The High Dials - War of the Wakening Phantoms - 2005

On their second album, War of the Wakening Phantoms, Montreal's High Dials cast off the '60s straightjacket that gave their first album the feel of a museum piece or a school assignment. Instead they follow the initial steps made on the follow-up EP, Fields in Glass, and open up their sound to include more modern reference points like the Stone Roses, the '90s shoegaze sound, and, somewhat inevitably, new wave. The extra layers of influences free the High Dials from the past, and they magically end up sounding like no one but themselves for the most part. Sure, you can still spot references at times, but they are less obvious -- a little Kitchens of Distinction here (in the hazy walls of guitars on "Strandhill Sands"), a dab of Moose there (the shoegaze & western slide guitar on "Master of the Clouds," the plucked acoustic guitar on "Lucifer's Dream"), and some classic Ride all around ("Sick with the Old Fire," "Higher and Brighter"). Best of all, there is almost no Who to be found anywhere, but there are soaring vocal harmonies, waves of guitars, and gloriously free and easy-sounding songs -- like "Our Time Is Coming Soon," "A River Haunting" (which features some wonderfully corny-sounding synth washes), the epic ballad "Your Eyes Are a Door," and "The Holy Ground," a pounding rocker that opens the album with a biff bang pow! -- that overflow with a joyous energy that's surprising on first listen and heart-warming on the next 20. It is always fun when bands reinvent themselves, mostly because they usually botch the job and become laughingstocks, but the High Dials do the nearly impossible and make the makeover work for them in the most delightful way. War of the Wakening Phantoms is the sound of a band discovering its soul and creating something beautiful and big -- really big in a way that bands like Moose and the Catherine Wheel never quite were back in the day. If you thought the first record was nothing special, come back and give the band another chance, because this album will blow you away. If this is your intro to the band, welcome to a surprisingly great album. -AMG

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The Mellowmen - Tomorrow's Sound Today - 2007

While bands like Wolfmother, Jet and Kings of Leon have managed to carve out a niche in the post-millennial alternative music audience for rehashes of the excesses of '70s FM rock, the decade's history on the AM band remains unshakably uncool. The Mellowmen wouldn't have it any other way. From their undeniably naff name to the album's retro graphic design and ironic title, this Swedish quintet are unapologetic in their lack of fashion; the key is that the Mellowmen have not taken that unfortunate extra step into turning anti-fashion into its own trend, turning into slavish Electric Light Orchestra or Wings copycats with an "ironic" twist. Listening to Tomorrow's Sound Today, it's clear that while these guys are intimately familiar with all 25 volumes of Rhino's Have a Nice Day series, mere mimicry is not on their minds. As a result, '70s pop lifts like the George Harrison-like slide guitar solo on "Justify My Madness" or the pure bubblegum bounce of the gloriously tuneful "Sunshine Shell" are applied to otherwise up-to-the-minute indie tunes. One subtle but important distinction is that the Mellowmen don't try to come off as the second coming of the Beach Boys vocally: since the days of Jellyfish, too many retro-minded pop bands have tried to pull off elaborate vocal harmonies that they don't have the chops to accomplish or the imagination to properly arrange. Throughout Tomorrow's Sound Today, keyboardist Andreas Nyberg covers nearly all of the vocals himself; the rather weedy vocal harmony tag at the end of "My Dove" shows the wisdom of this decision. The press kit for Tomorrow's Sound Today lists a dozen acts from Ladytron (not so much) to 10cc (quite, especially the early Graham Gouldman era) as influences (the vibraphone and pedal steel parts on the utterly lovely closing acoustic ballad "Here Am I" suggest that the High Llamas could have been the 13th), but the key quote comes from the head of their label, who compares the Mellowmen to the unjustly ignored '90s power pop act the Sneetches. Those who remember the pride of the Bay Area will see the wisdom of this comparison on the first listen to Tomorrow's Sound Today: these laid-back but unfailingly catchy tunes casually plunder pop's back pages without making a fetish of their finds. -AMG

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The Mellowmen - Tomorrow's Sound Today - 2007

