Alan Haber's Pure Pop Radio is the premier website covering the melodic pop scene with in-depth reviews of new and new-to-you releases. Pure Pop Radio plays the greatest melodic pop in the universe 24 hours a day.
Have you tuned in to Pure Pop Radio to hear the catchy mix of melodic wonders being sung by melodic pop’s brightest stars? Good! We’re glad to have you along on our radio-riffic journey.
More of the greatest melodic pop in the universe is being added to Pure Pop Radio’s mix every day. Since last Tuesday, when we returned to the airwaves after a long layoff, refreshed and invigorated and full of joyous optimism, we have added a considerable number of new and new-to-you tracks that your ears will no doubt have been craving.
Like:
Winterpills‘ catchy new single, “Golden Waves”; tracks from John Howard’s classic-sounding new album, To the Left of the Moon’s Reflection, a thinking person’s lineup of lovely, melodic songs (it has just been announced that Kool Kat Musik will be releasing this long-player on CD); songs from two brand-new albums from the Explorers Club, one sporting brand-new, harmony-rich numbers, and the other reaching into pop music’s history for covers of classic recordings by the Turtles and Paul Revere and the Raiders, among other bright lights.
And Pure Pop Radio favorites from the past, such as Nelson Bragg’s “What She’s Done to Him,” from Nelson’s 2012 classic album; Oberon Rose’s “Wunjo,” the title song from the group’s same-named 2012 long-player; and a quartet of catchy songs from Poppermost, circa 2015, including the wonderfully-named “Patti’s Record World.”
MISSYFIT
And there is more…much more, in fact, such as new songs from Pop 4’s Kirk Adams,Caper Clowns, and MISSYFIT, Pure Pop Radio Hall of Famer Roger Klug’s latest project, which recasts Creedence Clearwater Revival’s “Who Has Seen the Rain” as a Phil Spector production sung by Mia Gentile in a decidedly warm Ronettes kind of way.
You might expect there to be even more where all of the above came from, and you would be right. Pure Pop Radio is your 24-hour-a-day source for the greatest melodic pop music in the universe. Tune in by clicking on the player below (check out the last few songs played, and don’t forget to save the player to your desktop or tablet).
Thanks for listening. Your next favorite song, or one of your current favorites, is now playing…on Pure Pop Radio!
Alan Haber’s Pure Pop Radio is the premier website covering the melodic pop scene with in-depth reviews of new and reissued recordings, and a wide variety of features.
Pure Pop Radio brings the greatest melodic pop music in the universe to your waiting ears, 24 hours a day.
And now, a few more melodic Christmas goodies to add to your gift lists (another 11 are reviewed here). There are only five more shopping days until the big day, so you’d better get clicking…
Have a very Merry Christmas and a happy New Year, everyone. We’ll see you again in January, with the kind of reviews and articles you expect from the premier website covering the many moods of melodic pop music.
Dana Countryman and Matt Tyson, featuring Scott Bennett | “It’s Christmas Time” (2019)
Pure Pop Radio favorites Dana Countryman and Matt Tyson stir up a cheery, upbeat, non-alcoholic cocktail echoing the sounds of the Beach Boys, Jan and Dean, and Jeffrey Foskett–a joyous two minutes and forty-five seconds worth of catchy musical magic. With a rocking guitar solo played with “I Get Around” aplomb by Scott Bennett, this is Southern California pop under sunny holiday skies.
Aka Katy Pearson (Anchor & Bear), Bearkat’s richly drawn holiday collection, bringing together a pair of previously-released EPs–2012’s It’s ChristmasTime and 2013’s A Winter Suite–and two new recordings, is an endearing survey of vocal harmony pop painted atop spare instrumentation and a whole lot of holiday heart.
Pearson’s sweet voice quietly dazzles, whether as a strong solo instrument or as elements within rich harmony stacks. Her songs paint a snowy, emotional portrait of holiday feelings, each one alive with lovely melodies.
