Wreckless Eric - Wreckless Eric - 1978

Wreckless Eric's eponymous debut is a ragged, endearing collection of crude rock & roll. In a way, crude doesn't even begin to describe Eric's music. A muddle of scratchy guitars, pounding drumming, and snarled, indecipherable vocals, the record is pure, primal garage rock in the old-fashioned sense. Although Wreckless Eric has the demeanor of a punk, his music is straight-out rock & roll in the old-fashioned sense — there's even saxophones and organs popping out of the mix. What makes Wreckless Eric such fun is its combination of catchy hooks, spirited playing, and downright rudeness. Only a handful of songs are fully formed, and those — "Whole Wide World" and Ian Dury's "Rough Kids" — are punk-inflected pub rock classics, pure pop songs in every sense of the term. The remainder are off-kilter, idiosyncratic pop songs — about everything from "Personal Hygiene" and "Waxworks" to "Telephoning Home" and "Brain Thieves" — performed with sloppy, drunken abandon. Too punk for pub rockers, too straightforward for punk, and too weird for everybody else, Wreckless Eric's debut album is one of the small gems of the punk era.-AMG

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Wreckless Eric - Wreckless Eric - 1978

The Everyday Things - Lighten Up, Francis - 2005

Produced by Spongetones leader Jaime Hoover, the classic refrains of The Beatles ring crystal clear all over The Everyday Things` awe-inspiring debut, "Lighten Up, Francis". Clear, readily identifiable echoes of timeless bands like The Plimsouls, The Beat(Paul Collins), The Romantics and 20/20 are enough reason to drop everything right now and listen to the soundbites below. But remember the movie "That Thing You Do" and those insanely catching numbers The Wonders, the fictional Beatles-inspired mop top band, were playing? Well, praise be to the pop heavens, The Everyday Things remind us The Wonder, as well as Barry And The Remains and The Zombies(and, yes...The Spongetones` "Beat And Torn"). This British-Invasion power pop done as preciously and gloriously as can be done, pop fans. -Not Lame

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The Everyday Things - Lighten Up, Francis - 2005

New Radicals - Maybe You've Been Brainwashed Too - 1998

The more things change in music, the more they stay the same. The alternative rockers of the 1990s may have caused so-called corporate rockers like Poison and Bon Jovi to become less visible, but at the same time, the worship of 1970s baby boomer culture was alive and well among post-baby boomers. In 1998, one of the most memorable examples of 1970s-flavored music came from the New Radicals. Although Radicals singer/leader Gregg Alexander was quick to espouse a left-wing point of view, Maybe You've Been Brainwashed Too doesn't beat listeners over the head with a sociopolitical agenda. Nor is the CD an exercise in angry 1990s angst rock. Rather, Alexander's band is a congenial and highly melodic throwback to the rock and blue-eyed soul of the early to mid-'70s. Alexander's vocals have a very Mick Jagger-ish quality, but while the Rolling Stones were a rock & roll band that occasionally dabbled in soul and funk, the Radicals favor pop/rock that is consistently mindful of classic Northern soul. Hook-happy offerings like "Jehovah Made This Whole Joint for You," "Flowers," and "Mother We Just Can't Get Enough" give the impression that Alexander holds the Stones and the artists of Motown Records in equally high regard. Without question, Brainwashed was among the more promising releases of late 1998. -AMG

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New Radicals - Maybe You've Been Brainwashed Too - 1998

707 - 707 - 1980

The best of 707's albums, their self-titled debut wasn't much different than its album-rock comrades of 1980, except 707 had a nice guitar-pop touch to their sound, as in their moderate hit and album opener, "I Could Be Good for You." The rest of the album maintains the first track's momentum for the most part, and is ultimately quite enjoyable. -AMG