Ted Lukas - Misled - 2008

Lukas returns to his power pop roots, mixing in Americana soul for a new recipe that’s all his own.
In the mid-to-late 90's, Ted Lukas served as the premier songwriter, lead guitar player, and heart and soul behind Big Deal Recording Artists, Barely Pink. He is featured on the group's Big Deal debut, Number One Fan ('97), and their follow-up release, Ellie's Suitcase ('99). Both Big Deal releases were also licensed to the major label, JVC/Victor in Japan. Ted Lukas and Barely Pink were also featured on Big Deal's 1997 Burt Bacharach tribute CD, "What the World Needs Now."
Since 1998, Ted Lukas has led Tampa Bay's breakthrough Americana band Hangtown, releasing two full length CDs: Here For Now (1999) on the Florida based Blue Heart label, and Eleven Reasons (2001) on Mississippi based Black Dog Records, a label founded by members of the legendary alternative country band, Blue Mountain.
In 2003 singer/songwriter Ted Lukas released a solo CD, Distracted, to much critical acclaim. By late 2004, Hangtown began recording new songs for the 2006 EP release Gone Today, Here Tomorrow.
The 2008 solo release, Misled, finds Ted Lukas returning to his power-pop roots. The 10-songs recorded for this self-produced, self-released CD captures the dynamic guitars, catchy melodies, and heartfelt vocals that were once made popular by classic artists such as Big Star, Nick Lowe, and Badfinger. -CD Baby

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Ted Lukas - Misled - 2008

Hangtown - Gone Today, Here Tomorrow - 2006

Since 1998, Ted Lukas has led Tampa Bay's breakthrough Americana band Hangtown, releasing two full length CDs: Here For Now (1999) on the Tampa based Blue Heart label, and Eleven Reasons (2001) on Mississippi based Black Dog Records, a label founded by members of the legendary alternative country band, Blue Mountain.
In 2002 singer/songwriter Ted Lukas released a solo CD, Distracted—a varied collection of pop inspired alt country—to much critical acclaim. In 2006 Hangtown released a fine EP of twangy indie rock songs, titled Gone Today, Here Tomorrow, produced by Ted Lukas, and mixed by legendary Americana producer Eric “Roscoe” Ambel and his partner Tim Hatfield at CTS in Williamsburg, Brooklyn, NYC. -CD Baby

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Hangtown - Gone Today, Here Tomorrow - 2006

The Mice - For Almost Ever Scooter - 2004

From the dinkiest punks to the soggy dregs at the bottom of the '60s garage rock barrel, so many deservedly obscure bands have been compiled and reissued over the years that it's dismaying to find a band as good as the Mice unknown and overlooked for nearly two decades after the fact. Despite being heard by almost no one during their brief existence, the Cleveland trio influenced indie big shots like Guided by Voices and Superchunk with stunningly good adrenalized power pop records that few '80s bands could match.For Almost Ever is a near-perfect rush of giddy, catchy, explosive rock, casting shades of the Who, Only Ones, Buzzcocks, Jam and Beatles with the exuberance of a five-year-old who just got his first bicycle for Christmas. The buzzy, chiming guitars of vocalist and principal songwriter Bill Fox get a propulsive jolt from the hyperactive drumming of his little brother Tommy Fox, who was all of 15 at the time. With bassist Ken Hall filling out the lineup, the six-song 12-inch mixes straightforward love songs with an aggressive, pointed political number ("Not Proud of the USA") and the slower, nearly dirge-like "Catacombs," revealing a band with the chops to expand beyond its punky power pop roots.e Mice disbanded after the release of Scooter.A generation later, Prisonshake's Robert Griffin re-released the band's entire discography on his Scat imprint. For Almost Ever Scooter combines the first two records with no bonus material. That was slated for a second disc, Unreleased and Live Recordings, which was scuttled at the last minute, although it has a catalog number and copies were sent to those who ordered early from the label's website. The studio tracks, including the group's first single and songs from an aborted second full album, are very good, if not quite up to the standard set by the band's other records. The live tracks (with middling sound quality) are the only real ephemera here, but they only suffer in comparison to the band's sterling studio output.-Trouser Press

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The Mice - For Almost Ever Scooter - 2004 pt1
The Mice - For Almost Ever Scooter - 2004 pt2

