By Alan Haber – Pure Pop Radio
Spins and Reviews | 7.25.18
The Grand Levé | The Grand Levé (2018)
The music reviewer’s job, the same as it ever was, is to paint a picture with words that convince you that an album either isn’t worth a scintilla of your time (which, of course, we don’t do here) or should rise to the top of your must-buy list. So, we talk about an artist’s influences and how he or she fits into the scheme of things that matter to you and yours. Are the songs good? Are they catchy? Do they matter?
Then, it’s up to you, and if we’ve done our job, your next move is easy.
Göran Hjertstedt, who made the quite grand The Grand Levé with Europe’s (the Swedish rock band, not the continent) Ian Haugland, Ulf Holmberg, Göran Holmberg, Staffan Ebbesten, and Jonas Karlberg, knows that making the next move–the creative move, in this case–is never easy. His more than four decades making music, primarily with hit duo Visitors in the late 1980s, Brains Beat Beauty in 1997, and Longplayer beginning in 2010, can be looked at as an extended ramping-up period during which he soaked up the key attributes that attracted him to his favorite artists and led to his new songs (even if two of them date back to the time of Visitors).
Basically, Göran Hjertstedt has the same record collection as you do, which means that you and his new songs will get along just fine.
Although The Grand Levé fairly obviously shares cell structure with the music of Jeff Lynne, 10cc, Queen, Tom Petty and other members of the usual suspects club, and traffics in motifs pioneered during such periods as the 1960s and 1700s (note the classically-inclined first track, “And Light Appeared,” which straddles influences by either consciously or subconsciously quoting Elton John), the artist Hjertstedt is his own man, and The Grand Levé is his album.
This enticing mix of catchy, well-crafted songs knows how to command your attention. “All in the City,” very Electric Light Orchestra in every imaginable and loving way; “Free,” very melody-rich Tom Petty; and “Yesterday Man,” very pure pop and Göran Hjertstedt by way of Longplayer, lead the more than sufficiently well-appointed pack. The mutli-retro “Two to Tango,” a bluesy drawing room number about love and dancing that namechecks Fred Astaire and Ginger Rogers, and “What Am I Gonna Do (Lunar City Heartache),” a luscious, romantic mid-tempo ballad with sci-fi overtones, are two more superlative melodic wonders. The alluring, closing instrumental, “Memory Lane,” is perhaps the perfect ruminative end to these proceedings, marked by lovely, expressive electric guitar lines that sing.
When all is said and done, The Grand Levé makes its mark because its sound pictures, drawn with love and affection, tell an affecting, collective tale. The Grand Levé is nothing less than a triumph for fans of melodic pop music. Same as it ever was, in fact.
Now Playing in Rotation on Pure Pop Radio: “Ride the Wind,” “All in the City,” “Two to Tango,” “Free,” “What Am I Gonna Do (Lunar City Heartache),” and “Yesterday Man”
Where to Get It: Digital download at Amazon. Stream on YouTube and Spotify
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Scheduled for release on June 15 and just in time for summer’s arrival on June 21, Sugar is perhaps the most appropriately titled album of the year–a joyous, harmony-filled singer’s showcase, imbued with sweet songs sung sweetly. This is the sound of pure pop made for a life under sun-drenched skies spreading light and love over lazy mid-year, carefree days.
A beautifully rendered selection of melody-rich songs from one of melodic pop music’s greatest practitioners, Lucky Day is the sound of a master songwriter’s loving embrace. It is a warmhearted musical journey you will want to take over and over again.
(World Radio Premiere on Alan Haber’s Pop Tunes Deejay Show, Thursday, May 17, 8 pm ET on Pop that Goes Crunch Radio)
After musician and co-producer Fernando Perdomo suggested the title, Ken ran with it and conjured up a guy’s ultimate fear: that the girl he loves hates the Fab Four. From that scary conjuring comes this upbeat, catchy pop song that lyrically, and with a healthy dose of jocularity, pounds the ceremonial nail into a relationship’s coffin.
The vibe is decidedly Beatlesque and practically overflowing with clues for you all–the Ringo Starr drum fills, loping Paul McCartney bass line and horns practically beg for a communal gathering in the Church of Fab. All this and Tears for Fears guitars and Tom Petty dust intertwine to elevate this latest in a series of monthly free songs from Lannie Flowers’ label, Spyderpop Records, to enchanting heights.
The fourth song, and new single, to emerge from David Myhr’s new album Lucky Day (coming May 18) is another example of the artist’s mastery of the melodic pop form. Of the four songs we’ve heard so far, this may well be my favorite. An alternately soft and insistent swirl of gorgeous melody, lovely lead and background harmony vocals and bright and shiny production technique, “The Perfect Place” is indeed perfect.
The quartet comprising Pink Hedgehog Records helmsman Simon Felton, Steve Wilson, Marco Rossi, and Chris Rickard delivers a cheery slice of ’60s-styled pure pop that ought to come with a repeat button sewn on its face. Just like David Myhr’s new single (see above), this song is a mix of delights that call out to melodic pop lovers and define the genre. Don’t miss it.
Listen to the Pop Tunes Deejay Show on Tuesdays and Thursdays at 8 pm ET (two different shows every week); In Conversation airs every Wednesday night at 9 pm ET. Don’t miss a minute!