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707 - 707 - 1980

Hoodoo Gurus - Magnum Cum Louder- 1989

1987's Blow Your Cool! found the Hoodoo Gurus adding a considerable amount of polish to their production and toning down their trademark humor in a bid for a wider audience. But in the United States, it didn't pay off; Blow Your Cool! opened few new doors for the Gurus, and they were dropped by Elektra Records. Thankfully, 1989's Magnum Cum Louder found them newly contracted to RCA Records and sounding like their loyal fans loved them to sound — loud, hooky, and rockin' out with a smile on their collective face. The album's opener, "Come Anytime," was the Gurus' most irresistible pop song since "Bittersweet," and "Another World," "All the Way," and "Baby Can Dance (Pts. II-IV)" proved they hadn't used up all their good hooks in one place. Meanwhile, those wanting something stronger got their fix with a handful of top-shelf rockers, most notably "Axegrinder," "Glamourpuss," "I Don't Know Anything," and "Death in the Afternoon." The high wackiness of Hoodoo Gurus classics like "Hayride to Hell" and "Dig It Up" is still missing from Magnum Cum Louder, but the overall tone is much more relaxed than Blow Your Cool!; Dave Faulkner seems to be having a fun with the songs here, especially the mock-pompous "Axegrinder," the smirking "Glamourpuss," and the baseball saga/music biz metaphor "Where's That Hit." The Hoodoo Gurus also went back to producing themselves, and the audio is full but uncluttered, with a roomy, natural sounding mix that flatters Brad Shepherd's guitars and Mark Kingsmill's drums more than the slicker, sterile sound of Blow Your Cool! Magnum Cum Louder proved that the Hoodoo Gurus knew better than anyone how to make a great Hoodoo Gurus album, and it marked a welcome return to form for the band.-AMG

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Hoodoo Gurus - Magnum Cum Louder- 1989 pt1

Hoodoo Gurus - Magnum Cum Louder- 1989 pt2

Rockpile - Seconds of Pleasure - 1980

During the late '70s, Rockpile was the touring band for both Dave Edmunds and Nick Lowe. Like Edmunds, the band was passionate about traditional rock & roll. Like Lowe, the band played with a reckless, trashy abandon. Driven by the powerful rhythm section of drummer Terry Williams and Lowe's bass, guitarists Billy Bremner and Edmunds were free to spit out crushing rock, blues, rockabilly, and country licks. With their fierce live energy and unpretentious rock & roll, the band fit easily into the post-punk new wave at the end of the decade.
Although they only released one album as a group — 1980's Seconds of Pleasure — the band provided support for most of the albums Lowe and Edmunds recorded in the late '70s. After the rushed release of Seconds of Pleasure, the band toured one last time before splitting apart, largely due to mismanagement. All of the members continued to occasionally collaborate with each other throughout the '80s. -AMG

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Rockpile - Seconds of Pleasure - 1980 pt1

Rockpile - Seconds of Pleasure - 1980 pt2

The Spongetones - Oh Yeah! - 1991

One of the most underrated power pop bands of the '80s, the Spongetones released several albums of effortlessly catchy guitar pop that captured the feel of '60s British Invasion pop with remarkable accuracy and innocent charm. While they never received much critical or commercial attention, their music has aged much better than most power pop of the era (late-70s early-80s) and among specialists, they're highly revered not only for their studio prowess but also for their spirited live shows. They are one of the few bands to carry on past the "skinny tie" fad into the '90s gracefully — not as strict revivalists but as something unique. The band, comprised of Steve Stockel (vocals, bass), Pat Walters (vocals, guitar), Jamie Hoover (vocals, guitar), and Rob Thorne (drums), began as a covers band in Charlotte, North Carolina in the early '80s. They signed to the Ripete label in 1982 and released their first full length, Beat Music the same year, following with the Torn Apart EP in 1984 — the latter featuring esteemed guests, Don Dixon, Mitch Easter and REM on hand claps. Stoeckel temporarily left the band, returning in 1991. By 1987, it seemed the Spongetones wanted to distant themselves from their revivalist reputation, leaving Ripete in favor of the independent Triapore and recording probably their most experimental and most un-Spongetones album, Where-Ever-Land. The album, produced by Don Dixon, flirted with garage rock, psychedelia, and the more fashionable jangle pop — all in all it marked a more muscular and harder edged approach. The experiment failed for the most part and was short-lived. The band signed to Vinyl Records (owned by power pop icons the Shoes) and found a true home in 1991.