Here is just one example, the banjo-driven, folky, harmony-laden, wintry wonder, “Snow”:
And here is another, a breathtaking, a cappella version of “Auld Lang Syne,” sung passionately by Pearson and her husband, Brian Bringelson, also from Anchor and Bear:
Zach Jones | “I’ll Be Home (Xmas Day)” b/w “Joy to the World” (2019)
Zach Jones paints his pair of holiday tunes with a quite different, yet catchy, soulful brush. The emotionally-cast, mid-tempo ballad “I’ll Be Home (Xmas Day)” and the slightly funky instrumental take on perennial carol “Joy to the World” are soulful pop gems. A wonderful holiday listening experience.
Alan Haber’s Pure Pop Radio is the premiere website covering the melodic pop scene with in-depth reviews of new and reissued recordings, and a wide variety of features. We’ve been around since the first weekly Pure Pop Radio shows, which began broadcasting in 1995, and the 24-hour Pure Pop Radio station, which ended last August.
Welcome to your number one home for coverage of the greatest melodic pop music in the universe from the ’60s to today.
Do you hear what I hear? You will when you add the following tasty musical holiday treats, newly released, to your gift lists (and don’t forget yourself; you deserve some gifts, too!).
Christmas will be here soon (there are only 13 shopping days until the big day), so read on and give the gift of holiday pop music!
The Weeklings | “Gonna Be Christmas” (Jem, 2019)
Lefty, Zeek, Rocky and Smokestack usher in the holiday season with a jubilant, Weeklings-ized version of a gorgeous song that first appeared on Zeek’s 2007 solo EP, Christmas Can’t Wait.
Sporting lovely, widescreen harmonies and the catchiest of holiday melodies, this warm, upbeat celebration of the joy felt every December 25th seems like a standard that will garner spins for many years to come.
Smokestack’s larger-than-life drum part and Lefty’s fluid, sliding bass line are particular gifts that drive this quite-alive recording and keep on giving with each successive listen.
It goes without saying at this point in the Weeklings’ career, but for those of you who aren’t aware of who is actually who, Lefty is Glen Burtnik, Zeek is Bob Burger, Rocky is John Merjave, and Smokestack is Joe Bellia. All are veteran musicians working at the peak of their powers, as will be evidenced by the forthcoming, incredible, third Weeklings album, about which I will have much to say in the coming weeks.
Meanwhile, Christmas 2019 is off and running with this classic track from New Jersey’s Fab Foursome.
Jamie Hoover | Happy Hoover Days The Bradburys | “Everywhere It’s Christmastime” b/w “Silver Bells” (Vandalay, 2019)
Dan Pavelich’s Vandalay Records offers up two delicious doses of Christmas cheer for 2019–a four-song EP from the Spongetones’ and Jamie and Steve’s Jamie Hoover, and a two-track single from Pavelich’s group, the Bradburys.
Hoover, a longtime Pure Pop Radio top favorite (of 25 years standing!), does it all on Happy Hoover Days; he’s responsible for every note played and sung.
Two choice covers–a supercharged take on Gene Autry’s evergreen “Sleigh Bells” and an emotional reading of Emerson, Lake and Palmer’s classic perennial “I Believe in Father Christmas”–sit side by side with an original, medium-paced rocker, “The Real Star,” co-written with Nashville songsmith Catesby Jones , and fifth Spongetone Greg James’ lovely ballad, “There’s a Star,” which appeared in a different version on the Spongetones’ 2001 must-have collection, Mersey Christmas.
Hoover’s always thoroughly invested, emotional vocals and playing drive each of these new recordings. He remains one of indie pop’s most versatile and entertaining writers and performers, a true beacon of artistry who never fails to deliver the goods. This more-than-welcome EP is just another example of how to do it.
The Bradburys, fronted by Vandalay Records’ guiding light, Dan Pavelich, digitally wax a pair of tuneful Christmas classics on a double-A-side single that’s sure to please.
The jangly “Everywhere It’s Christmastime,” penned and sung by Pavelich, is a catchy holiday nugget, built atop a sweet melody and laced with lovely, lyrical lead guitar work by John Scholvin, and an understated yet joyous coda powered by the sound of a choir and seasonal bells.
A cleverly conceived, cheerful cover of another of Christmastime’s perennials, “Silver Bells,” mixes Elvis Presley-fyed verses with ’50s rock ‘n’ roll choruses for a rollicking good time.
