The Greenhornes - Gun For You - 1999

On this sizzling garage rock debut, Cincinnati, OH's Greenhornes showcase their talents at combining solid early- to mid-'60s Stones/Kinks-style rock with a jovial mod influence and Detroit blues-rock punchiness. Their lineup features former members of the Nevada Death Band, including Craig Fox on guitars and vocals, Brian Olive on guitar and backup vocals, Patrick Keeler on drums, and Jack Lawrence on bass; the pervasive organ right up front in the mix comes courtesy of spectacular keyboardist Jared McKinney. There are ten blues- and soul-tinged originals here in all, along with two blistering covers (including the old Blues Project chestnut "Wake Me, Shake Me"). Fox's multi-range singing talents are wildly apparent on howling rave-ups like "No More," "The End of the Night" (a song about the nature of dysfunctional relationships), and "Going to the River," or blue-eyed soul numbers "Hold Me," "I've Been Down," and the smoky "No Friend of Mine." -AMG

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The Pink Spiders - Teenage Graffiti - 2006

In 2003 the Pink Spiders released Hot Pink on the tiny C.I. label. It was tinny, tough, and raucous garage pop-punk and it caught the ear of someone at Geffen. The band was signed and whisked into the studio with Ric Ocasek, where they re-recorded the best songs from the album and added a handful more. Ocasek, the band, and some studio musicians stripped off all the grit from Hot Pink, replaced the tinny sound with a booming, arena-ready sound and came up with Teenage Graffiti, a safe and slick pop/rock record that doesn't sound too much different that what Hilary Duff passes off as punk. Sporting lushly stacked guitars, sparkling vocal harmonies, and the occasional decorative keyboard, tunes like the bopping "Nobody's Baby" and "Saturday Night Riot" sound like perfect slumber party jams, "Hey Jane" is tailor-made for waving glowsticks back and forth while waiting for the headline act to hit the stage, and the rest is catchy, energetic, and light as a feather. Some even step outside of strict pop-punk guidelines, like the piano-based, mid-period Kinks sounds of the ballad "Adelaide" (with strings even) or the silly Beach Boys vocal harmonies and mock metal soloing of "Pretend This Is Fiction." The lyrical concerns are girls, punk girls, and being as punk as possible, preferably with girls. There are the occasional lyric references to cigarettes, sex, or drinking that may have to be explained to the pre-teen punk set, but these are mostly done in a cute and cartoony way. In fact, everything about the band, from their look to the song titles to the band names (Bob Ferrari -- real or not, that's a cool name for a drummer), is a cartoon, and if you approach the record expecting plastic cartoon punk, it's a satisfying and fun listen. More fun than Good Charlotte, less gloomy than My Chemical Romance, tougher than Ashlee Simpson, the Pink Spiders fill a need for safe punk bands that don't totally stink. -AMG

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The Rosenbergs - Mission:You - 2001

This first proper full-length release by this much ballyhooed band proves that they have more to offer than their highly publicized business decisions. The infectious vocal harmonies, full guitar sound, and tight rhythms all combine to create a formalist's treat for fans of Jellyfish (whose influence is particularly evident on "Drug of Choice"), Posies, Fountains of Wayne, and similar bands. David Fagin has a knack for writing power pop songs with a modern rock sheen; he also has a clear, Robin Zander-esque voice with a good range (demonstrated by his occasionally annoying tendency to go falsetto at the end of certain lines), although the recording of his voice is somewhat flat and trebly. The album's main drawback -- or its main strength, depending on your perspective -- is that it isn't groundbreaking, unorthodox, or even a little idiosyncratic. After a young girl opens Mission: You by singing "ring around the rosies," there isn't anything here that's likely to take listeners by surprise; the pop culture references are dropped discreetly in the lyrics, the long fadeout at the end of Mission: You's sole ballad ("Overborad") is located safely at the end of the album where it won't disrupt the flow of the other songs, and even the recitation of "nya nya nya" in "Houseboat" never risks sounding too whimsical or self-indulgent. This musical cautiousness may seem somewhat disappointing, particularly considering that the band was audacious enough to include a free Napster-sponsored second copy of Mission: You in the CD package. But this is still an entertaining album as long as you're willing to settle for solid pop craftsmanship without demanding that extra spark of creative adventurousness. -AMG

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Prototypes - Tout le Monde Cherche Quelque Chose - 2004