The Spongetones return after a long absence with 1991's Oh Yeah! They effectively pick up where they left off in the '80s with their infectious Beatlesque power pop. Easily their best songwriting, and a good place to get acquainted with the band. -AMG

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The Spongetones - Oh Yeah! - 1991

Pete & the Pirates - Little Death - 2008

First things first: there'll be no 'aarrrs', 'm'lads' or references to wooden legs and scurvy, if you please. Pete & the Pirates may have a nautically-themed moniker, but cheap cliches are the preserve of those with little originality or flair - something that this Reading band are thankfully bristling with. Besides, P&tP deserve better, quite frankly. Why? Well, because they've released one of the best bloody albums you'll hear all year, that's why.
Although they've been knocking around the London scene for the past few years, having released several EPs on ace indie label Stolen Recordings (on which frontman Tommy Sanders also released a brilliant album via his Tap Tap handle last year), Little Death is the quintet's debut full-length release. A 35-minute-long collection of brief, guitar-based indie-punk-poplets, the Gareth Parton (of Go! Team fame) -produced album may sound like your average British indie at first - but go away, clean your ears out, and then come back and revel in the sheer brilliance of this record.
What sets Pete & the Pirates apart from their peers is their knack for brevity in quality; not a single track here outstays its welcome (are you listening, Los Campesinos!?). Sanders' voice, too, is a beautiful thing, capable of soothing (Moving, Humming, She Doesn't Belong) and skewering (Knots, Dry Wing) with equal poise. There are songs here that will clatter and warble their way into your heart - most notably the brilliant Mr. Understanding and the Shadows-like Bright Lights - while Come On Feet is simply the epitome of the perfect sub-three minute indie-pop song. -[Lauren Murphy]

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Pete & the Pirates - Little Death - 2008

Panic! at the Disco - A Fever You Can't Sweat Out - 2005

The state of pop-punk/emo in 2005: it's hip to be self-aware. "Dear studio audience," Panic! at the Disco vocalist Brendon Urie quavers in "The Only Difference Between Martyrdom and Suicide Is Press Coverage." "I've an announcement to make/It seems the artists these days are not who you think." He goes on to shout out, "Applause! applause!" His lyrics also say he's the narrator, but that's for debate, because later on A Fever You Can't Sweat Out Urie hoots about meeting the press and his band being a "wet dream for the webzines," so who's worrying about stardom now, the narrator or Panic! at the Disco? With Fever it's clear that the MySpace revolution has come full circle — no longer just a convenient promotional tool, the site is now something to sing about. Writing music that webzines actually want to cover should be more important that assuming they will and then obsessing over it. But bands like Panic! at the Disco don't see that. On Fever they fill the gaps between their formulaic guitars and warbling urgency with painstakingly layered vocals, trumpet, vocoder, and weird breakdowns of rickety piano or synths. This is a band in love with making a record — making a statement — but there's nothing unique inside, neither in their formula nor the vaunted and sticky production. Panic! at the Disco's name doesn't even ring true — the guitars, keyboards, and bittersweet vocals of the Panic Division ring close enough to cause real identity problems. -AMG

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Panic! at the Disco - A Fever You Can't Sweat Out - 2005

Silver Sun - Disappear Here - 2005

Disappear Here is an album that is built to be enjoyed in the classic Silver Sun style. This is how pop music should be made; ten tracks and it`s all over in exactly thirty minutes as the band adhere to the three-minute template of the perfect pop record. It`s impossible not to get that adrenalin rush you get from hearing boisterous guitar pop catchier than a dose of chicken pox. You just can`t help but to want to dance to this record. Nowhere is this more evident than on the first single taken from the album, `Bubblegum`. As the album opener this sets out the Silver Sun manifesto in three perfect minutes. The guitars crunch gloriously, while the melodies forcefully implant themselves in your brain. By the time the `na-na-na-na-na-na-na-na-na-na` section kicks in it`s sugar-coated power-pop heaven.. opefully the world will be ready this time around for Silver Sun`s brand of high energy power-pop and this album will see the band back in the spot-light in 2005. As James Broad advises in the sleeve-notes, `the way to enjoy this? - play it loud.-Americana-UK.com.