Pavelich, who writes and draws the wonderful comic strip Just Say Uncle, has fashioned a must-listen-to pair of holiday songs that are perfect for anyone on your gift list.
Where to Get It: Jamie Hoover’s Happy Hoover Days:Kool Kat Musik | The Bradburys’ “Everywhere It’s Christmastime” b/w “Silver Bells”: Apple Music
The Brothers Steve “I Love the Christmastime” b/w “Listen Up! It’s Christmastime” (Big Stir, 2019)
If you’re pining for a pair of catchy, Tsar-torial holiday tunes, The Brothers Steve’s new single is tailor-made for you.
Featuring three members of the much-loved band Tsar, including Steve Coulter, a writer who goes by the nom de plume S.W. Lauden, the Steves’ pair of musical gifts are a glittery holiday treat. The upbeat “I Love the Christmastime” is an ABBA-meets-New-Wave-meets-The-Archies-meets-early Beatles kind of celebration, complete with my favorite instrument, sleigh bells. And the thoughtful ballad, “Listen Up! It’s Christmastime” is driven by a lovely melody.
The 54th in the ongoing series of digital singles released by Big Stir Records is a holiday smash. (Side note: Steve Coulter, using his nom de plume, is the co-editor with musician and writer Paul Myers of Go All the Way, a neat book of essays about power pop by well-known writers and musicians, available at Amazon.)
An aptly-named Christmas album if ever there was one, Shiny and Brite finds Richmond, Virginia’s Taters, a longtime Pure Pop Radio favorite group, bringing their trademark musicality and playful joie de vivre to digital and silver disc formats.
As anyone who has seen the Taters play live and dug their everything-fits-if-we-let-it approach to covers can attest, you never know what you’re going to hear when the group sets to making music. This joyful mix of originals, like the tuneful “Last Lone Noel” and the Roy Orbison-y ballad, “My First Christmas With You,” and Taterized versions of well- and little-known Christmas classics is a holiday treat built on a solid foundation of love and respect for these wonderful songs.
Witness the bouyant cover of the Beach Boys/Ronettes’ “I Can Hear Music,” which features an a cappella break atop a swath of sleigh bells that’s squarely in the classic style of Hawthorne, California’s finest; the gorgeous a cappella mix of “Peace on Earth” and “Silent Night”; the supercharged version of Andrew Lloyd Webber and Tim Rice’s “Christmas Dream,” as originally sung by Perry Como, here incorporating the theme from the television comedy classic Hogan’s Heroes; and the lovely take on “The Little Drummer Boy,” with Chris Mendez’s “50 Ways to Leave Your Lover”-esque drum part.
“Peace on Earth/Silent Night” live at The Tin Pan in Richmond, VA, 12/9/17
Craig Evans, Brad Tucker, Gregg Mars and Chris Mendez’s collection of odes to Christmas joy is a wonder to behold and a perfect complement to your holiday soundtrack.
A pretty, orchestrated ballad written by Kenny and Bob Heatlie after Kenny and his wife Caroline visited Edinburgh, Scotland’s Princes Street Market, this sounds as though it’s been instilled in the forevermore section of the everlasting vault of holiday song classics since forever ago. Kenny’s lovely vocal and another melody that seems sent from the heavens above ensure this one will be played, well, forevermore.
An upbeat, jolly song about the joys of Christmas, this catchy number was recorded on December 21, 2018, live and in person at VZD’s Restaurant and Bar in Oklahoma City, Oklahoma. Written and performed by another Pure Pop Radio favorite group, this song sings.
The JAC (Featuring the Christmas Crew) | “Broken Gnome” (2019)
Anyone trying to hang on to a strained relationship may find a kindred spirit of sorts in Joe Algeri’s 2019 Christmas offering. Pairing an introspective lyric with an upbeat guitar pop track, “Broken Gnome” charts the course of a soon-to-be-extinguished love-light. Or does it? “What will the new year bring / Just let me be a leaf in the wind / Our light’s burning bright and still / I’m a little scared.” A world-class group of musicians help Joe bring this creation to life: Herb Eimerman, who like Joe is a member of the beloved Britannicas, Stefan Johansson, Lars Brusell, and Andy J Prinkkila.
