today's chart hits for tonight's barflies probably hasn't shrunk, but today's population of knockabout groups with tried and true virtues, a thorough lack of trendy pretensions and the burning ambition to write and record their own material have appreciably more on the ball than those Johnny B. Goode-enough rockers largely displaced when underground modernists took over most urban sinkholes possessing a stage and a sink.
The Bad Examples is a good example of this upward trend. In its poppy Beatlisms, the Chicago quartet bears more than a passing resemblance to another onetime bar band, Squeeze. Singer/guitarist Ralph Covert writes solidly tuneful songs in a variety of Midwest rock veins (one of which favors the Spin Doctors); the group plays 'em all with engaging skill — if an unfortunate weakness for shmaltz. Although there's absolutely no need for another desolate number about waiting for the phone to ring ("Statue by the Phone"), and the phrase "sick and tired of being sick and tired" (used in "Ashes of My Heart") is hereby banished to the songwriters' book of untouchable clichés, most of the numbers on Bad Is Beautiful say something original in an easily familiar way. "Faces in Picasso's Notebook" is a touching post-breakup get-together; "One Perfect Moment" removes a skeptical curtain from romance; "Stranger Than Fiction" and "Promises in the Dark" both acknowledge encroaching adulthood: "Someone as old as you should never look for the truth/In promises made in the dark." -[Ira Robbins]Trouser Press

The Bad Examples - Bad Is Beautiful - 1991

Material Issue - International Pop Overthrow - 1991

Material Issue were on the great shining lights in the power pop scene in the early 90`s when there was not much to it. This debut was their best selling(supposedly sold 300,000).

MI married the tight and melodic commercial appeal of acts like Cheap Trick and the Knack with the jangly guitars and cockiness of early-`90s Britpop. "4 1/2 stars... singer/songwriter and guitarist Ellison and partners Ted Ansani on bass and Mike Zelenko on drums sound like power pop classicists, worshiping at the altar of Big Star, the Raspberries, and the Scruffs, though Ellison`s melodies are leaner and more direct than those of his obvious inspirations, and his willingness to turn up the tempos and let the guitars distort reminds all listeners that punk influenced good pop as much as pop influenced good punk.. he production by Jeff Murphy (whose band Shoes was doubtless another key influence on MI`s sound) is clean and uncluttered, but maybe a bit too much so -- while nothing gets in the band`s way, the group rarely displays as much power as it deserves, and the boomy sound could stand to be balanced with a bit more top-end crunch. But anyone who was looking for the future of power pop in 1991 might well have imagined these guys were it, and not without reason -- International Pop Overthrow is smart, hooky, and not afraid to sound edgy or let the amps go into the red."-AMG

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Material Issue - International Pop Overthrow - 1991

Dirty Looks - Dirty Looks - 1980

Not to be confused with the Hard Rock band from the late 80s, THIS Dirty Looks (Patrick Barnes, Peter Parker and Marco Sin) signed to Stiff in 1979 after only 10 gigs and have the unique record of claiming Stiff's biggest ever selling album in the US. Their eponymous debut album was released to positive reviews in August 80 - produced by Tim Friese-Green, it included a duo of great singles in 'Let Go' and 'Lie To Me'. Epic released the album in the US where it sold almost 100,000 copies.
"If you can get past the flat, brittle production on Dirty Looks (try cranking it up loud), you`ll find this Staten Island, New York trio playing power pop with a vengeance. Chief assets: good melodic instincts coupled with tight, lean drive, like an adolescent Cheap Trick gone new wave. Moodily ranging through taut reggae ("Disappearing"), crazed quasi-rockabilly ("Drop That Tan"), even an emotionally masochistic ballad ("Lie to Me"), they may seem to let their depression run away with them, but when Dirty Looks soar, you might even be convinced that "rock`n`roll is still the best drug" (from the memorable "Let Go"). "-TrouserPress

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Dirty Looks - Dirty Looks - 1980

The Records - The Records - 1979

Shades in Bed...
The Records are probably best remembered for their cult classic and minor hit "Starry Eyes" -- a near-perfect song that defined British power pop in the '70s. And while they never quite matched the success of that record, their high-quality output from 1979 to 1982 has not only held up better than most of the era with its timeless appeal, but has also served as a blueprint for the various waves of British and American power-pop since then. Some have gone as far as to call them the "British Big Star," which is probably a fair comparison -- within their genre, they're seen as giants, yet the general public has missed them for the most part.-Chris Woodstra, All Music Guide

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The Records - The Records - 1979

The Cretones - Thin Red Line - 1980

Los Angeles-based power pop combo the Cretones were comprised of singer/guitarist Mark Goldenberg, bassist Peter Bernstein, keyboardist Steve Leonard, and drummer Steve Beers. After signing to Richard Perry's Planet Records, the Cretones issued their debut LP, Thin Red Line, in 1980. Linda Ronstadt was so impressed with the record that she covered the cuts "Mad Love," "Justine," and "Cost of Love" on her new wave-inspired album, also titled Mad Love, which additionally featured Goldenberg on guitar. The Cretones resurfaced in 1981 with Snap! Snap! -- although the album was their final recording, they never officially split.-Jason Ankeny

Ripped from vinyl @ 320. Hope you enjoy it!

The Cretones - Thin Red Line - 1980

One Lone Car - North, South, East & the Rest - 2008

One Lone Car's latest full-length was recorded at Uranus Recording in Tempe, Arizona, the facility owned by Gin Blossoms frontman Robin Wilson. The connection is not tangential: The local quartet has opened for the "Hey Jealousy" hitmakers several times over the past year, for starters. And like the Gin Blossoms, One Lone Car spins sweet, loaded pop songs that are a bit more substantive than bubblegum-pop and better crafted than most radio-ready modern rock. Dustin "Dei" Plegge heads up One Lone Car with a pure, emotive voice capable of displaying decent range. He pulls the whisper-to-a-scream crescendo in "Highway," the album's most full-on rock track, but most songs find him a little bruised but never broken.-Christian Schaeffer(riverfronttimes.com)

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One Lone Car - North, South, East, and the Rest