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Silver Sun - Disappear Here - 2005

My Brother Woody - It's a long way from that sort of thing you were raised - 2007

My Brother Woody is the creation of Irish songwriter Michael Cleare. The band name comes from the name of a song by The Free Design. "Warm indie-rock awash with the summer harmonies of late 60s pop culture, their début is proving to be quite a pleasant indulgence. Described before as The Beach Boys meets Teenage Fanclub, the material is buoyantly harmonic, yet more often than not remains delicate in delivery. The album opens in an elegant and delectably frail manner with 'Another Wave Of Harmony' before leading into the confident and uplifting brass sounds of 'Wish I Was A DJ', injecting quite a jazz-pop lift to that Beach Boys summer vibe. Elsewhere the album is nicely poised between dippy and melancholic moods, and is quite a triumph of indie-pop!" - Frequency-Ireland.blogspot.com "Full of infectiously catchy melodic sounds with a real emphasis on the summery pop sound, it has a real 60's pop feel to it with lots of great vocal harmonies and some lovely mellow brass soundsstrategically placed in their superbly written catchy pop songs!" - Road Records "This record does a few things to me: One thing it does is make my toe tap. That immediately gets my vote. Great grooves all over the place. And secondly: It feeds my power pop and songcraft jones like no one's business! What if Dennis Wilson sang with The Pernice Brothers and the songs were co-written by Pernice, Paul Westerberg of The Replacements, Paul Weller (circa Style Council), Crowded House, and arranged by Brian Wilson and Sufjan Stevens? It would be My Brother Woody. This band is standing tall in the classic tradition of great Dublin pop bands (Pugwash and The Thrills to name two in a city packed with amazing pop bands). This record is pop with a capital 'P', and shows a lot of work and dedication to the art of songwriting. The arrangements are mature and subtle and the lead vocals are strong and sure. If you like your music catchy, filled with pop, meaningful, and with a lot of soul, then this is for you!" - [Nelson Bragg ] Kool Kat Musik

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My Brother Woody - It's a long way...- 2007

Jellyfish - Bellybutton - 1990

Including lead singer/guitarist Andy Sturmer, bassist Jason Falkner, and keyboardist Roger Manning, the San Francisco band Jellyfish released their 1990 debut Bellybutton to critical raves. Despite the kudos and some play at video outlets, the album failed to make much of a commercial impact. It was truly unfortunate because Bellybutton, despite obvious influences, was a breath of fresh pop air. "The Man I Used to Be" kicks off the album as a catchy song about domestic failure wrapped in nautical metaphors. The single "The King Is Half-Undressed" is a slice of effervescent power pop whose melody runs counter to the lyrical theme of loneliness. In fact, behind the bounce and breeze of Bellybutton's engaging songs is a recurring theme of melancholy and longing like "She Still Loves Him," with its stirring vocal harmonies and a blistering guitar solo, and the punchy "All I Want Is Everything." Better yet is the second chance the singer delights in on the joyous "Baby's Coming Back," which is accentuated with handclaps. Delightful. -AMG

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Jellyfish - Bellybutton - 1990

The New Pornographers - Twin Cinema - 2005

Canadian indie-rock supergroup led by Carl Newman (previously of Zumpano and Superconductor), the New Pornographers produce totally over-the-top power pop, saturated with nearly every exciting trick in the rock songbook. Stop-start turns, Beach Boys harmonies, squiggly synthesizers, fuzzy guitar chords, layer upon layer of sound — the New Pornographers pack songs with maximum pop pleasure. No matter that Newman came up with the band name before he learned that Jimmy Swaggart once called music "the new pornography": their music offers an obscene amount of fun. Primary songwriter Newman is joined by Dan Bejar (who leads the excellent Destroyer), alt-country singer Neko Case and three other Vancouver indie-scene vets in this side-project that rapidly turned permanent after the accolades that greeted Mass Romantic.

While the band's first two albums could be considered uniform to a fault (though it’s hard to fault a formula that works so well), Newman, Case and Bejar seem to have agreed to free their individual personalities more for Twin Cinema. The result is a more challenging and dynamic album. Newman's new direction here is reminiscent of the shift his former band Zumpano took on their second album, Goin' Through Changes: while the off-kilter time signatures still abound, the melodies are subtler and the production (by Newman alone) is less overwhelming. Bejar’s three songs are less of a departure, but his standout is a duet with Case on "Streets of Fire," a song which first appeared on a Destroyer album more than a decade earlier. (So much for his don't-look-back mentality and the Pornographers' determined submersion of individualism). For her part, though, Case seems uncomfortable taking the reins, and the two songs on which she sings lead are tinny and plodding, with mannered vocals and none of the raw power that made "Letter to an Occupant" and "The Laws Have Changed" so irresistible. She seems much more comfortable providing warm harmony vocals on a third of the songs, which would be fine if she hadn’t already set the bar so high. - [Steve Klinge / Ira Robbins / John Proctor]AMG