This always engaging Ann Arbor, Michigan foursome unwraps a warm, soulful soft pop musical gift full of Christmas cheer. Pleasing chords and a lovely melody drive this song about the hues of the holiday (“Lights shine from every frosted window / Melting the winter time blues”). This one will put a smile on your face, for sure.
Various Artists | A Kool Kat Kristmas Vol. 3 (Kool Kat, 2019)
Five years on from Vol. 2, Ray Gianchetti’s Kool Kat Musik returns with a third holiday go-round featuring artists that have previously released music on the label. You’re sure to find a few (or more) favorites in this tasty holiday grab bag.
We found more than a few kool kats amongst these offerings: Everet Almond’s uptempo, poppy “Have a Very Very Very Merry Christmas”; The Decibels’ catchy, power pop anthem, “Christmas Wish,” with a neat Roger McGuinn-like guitar solo and a snatch of “Joy to the World” in the close; and The Seasons Greeters’ rocking, Stray Cats-meets-Dave Edmunds “Santa’s Leaving Town.”
More tasty treats: Tommy and the Rockets’ “December Snow,” upbeat and poppy all the way; Ed Ryan’s rocking slice of power pop, “Noel (You’ve Gotta Sing)”; and, last but not least, Emperor Penguin’s truly different country-and-western song, “Lonesome Cowboy,” sounding sort of like the Sons of the Pioneers if they were pop pickers, until, that is, the ending, when the band rocks out. “Merry Christmas to cowboys everywhere!”, indeed. Yee-haw!
Where to Get It: CD: Kool Kat Musik. Listen and download: Futureman Records (Note that $5.00 from the sale of every CD and download goes to the American Cancer Society).
Kai Danzberg and Scott McPherson | “The Day Before Christmas” (Big Stir, 2019)
Hanover, Germany’s own Kai Danzberg, an increasingly familiar name in melodic pop circles, teams up with Tiny Volcano and Pop 4’s Scott McPherson for a lively co-write that makes quite a lot of merry. It’s a big and happy holiday treat with a poppy heart, sugary and surefooted. Don’t be surprised to find yourself singing along at first listen. Full of joy.
Alan Haber’s Pure Pop Radio is the premier website covering the melodic pop scene with in-depth reviews of new and reissued recordings, and a wide variety of features. We’ve been around since the first weekly Pure Pop Radio shows, which began broadcasting in 1995, and the 24-hour Pure Pop Radio station, which ended in August 2018.
Welcome to your number one home for coverage of the greatest melodic pop music in the universe from the ’60s to today.
Now, this is how you wrap gifts for the melodic pop music fans in your life:
We’ve got suggestions for you: a long list of some of the top musical holiday offerings being released during this festive season.
It all comes to you here, tomorrow, December 11.
So, there is only one question left to ask…
Do you hear what I hear? Hmm?
Alan Haber’s Pure Pop Radio is the premier website covering the melodic pop scene with in-depth reviews of new and reissued recordings, and a wide variety of features. We’ve been around since the first weekly Pure Pop Radio shows, which began broadcasting in 1995, and the 24-hour Pure Pop Radio station, which ended last August.
Welcome to your number one home for coverage of the greatest melodic pop music in the universe from the ’60s to today.
Pure Pop Radio will return with reviews, reviews, reviews…soon. Stay tuned.
Alan Haber’s Pure Pop Radio is the premiere website covering the melodic pop scene with in-depth reviews of new and reissued recordings, and a wide variety of features. We’ve been around since the first weekly Pure Pop Radio shows, which began broadcasting in 1995, and the 24-hour Pure Pop Radio station, which ended last August.
Welcome to your number one home for coverage of the greatest melodic pop music in the universe from the ’60s to today.
The minimalist front cover that houses Rick Gallego’s latest, meticulously crafted songs is bathed in a wash of lightened, sun-soaked grains of sand; at bottom right, water reaches a line on an ethereal beach. The new song’s titles are typeset within the upper half of the equally minimalist back cover; the small parade of players, all imaginary yet full of life, are listed below–cohorts in a dreamy song cycle (Gallego is the only actual living, breathing player).