Marlowes - Glue, Glitter and Shine - 2005

New music from The Marlowes is always welcome. And here on the Rhode Island band's fifth full-length album, Glue, Glitter and Shine, they proceed to dole out nothing but high quality sounds. Not only are these guys proficient on their instruments, but the lyrics, which are authored by lead singer and guitarist John Larson, are witty and engaging. His odes to lost and lonely people are presented in a context that merges humor with vulnerability. The characters and thoughts portrayed on Glue, Glitter and Shine are very real and easy to identify with.Taking the roots rock mentality of acts such as Tom Petty and The Long Ryders and filtering them through the power pop poise of The Smithereens and Material Issue, The Marlowes are equal parts melody and might. Glue, Glitter and Shine exudes energy and excitement, while the execution is immediate and dense. "I Liked You Better When You Were Someone Else," "Alicia Futurama," "Understood" and "A Tuesday Night Habit" ripple and roll with pulsating percussion, layers of crunchy guitar riffage and sing-a-long choruses that make you feel giddy all over. A blast from the past also surfaces on Glue, Glitter and Shine, as Little Anthony and The Imperials contribute their soulfully distinctive harmony vocals to "Grace Note," which logs in as yet another winning track to be had.Once again, The Marlowes have produced a star-studded disc. Natural and exploding with enthusiasm, Glue, Glitter and Shine is sealed tight with pop rock appeal. - Beverly Paterson, The Lance Monthly

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Marlowes - Glue, Glitter and Shine - 2005 pt1
Marlowe - Glue, Glitter and Shine - 2005 pt2

Any Trouble - Wheels In Motion - 1981

Any Trouble's 1980 debut was a wonderful slice of new wave flavored pub/pop/rock, which despite a fair amount of critical buzz, never really delivered on its commercial promise. With its second release, 1981's Wheels in Motion, produced by Mike Howlett (A Flock of Seagulls, Berlin), the band took a slightly more sophisticated, studio approach with singer/songwriter Clive Gregson's songs, veering away from the breakneck, live energy of Where Are All the Nice Girls?, which for the most part simply captured their feverish stage act in a studio setting. Still, whatever spark Wheels in Motion may lack is negligible thanks to the caliber of the material here. A handful of first-rate Gregson originals kick-start the proceedings, including the cautionary, albeit hopeful opener, "Trouble With Love," the irresistible power pop of "Open Fire" and the infectious rocker, "As Lovers Do." Several cuts in, the deliberate "Eastern Promise" is nearly as good, while "Power Cut" ranks just a rung below. Elsewhere, Richard Thompson's "Dimming of the Day," the only non-Gregson original, is given a slick, but affecting treatment. Moments of heavy-handed cynicism, as on the otherwise terrific, "Walking in Chains," as well as a couple of lackluster tracks drag things down to some extent, but still Wheels in Motion's highlights rank with the best work of Clive Gregson's career, both with and without Any Trouble. -AMG

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Any Trouble - Wheels In Motion - 1981 pt1
Any Trouble - Wheels In Motion - 1981 pt2

The Shazam - The Shazam - 1997

Right away in "Let's Away" listeners know the Shazam hear the Move's grass grow. The second track, "Oh No," starts up with Cheap Trick, but then this Tennessee trio hits a peculiar stride. Sure, "Hooray for Me" gives a Sweet wink and the rockin' "Rollercoaster" comes down helter-skelter, but the boys also run off into the Greenberry Woods to conjure the real hot Not Lame stable (where the Shazam now reside). The Shazam even play "Deep Low" with the Outfield's "Nervous Alibi." And so it goes, vacillating between Brits and Yanks, pillaging all the powerful pop deposited between, while attempting personal panache. Acknowledging the '70s, this black slab tries several styles, but things really swing when the band slams the hammer down. Thus, though their debut is late for the revolution, the Shazam gives good rock and should venture out to some interesting places. -AMG

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The Shazam - The Shazam - 1997 rs
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Someday Tricycle - Mystic Knights of the Pretty Sun - 2007