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The New Pornographers - Twin Cinema - 2005 pt1

The New Pornographers - Twin Cinema - 2005 pt 2

The Real Kids - The Real Kids - 1977

The Real Kids were one of Boston's earliest new wave bands; their debut album is full of dynamite tracks that take the trashier aspect of the Rolling Stones and couple it with the high-power guitar approach of the Ramones. Frontman (and onetime Modern Lover) John Felice not only provides tough guitar and distinctive lead vocals, he has a knack for writing clear, infectious melodies. Spin "All Kindsa Girls," "She's Alright" or "My Baby's Book" for proof. -Trouser Press

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The Real Kids - The Real Kids - 1977

Sugarcult - Start Static - 2001

Sugarcult's debut disc is a quasi sugar-coated power pop album with punk overtones and a healthy dose of self-effacing humor. Escapism, skepticism, and a devil-may-care view of the world around them are the primary themes that weave their way into the lyrics on this high-energy stripped-to-the-bone collection by this frisky So-Cal quartet. As evidenced in the fiery anthem "Stuck in America," vocalist Tom Pagontta joyfully proclaims "everyone's talkin' 'bout blowing up the neighborhood/all I ever wanted to do was get away." "Saying Good-bye" is a pathos-filled paean of teenage heartbreak with an explosive chord progression so familiar that documenting it would seem like an accusation of plagiarism, which, in rock & roll of this nature, is an exercise in futility. "Bouncing Off the Walls" is yet another joust at the perils of romance, only this time the protagonist dips into his parent's cocaine stash to relieve the pain. On Start Static, Sugarcult has mastered the don't-bore-us-get-to-the-chorus approach to near perfection.-AMG

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Sugarcult - Start Static - 2001

DB Cooper - Buy American - 1980

I know very little about DB Cooper, but I do know it is a gem. They hailed from Santa Barbara, Ca. Warner put out this record with little or no support, and features a talented US band whose members included Jon Chapman(drums and backup vocals), Roger Heath (guitar and backup vocals), Robby Scharf(bass and backup vocals) and Ric Streeter(guitar and backup vocals). Backup Vocals on "Forever Rock 'N' Roll" by Jeff (Pranks) Foskett.With an Elvis Costello flavor and maybe a hint of the Iron City Houserockers thrown in DB Cooper is a must have for any Power Pop Fan. There was a minor label release EP (Every Man a King) from earlier in 1980.

From digivinyltal.blogspot.com

DB Cooper - Buy American - 1980

The Pursuit of Happiness - Love Junk - 1988

The first LP from this Canadian quintet seemed like a godsend to many aging rock fans; Love Junk combines grown-up irony with obsessive adolescent lust, setting it all in a convincing, energetic hard rock-pop crunch. Lead singer/songwriter/guitarist Moe Berg's lyrics are simultaneously literate, wise, poignant and irremediably horny. The key cut on the LP is the wry "I'm an Adult Now," but that's just for starters; Love Junk is delightful and surprising from beginning to end. Berg's chord changes and structure bear the unmistakable influence of Todd Rundgren, who proved a most simpatico producer as well.-[Glenn Kenny] Trouser Press

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The Pursuit of Happiness - Love Junk - 1988

The Innocents - Pop Factory - 2006

The Innocents evolved from an Australian power pop band called Beathoven, which scored a few hits down under back in the 1970s; while the Innocents had talent to spare, they didn't have the same luck as their earlier incarnation, and significantly a retrospective collection of their 1980s recordings was called No Hit Wonders from Down Under. However, despite wives, kids, and day jobs, the Innocents never completely gave up the ghost, and 2006's Pop Factory shows they haven't lost a bit of their touch over the years. Pop Factory is a glorious collection of sun-dappled melodies, superb harmonies, chiming guitars, and songs that would have done the Hollies or Badfinger proud once upon a time. Guitarists David Minchin, Rob Smith, and Charles Touber and bassist Greg Cracknell all sing and write the tunes, and each delivers the goods here, from the small-time musician's lament "Here Comes the Loser" to the glorious upbeat romance of "Your Precious Touch," and their production smarts are just as keen as their musicianship. While sunny pop is the order of the day (for the most part), they know how to crank up the tempo when the tune demands it, and the rock guitar figures on "While I Sleep" suggest they remember what it was like to open for AC/DC all those years ago. Pop Factory doesn't sound like the work of a handful of week-enders trying to relive their brief moment of pop stardom, but instead stands as a mature and vital work from a band that is as talented and committed as anyone making classic-style pop today. Those wishing that either Alex Chilton or Eric Carmen would come to their senses and make great records again will find new heroes after giving the Innocents a listen. -AMG