It is nearly impossible to predict what Farrington’s James Patrick will come up with at any given juncture, a surety bolstered by the enigmatic artist’s latest release, a delectable sunshine pop/psych mashup with a lovely melody. A revised version (lyrics and arrangement) of a 1984 track by The Eyes of Mind, a band from the end of the Paisley Underground movement for which Patrick played guitar and sang, this is another feather in Farrington’s considerable cap and a no-brainer for your collection. (Listen to a preview on 
Kyler Schwartz, ’60s music fan extraordinaire, Beach Boys mega-aficionado, and compiler, sequencer and liner note scribe for the esteemed Teensville Records label, has written and recorded, with the help of Pure Pop Radio favorite Jared Lekites (The Lunar Laugh), a knockout sunshine pop single. “West Coast City” is bright, happy harmony pop of the highest order, rooted in, no surprise, Beach Boys joy (and perhaps a pinch of doo-wop spice); “(The Girl’s) Unavailable” bears the stamp of Beach Boys influence towards a jolly, infectious end. Dreamy and top-flight.
Curry Cuts’ third release, after swimming with lite rockers and second British Invasioneers, continues the label’s successful run of specially-curated themed compilations with this gathering of 26 covers of all of the songs featured in James Bond films.
Chris Price | Stop Talking (2017)
Five years on from his first solo album, and after producing Emitt Rhodes and Linda Perhacs, these 14 songs recorded by Price between 2013 and 2016 make up the ironically-titled Stop Talking, which isn’t really what this thinking-man’s popster wants you to do after hearing the catchy “One of Them,” the Paul McCartney-meets-Stephen Bishop-meets-Rupert Holmes “Man Down,” and the tour de force, “Darkness.”
Fun of the Pier | “Cavern Song” and “(In) My Town” (from the forthcoming album, 14:42)
“Cavern Song” is a sprightly toe-tapper about getting into the world famous venue on a number of fronts. Taking to task entitlement (“What d’you mean we have to pay?”), expressing the excitement of being there on social media in the most basic of terms (“Take a photo of a photograph/Now upload it to your page/Oh we’re havin’ such a laugh/Take a selfie on the stage”), and the power of the artist (“And at least I get to work it out/With some lyrics…”), the song is perhaps the very first lively, happy-sounding cautionary tale of 2017. Somewhat recalling the vibe of Paul McCartney’s “Hope of Deliverance,” “(In) My Town” examines life in a small burg under siege, from which youth is unable to break out (“Is it any wonder they can’t meet/The demands of a world unknown”). All three players shine, but let’s give Mark top marks for some quite inventive bass playing.
Strangely Alright | “Now is the Time” (2017)
Crime Scene | “Carnival Queen” and “The Highs and Lows of Love” (2017)
Your Gracious Host | Boomerang (2017) | “Boomerang,” “Honor the Aim,” “Rest of Us in the Third World,” “Spritely,” and “You See Right Through Me” 
Plasticsoul | Therapy (2017) | “Her Raincoat,” “The Girl of Many Tribes,” and “Babylon” 
Love Minus Zero | “Mary Says” 
A buoyant exercise in the art of homage, Bob of the Pops Vol. 1 finds The Junipers’ multi-instrumentalist Robyn Gibson having a good old time putting his warm, wide-eyed spin on 14 favorite songs. This free download on Bandcamp is the bargain release of the year and, quite surely, one of the best collections we’ve heard in ages.
The Beatles’ “Nowhere Man,” certainly a familiar and iconic number, fairly drips with the joy Gibson obviously had recording it. The opening, harmony drenched a cappella couplet is sweetly delivered; the song reveals itself as a modern-day folk song, every harmonic element glimmering with life and hope. The Hollies’ “Listen to Me” adopts a bit of a softer pace than the original, the soft harmonies taking a smidge off of the edge of the proceedings for a bit of a warmer performance.
A collection that purports to be brought to life by such musicians as born-as-anagrams Boryng Bison and Sonny Orbbig, bridges the gap between a Beatles classic and a well-known soundalike homage (The Rutles’ “With a Girl Like You”), and sits comfortably within a wrapper designed to mirror the presentation of the old British Top of the Pops album series (with the Leave it to Beaver-ish “Bob,” a staid pipe in hand, subbing for the usual sexy model depicted), deserves a place in your heart.
Cirrone | Kings for a Night (2017)
The Cool Whips | Baddies (2017)
Lisa Mychols | “Loving You” (2017) 
Red Caravan | “Ho Hum” (2017) 
Anchor and Bear | “Hard to Say You’re Sorry” (2017)
R. Stevie Moore and Jason Falkner | Make It Be (2017) | “Sincero Amore,” “Don’t You Just Know It,” and “Play Myself Some Music” 
Michael Slawter | An Assassination of Someone You Knew (2017) | “Count to 10,” “Too Dumb for You,” and “My Marion” 
The Deep Six | “Brand New Day” (2017) 
Cait Brennan | Third (2017)
Bryan Estepa | “Rattled and Rolled” (2017)
The Wellingtons | End of the Summer (2017)
Kenny Herbert | “I’m Coming Home” (2017)
Pat Walsh | “Bygone Days” (2017)
The Outryders | “Piangi Con Me (& Live for Today)” (With Joe Algeri and Herb Eimerman) (2017) 
Lisa Mychols | “He’s Got Me Dreaming'” and “Don’t Wanna Close My Eyes” (2017) (“He’s Got Me Dreaming” 
Irene Peña | “Shut It Down” (2017) (From Trying Not to Smile) 
Radio Days | “I’m In Love With You, Haruka” and “Teenage Kicks” (Undertones cover) 
The Dahlmanns | “Forever My Baby” and “The Last Time”