Someday Tricycle began in the Spring of 2004 when Joe MacKenzie shared a CD of his 8-track demos with drummer Richard Gowen, who he had played with in a Jacksonville FL band called The Buenos Aires. They decided to play the songs live and first enlisted the help of bassist Brad Stripling who had played with Richard in The Kate Rays. The trio rehearsed a few times before recruiting another former guitarist of The Buenos Aires, Stephen Flakus. This freed up Joe to play piano parts and added another voice to recreate the harmonies from the demo recordings in a live setting.The quartet played some shows around Jacksonville under the name Pretty Sun, but took a hiatus over the summer when Joe and Stephen joined Richard on a tour of Florida with the band Biirdie. Not long after, Richard relocated to Los Angeles to play with Biirdie full time. The remaining members played shows as a trio, with all members switching instruments. Eventually a few local drummers were enlisted to convey the multi-layered texture of the recordings.New material continued to grow, as did the band's access to better recording equipment. Studio work overtook the live shows for a while in order to release a full length LP. After months of recording and mixing, the band enlisted the help of Derek Almstead (of Elf Power and Circulatory System) to master the tracks. The resulting album Mystic Knights of the Pretty Sun has drawn comparisons to many of the "B" bands; The Byrds, Big Star, Badfinger, The Beatles, and The Beach Boys. -somedaytricycle.com

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Someday Tricycle - Mystic Knights of the Pretty Sun - 2007

Kai Reiner - Kai Reiner - 2008

WOW!!! OK - here's the first clue: There's a Rickenbacker guitar on the cover (so you know you've got our immediate attention) - so, it's probably jangly, right? A resounding YES YES YES! And the guy looks totally pop! What else do you need? Kai lives in the proximity of Hamburg, Germany. He appreciates good books, movies and last, but not least, good music. A couple of years ago his brother Marc dragged him (against his will) to a Brian Wilson concert. Since then Kai feels different about life. Music has the power to change ones character. He has become a much friendlier person now that he plays Pop music. His rather impressive list of influences includes The Beatles, Brian Wilson, Teenage Fanclub (who we hear BIG BIG BIG TIME on this), Big Star, Matthew Sweet, Pernice Brothers, and the Pearlfishers. Not a bad list of poppers, wouldn't you say? And all off the aforementioned influences are indeed present throughout! -Kool Kat

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Crash Into June - From Blind to Blue - 1999

Debut album from Memphis quartet. Nine years in the oven, carefully sauteed with The Posies and Candyskins among others. Crash Into June (they take their name from a Game Theory song) aren't shy about their influences. In fact, they lay their cards on the table from the first track. Pete Ham is, quite simply, a homage to the man who made Badfinger click. From there they check a host of Beatles-inspired luminaries, including Teenage Fanclub (on the chunky Aurora Borealis), Matthew Sweet and The Connells, to name but a few. Along the way they throw out an impressive selection of hooklines, while singer Dave Norris lets himself run a little hoarse in the best John Lennon tradition when he needs to. With every song carefully honed for instant recall, From Blind To Blue makes for a highly impressive debut - let's hope it's not another virtual decade before the follow-up. - Dave Henderson, MOJO Magazine

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Crash Into June - From Blind to Blue - 1999

The Well Wishers - How I Won The War - 2007

Following the demise of Spinning Jennies, one of San Francisco's most revered and long-lived power pop bands, frontman Jeff Shelton formed the Well Wishers to explore his talents as a solo artist and further mine the deeply melodic foundation of the Jennies' unique style of pop.Since forming in 2003, the Well Wishers have released THREE full-length albums - 2004's "Twenty-Four Seven" and 2005's "Under the Arrows" - both on pop-friendly NotLame Records, and 2007's post-punk/power pop odyssey "How I Won The War". Based on a solid foundation of melody, songsmith, and the ever important "musical hook", all the Well Wishers' albums offer a warm, full-bodied sound and engaging take on the typical power pop formula. -thewellwishers