French pop trio Prototypes were formed in Paris during 2003. Comprised of two members of Bosco (bass and synth player French pop trio Prototypes were formed in Paris during 2003. Comprised of two members of BoscoStéphane Bodin and guitarist François Marché) and fronted by vocalist Isabelle Le Doussal (who was performing under the name Bubble Star), the group (with the help of Mitch Pires on drums) released their first LP, Tout le Monde Cherche Quelque Chose, in 2004 on Barclay. They followed it up with 2006's Mutants Mediatiques for Universal. The group's exuberant new wave/punk/pop sound caught the ear of Minty Fresh in the U.S., and the label released Prototypes stateside in June 2006. The album is a 14-track collection of songs from the band's two French releases. -AMG

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Fastbacks - The Question Is No - 1992

Featuring 14 songs spanning 12 years (and five drummers), The Question Is No is not only a terrific introduction to Fastbacks, but an excellent summary of the early years when they were one of the dozens of Seattle punk bands who couldn't get a hearing outside of Washington. While from the start Fastbacks were a band that loved first-wave pop-punk (think Ramones, Buzzcocks, and Rezillos), theirs was pop-punk with a difference; Kurt Block was willing to betray his fondness for '70s rock in his guitar solos, and his lyrics suggested the confused and angst-ridden internal monologue of an adolescent while dealing with the hopes, fears, and everyday realities of an adult. Bloch managed all this in a manner that was at once personal and unpretentious, thanks in part to the vocals of Kim Warnick and Lulu Gargiulo, who blend the offhand blather of punk with a sweetness that gives this band a very human warmth. Compiling singles, compilation tracks, and a few unreleased tunes (including one with a teenage Duff McKagan behind the traps), The Question Is No is as good as collection as you could ask for of the band's formative period and features some of their most energetic, rollicking performances. -AMG

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The Singles - Start Again - 2006

During the fifteen minutes that Detroit became the center of the garage rock universe in the wake of the White Stripes' breakthrough, The Singles received a bit of international acclaim for their debut album, 2003's Better Than Before, but like a number of other Motor City bands, the hype machine didn't turn over for them, and four years later leader Vince Frederick is fronting a new line-up of Singles for the pointedly titled Start Again. However, Frederick thankfully is still in firm command of the gifts that made the earlier version of the band memorable -- British Invasion style melodies, pop hooks galore, and plenty of energy, with the results sounding a good bit more like the Flamin' Groovies than, say, fellow Detroiters the Dirtbombs. Frederick wrote a dozen solid pop songs for this set, and he sings them with commendable spirit and force, and his new rhythm section (John Hale on bass and Brian Thunders on drums) are entirely simpatico, knowing when to push hard on a rocker like "I Want You Back Now" or "Start Again" and when to ease back on the more measured "Better Days" and the heart-broken "I Don't Wanna Be The Last To Know". Jim Diamond, who produced Better Than Before, is back behind the board for this set, and he gives the Singles a full-bodied sound that's equally friendly to the crunchy guitars and the precise harmonies. If you ever wondered what happened to power pop, it's alive and well and living in the Singles' rehearsal space, and with any luck Start Again will earn this band the recognition they richly deserve. -AMG

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The Contrast - Mystery # 1 - 2000

The debut by the British guitar pop group the Contrast sounds at times like it came out about a decade and a half too late. David Reid's jangly tunes and agreeably artless vocals recall the glory days of Lloyd Cole & the Commotions, Prefab Sprout, and the earliest days of Creation Records, overlaid with an obvious debt to the artier side of late-'70s punk. (Reid has obviously listened to Television's Marquee Moon many many times; "Short Term Memory" in particular betrays a heavy Tom Verlaine influence.) This is in no way a bad thing but, unfortunately, most of the songs on Mystery No. 1 don't do much more than remind the listener of the superior bands the Contrast is reminiscent of. The main exceptions are the title track, which works up a good post-punk head of steam and features some cool psychedelic guitar parts, and the opening "Perfect Disguise," which has the album's most memorable chorus. The rest of the album is by no means bad, but it's kind of undistinguished and derivative. -AMG

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Masters of the Hemisphere - Protest a Dark Anniversary - 2002

Masters of the Hemisphere might be more winsome than wonderful, but the band's third album is quality pop/rock, guitar-based but intelligently dotted with crafty touches of low-key orchestral instruments, cheesy organ, and the like. It also isn't unduly self-consciously rooted in celebration of vintage rock idioms, though some reference points are there. "Sailboat Kite," for instance, recalls some of the more whimsical work of the late-'60s and early-'70s Beach Boys, the folk-rocky (and sometimes pretty Byrds-y) guitars are influenced by the school of Southern indie pop bands from R.E.M. on down, and the likably high, earnest, sometimes wavering vocals will appeal to Alex Chilton fans. Refreshingly, they don't limit themselves to romance and relationships, as many guitar indie pop bands largely do. Rather, they often seem somewhere between bemused and befuddled observer-participants in a slightly skewed world, one in which the "Rules of Life" are vague. Sometimes those observations get a little weird and inscrutable, as in the ode to "Local Government" (surely one of the more infrequently tapped subjects of rock lyrics). At other times there's a more heartfelt and direct youthful yearning for interpersonal connection, like "Summer With You," where the Chilton-esque elements come to the fore. -AMG