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The Innocents - Pop Factory - 2006 pt1

The Innocents - Pop Factory - 2006 pt2

Emitt Rhodes - Emitt Rhodes - 1970

Most cult heroes are cult heroes by design. Either his or her music is too esoteric to be accepted by the mainstream, or his or her personality too erratic or weird for most people to understand or tolerate. In either respect, the artist usually has sought out selective rather than widespread acceptance on purpose. The cult audience, in turn, is grateful for the opportunity to feel superior to all the stupid, smelly legions of idiots who make up the majority of the music-buying public.
Then there's people like Emitt Rhodes, who's a cult hero for no good reason whatsoever. Far from obscure, his music is loaded with melodic charisma, that essential ingredient that makes you want to hear some records over and over again. Often called a musical dead ringer for Sir Paul McCartney, Rhodes is really the Macca we all wish Macca would be: an incredible pop tunesmith without all the gooey sentimentality and overflowing cuteness. The crown jewel of Rhodes' small body of work is his self-titled debut album. Released to critical acclaim and modest commercial success in 1970, Emitt Rhodes has since taken on mythical status among power-pop and '70's rock aficionados. The album is a tour-de-force: just like McCartney on his first solo album, Rhodes played all the instruments and sang all the vocals himself. But even more impressive are the songs. Only 20 years old at the time, Rhodes had already absorbed the best of '60s rock and matched it. Lennon/McCartney certainly weren't writing songs the caliber of "Somebody Made for Me" or "With My Face on the Floor" at that age. This precocious, good-looking kid should have been unstoppable.-[Steven J. Hyden]Perfect Sound Forever

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Emitt Rhodes - Emitt Rhodes - 1970

Fountains of Wayne - Welcome Interstate Managers - 2003

Fans waiting for Fountains of Wayne to finally quit goofing around and release a sonically experimental, brooding collection of "serious music" are just going to have to keep waiting. Luckily, the number of their listeners hoping for anything besides another infectious batch of sunny singalong numbers from Adam Schlesinger, Chris Collingwood, and company is probably about the same as the number of people waiting for the White Stripes to record a smooth jazz record. On the mind-numbingly charming Welcome Interstate Managers, Fountains of Wayne do what they do best. And while they reinforce their reputation as the reigning deities of uptempo, big-guitar pop/rock with feel-good anthems like "Mexican Wine," "Bright Future in Sales," "Stacy's Mom," and "Little Red Light," they also continue their proud tradition of mellow yet equally tongue-in-cheek tunes. While their debut album had "Sick Day" and "You Curse at Girls," and Utopia Parkway featured "Prom Theme" and "The Senator's Daughter," Welcome Interstate Managers introduces "Fire Island," a plea to be left home alone when the parents go on vacation, and "All Kinds of Time," perhaps the best (and first) musical interpretation of a slow-motion football replay ever recorded. But the bouncing acoustic guitars of "Hey Julie" are definitely the high point. This time, the one flaw may simply be that the group doesn't know when to say when. Their two previous releases closed with lazy ballads, and this time they build to a perfect finale with "Fire Island." Unfortunately, they follow it with four more songs that add little to the quality of the album. Still, CD players were made with skip buttons for a reason, and too much material is usually preferable to too little. Even without the last four tracks, Welcome Interstate Managers had more than enough pitch-perfect melodies and smile-inducing lyrics to make it a defining album for the summer of 2003. And if that's not your thing, well, maybe some winter they'll finally put out that somber record you've been waiting for.-[Mark Vanderhoff] AMG

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Fountains of Wayne - Welcome Interstate Managers - 2003 pt 1

Fountains of Wayne - Welcome Interstate Managers - 2003 pt2