Jackdaw4 - Gramophone Logic - 2004

It?s mid summer and you sit in a chair on a beach looking at the children playing football in front of you,some gorgeous good looking women are headed for the ocean and in your right hand you hold an ice cold drink and are just enjoying a wonderful time in the sun.
What could be more perfect than the soundtrack for your hot summer day and that album is Jackdaw4?s debut "Gramophone logic" which is a mighty tasty pop affair of Beach Boys harmonies,Jellyfish vibes and a touch of Air Supply as well!
The band consisting of Willie Dowling - vocals, keyboards, bass, guitars, ukele, banjo; Greg Hatwell - vocals, guitars, Andy Lewis - vocals, bass, double bass; and Andy Robertson - drums, percussion is based in England but they sound like California a la 1975.
Honeycrack, the band Willie formed with ex-Wildhearts guitarist CJ in the summer of 1994, were one of the finest British pop bands of the Nineties according to many.
Jackdaw4 makes "feel good" music and once you put on the opening track "This is your life",you will be charmed by their sunny music and cannot let yourself go from the stereo!
A mighty fine release indeed. -melodic.net

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Jackdaw4 - Gramophone Logic - 2004

The Bad Examples - MEAT: The Bad Examples - 1993

The Bad Examples put out the original cassette version of "Meat:" as a demo cassette for booking back in May of 1987. As their popularity grew the fan demand made the album into a commercial tape release. Now it has been re-packaged with full printed lyrics and liner notes. The compact disc edition, first released in 1993, contains two additional songs, "Little Disasters" and "Reinventing The Wheel" from the Bad Is Beautiful sessions but not included on that album. This also contains the original version of "Not Dead Yet" co-produced by Shoes' Jeff Murphy. -Water Dog Music

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The Bad Examples - MEAT: The Bad Examples - 1993

We the Kings - We the Kings - 2007

There is absolutely nothing new or original on the debut album by Florida pop-punks We the Kings, and that's entirely beside the point. The question posed by an album like We the Kings is not whether it brings something unexpected to the party, but how well it performs the functions expected of it: sounding good on a semi-popular high school girl's new iPod Nano, over the in-store sound system at Aeropostale, and in the background of ads for the teen-oriented series on The CW. And frankly, it does a pretty excellent job at all three. If the quartet -- they're one of those bands who only go by their first names, which is fine because they really might as well all be called Chad and Kyle -- had been around a decade or so ago, they would likely have been sucked into Lou Pearlman's boy band factory, but it being 2007, the sound of the moment is speedy, crisp power pop with just a little distortion on the guitars and just a little emo hoarseness in the vocals, but with neither getting in the way of the chorus hooks. And for 11 schematic three-minute tracks, that is just exactly what We the Kings deliver: the songs are so superficially catchy that they all bleed into one another with little differentiation, but taken one at a time, tunes like "Skyway Avenue" and "Check Yes Juliet" are so pleasantly inoffensive that the album becomes oddly charming in spite of how blatantly, aggressively market-oriented it all is. This will sound hopelessly dated by the time We the Kings' target audience graduates from high school, as laughable as the Backstreet Boys sound to the teens of 2007, but for the moment, it gets the job done. And what's wrong with that? -AMG

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We the Kings - We the Kings - 2007

Linus Of Hollywood - Triangle - 2006

Linus is a firebrand stamp of soft pop genius. All Linus` albums are filled with sunny AM-infused keyboard-based power pop, Linus` vocals are reminiscent of Gilbert O`Sullivan(an musical influence, as well) and the music is a potpourri of light-ly breaded pop for fans of The Nines, Lovin` Spoonful, The Left Banke, Jellyfish will gobble this modern day miracle: a record totally contemporary but dispatching the flair of genius past. Think Wondermints digging on Michael Brown instead of Bacharach. Or XTC eating lunch w/ Simon and Garfunkel and Stealers Wheel. Or.....well, David Bash, writer for countless zines and literary pop visionary has this some definite Jellyfish influences, and a childlike charm and purity on many of the tracks that Brian Wilson/Wondermints fans would definitely appreciate." -Not Lame

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Linus Of Hollywood - Triangle - 2006