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All Day Sucker - All Day Sucker - 2004

All Day Sucker is the new California sound. Their music is an inspired take on the sounds of the classic rock era re-imagined for modern ears. A treasure trove made up of expertly crafted pop songs, layered with influences ranging from ELO, Elvis Costello to The Eagles, Elton John and that's just the E's!
Their debut effort features a variety of guest help, not the least of which is Save Ferris’ singer Monique Howell, who lends her talents to “Living Room.” “We knew Save Ferris from playing around in the scene,” Summers notes. “We saw her do some impromptu thing at the Playboy Mansion , where she dressed up as Marilyn Monroe to sing ‘Diamonds Are A Girl’s Best Friend,’ which blew everyone away. We thought it would be cool to get her to come in and sing in that sexy, soulful lower register—and she did it incredibly well.”
Blessed with great songs, sharp chops, a cunning attitude and a mature sense of self, All Day Sucker is ready to venture into the seen-it-all music scene and emerge as a fresh, clever and unique musical presence. “Jordan and I have never been completely starry-eyed about this, as there always has been a certain level of understanding of what we were doing,” Coyle says. “Now we realize that it’s a much a folly for a 30-year-old to sing about hating his parents, as it is for a 16-year-old to explain what’s it’s like to live in real world. At a certain point in your creative life, you have to speak with your own voice. All Day Sucker has enabled us to find our voice. -alldaysucker.net

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The Connells - Darker Days - 1985

The Raleigh, North Carolina-based jangle-pop outfit the Connells formed in the spring of 1984. Fronted by guitarist Mike Connell and his bassist brother David, the first incarnation of the group also featured vocalist Doug McMillan and drummer John Schultz, who was soon replaced by former Johnny Quest percussionist Peele Wimberley. In late 1984 the quartet recorded a four-song demo; after one of the tracks, "Darker Days," was selected to appear on the North Carolina compilation More Mondo, the Connells' ranks expanded with the addition of singer/guitarist George Huntley, who made his debut on a March 1985 session co-produced by Don Dixon.
With the help of the band's friend Ed Morgan, the resulting demo made its way to the offices of the British label Demon, which agreed to fund the recording of enough additional tracks to complete a full-length LP. Darker Days was released in Europe by Demon in 1985, and when Morgan returned to the U.S., he formed his own label, Black Park, to issue the album domestically. After the low-budget videos for the tracks "Seven" and "Hats Off" garnered MTV airplay, the Connells won a contract with the TVT label prior to entering producer Mitch Easter's Drive-In Studios to record 1987's brooding, more assured Boylan Heights, which featured the superb single "Scotty's Lament." -AMG

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Mike Elgert - Days Gone By - 2006

A knock-out effort packed with 16 songs of supremely solid Power Pop. This debut twists and turns, with flat-out rockers and well done pop ballads, most of which promise velvety pop pleasure to fans of the genre. Much of the time, Mike Elgert sounds like Robin Zander, and while its tough to nail down influences, we can hear Cheap Trick, Foo Fighters, Jason Falkner and Starclock. -whitsbrain.com

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The Brotherhood of Lizards - Lizardland - 1995

Dedicated Anglophiles' search for the quintessential British pop album shouldn't overlook the (so far) one and only outing from the Brotherhood of Lizards, a duo featuring ex-Cleaners From Venus Martin Newell and bassist/multi-instrumentalist Nelson. Recorded a step or two up from the Cleaners' rustic four-track catalog, Lizardland is soaked through with the cozy ambience of merry olde England, summoning up images of teatime, gardens and "misty chimneys smoking in the rain" via a collection of charming, chiming guitar pop that nods to obvious forefathers like the Beatles and Kinks, as well as later practitioners such as XTC. The delightful "The Happening Guy" has ba-ba-ba backing vocals straight out the '60s hit parade, while "The World Strikes One" is filled with sharp observations about ordinary folks, in the manner of Ray Davies himself. More of the same is available on the witty "Love the Anglican Way" and "Market Day," and there's even a droning number, "Rusty Iron Sun," that recalls great faux-Indian moments like "Norwegian Wood" and "Fancy." Newell's vision does outstrip his Spartan studio accessories: it would have been nice to have heard the songs with a live drummer, and the sound quality, while certainly acceptable, lacks that extra bit of punch common to higher-budget productions. But such concerns can't hold down songs as good as these. It was Newell's finest work at the time of its release, and that statement still holds true more than a decade later. -AMG

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