Material Issue - Freak City Soundtrack - 1994

If anyone knows power pop, it's Mike Chapman. Having produced everyone from Blondie and the Knack to Sweet and Scandal, Chapman is an undisputed master when it comes to uniting guitar-powered rock aggression and pop infectiousness. Chapman did exactly that when he produced Material Issue's third album, the superb Freak City Soundtrack. From "Ordinary Girl" and "Funny Feeling" to the clever single "Kim the Waitress," Chapman brings out the best in the melodic yet hard-rockin' band. Issue never fails to rock any more than it fails to employ irresistible hooks and a striking harmonic sense. One can pinpoint a variety of influences from the 1960s and '70s -- Cheap Trick, Sweet, and Thin Lizzy as well as the Byrds and the Beatles -- but there's no question that Material Issue was a fine band in its own right. Sadly, this CD wasn't the big commercial breakthrough Issue's followers were hoping it would be. -AMG

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Big Kid - You Must Be Kidding - 2003

Big Kid is a San Diego-based quartet that specializes in classic power pop, and their seven-song debut EP is perfect for the summer. These guitar-driven songs are great for blasting in the car or on the beach, featuring hard-driving choruses and the kind of subtle hooks that make each song seem instantly familiar.The band grew out of numerous songwriting sessions between drummer Steve Clark and guitarist Damian Hagger. Both men had attended the Berklee College of Music in the mid-‘90s (yet didn’t know each other then). As the songs developed, the idea of a band to play them seemed a natural progression. Steve’s brother Doug was enlisted to play bass and Los Angeles-based vocalist Ken Stacey joined them in the studio to record the songs that would become You Must Be Kidding.While Big Kid seems to have the requisite power pop chops, hearty guitar anthems with hooks aplenty, they also seem capable of more. On two of these songs, there’s a definite stylistic tribute to the songs of Andy Sturmer and Roger Manning, Jr. “Time In A Day” and “Change Your Mind” (the only songs here written solo by Steve Clark) are impressively Jellyfish-like.You Must Be Kidding is some serious stuff. While these seven likable songs come to just a little over 23 minutes total, they present a very appetizing sampler from which to attract record label interest. Certainly, Big Kid has talent enough for someone to take a chance on them soon…maybe even you. -fufkin.com

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Big Kid - You Must Be Kidding - 2003

Smoking Popes - Destination Failure - 1997

To call Smoking Popes merely pop-punk would be a grotesque disservice — they've been excelling at it for years. The problem is the image such a description (or genre name) conjures: a mediocre group who plays a fifth as well as the bands who founded punk in the '70s, with lyrics that are dim-witted, simplistic, dull, or immature, and tunes that are stiff, forced, and/or plain. We hold these truths to be self-evident, especially since Descendents re-formed to disrobe all the new, shabby pretenders, and to remind us of the melodious glory the genre used to radiate. As for this actually "smoking" Chicago quartet, they not only avoid such pitfalls, they humbly offer a singular style that is actually power pop in the early-'70s and early-'80s tradition — from the young Todd Rundgren to the Fabulous Poodles. And with earlier efforts, such as 1994's Born to Quit on the little Johan's Face label (here's a rare band that has greatly improved on a major), these likable pontiffs have an earnestness and wound-licking vulnerability to match Descendents' Auckerman, without Milo's more bawdy edges. With a singer in Josh Caterer who can make the most melancholic, fretting passage seem like a whistling, carefree, Willie Wonka-kissed day (and who still sounds like a cross between XTC's Andy Partridge and Gilbert O'Sullivan) and a band who is gleeful, but not in a churlish-youthful way, Smoking Popes are one of the most deceptively pleasant-sounding bands going. So much so that their bite has to sneak up on you. And with such undeniably delicious and catchy fare as "No More Smiles," it's as easy to root for these folks in the difficulties their words pose as it is to continuously play their records. -AMG

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Smoking Popes - Destination Failure - 1997 pt1

Smoking Popes - Destination Failure - 1997 pt2

The Hutchinsons - Plastic Fruit and Popcorn - 1997

The Hutchinsons are a hard-rocking L.A.-based power pop trio led by brothers Jimmy (drums, vocals) and Joe Hutchinson (guitar, vocals), who are joined by bassist Glenn Hays. They released a self-titled EP on RTG Records in 1996, followed in 1997 by Plastic Fruit and Popcorn. -AMG

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The Hutchinsons - Plastic Fruit and Popcorn - 1997 pt1
The Hutchinsons - Plastic Fruit and Popcorn - 1997 pt2