The cover, an homage to the wrapper for Todd Rundgren’s 1976 album, Faithful, is no accidental nod; Gallego sends out “special gratitude to todd rundgren, who lighted the way to my own musical existence all those years ago” and sets the text in lowercase, just as Todd did.
Footnote is Gallego’s seventh go-round as Cloud Eleven’s chief cook and bottle washer. This new releaseis no mere footnote, however; it is, in fact, what the previous six releases have been traveling toward all along: a gorgeous song cycle about the ebb and flow of a life (a songwriter’s?) as one follows a path and discovers his or her essence along the way.
The songs on Footnote sound nothing like Todd Rundgren, even though the Hermit of Mink Hollow’s influence is in there; with each new release, Gallego paints a masterpiece colored as only a Cloud Eleven album can be.
Gallego’s songs and arrangements are crafted with a unique combination of hues, tints, tones and colors; one flick of his brush too many and his songs might tilt toward another form altogether. Here, as the songs on Footnote play, we get the feeling that Gallego is painting his soundscapes, touched by the spirit of ELO and the harmony-laden Beach Boys, while balanced on a tightrope of his own devising; what a gloriously creative and fulfilling place that must be to hang.
Footnote opens with a quartet of songs set in a melodically-charged dreamscape. The first song, “On Pismo Beach,” sets to sail with a ghostly strum of guitar that barrels into a rich blast of harmony before it draws a lyrical picture of a place where all is blissful and serene. “Aural Illusion” builds on that ideal, positing that in sound we prosper (“If you can believe that music is love / Then you’ll understand the meaning of / Aural Illusion”).
The second half of the first block of songs continues on the path set by the first. The lovely ballad “Solar Fields” suggests that, after allowing sound to enrich your existence, the warmth of the sun will help to complete you (“With the sun on your face / You will never fade away / In the bright glowing light / You won’t fail”). And, armed with the benefits realized from pleasing sounds and sunlight, you can trust in someone to lead you down a valid path of exploration (the Brian Wilson-ish “Bound to Follow”).
This emotional journey continues with the relaxed-sounding, Free Design-like “For Weal and Woe,” in which we discover that the days ahead bring a promise of discovery, so long as we are in tune with ourselves (“Our lives ebb and flow / For weal and for woe”). And then, we are transported to terra firma, where we learn even more about ourselves.
In “L.A. County,” we are entranced and inspired by a girl who gives us a reason to set down roots (“We will live our lives here”). “Skywriting” allows a songwriter to connect with the magical muse that surrounds him (“But I’ll try to do my best / Hope my muse will do the rest / It’s like magic when songs appear, I confess”).
Sometimes, though, it is hard–impossible, even–to connect. The subject of the grand, wistful ballad, “One Big Hideaway,” squirrels himself inside his home–inside his room–as the world turns around him. He misses his family, but can’t find a way to reach out to them. There will be no doubt in the listener’s mind as to who this song is about.
In the end, we are left to ponder the validity of our life’s journey. Do we learn from what we discover as we make stops along the way, or do we downplay what we have achieved and consider ourselves to be nothing more than a speck of dust because none of it will matter in the grand scheme of things? “Now I’m content to be / I won’t pretend I’m anything, but a / Footnote,” Gallego sings in the closing, title song.
Songs can teach us a lot about ourselves. Throughout our lives, we learn who we are by also learning who we aren’t. Rick Gallego’s illuminating song cycle won’t provide us with all of the answers we desire, but its beautifully rendered songs will at least provide us with some lovely, melodic hints.
Alan Haber’s Pure Pop Radio is the premiere website covering the melodic pop scene with in-depth reviews of new and reissued recordings, and a wide variety of features. We’ve been around since the first weekly Pure Pop Radio shows, which began broadcasting in 1995, and the 24-hour Pure Pop Radio station, which ended last August.
Welcome to your number one home for coverage of the greatest melodic pop music in the universe from the ’60s to today.
Richard X. Heyman | Pop Circles (Turn-Up, 2019) The Doughboys | Running for Covers (Ram, 2019)
Perhaps the greatest gift that June brings us northern hemisphere dwellers is the first day of summer, a cue for couch potatoes and homebodies to welcome the sun, and globs of sunscreen, into our daily lives.
This year, June brought us another great gift, one that can be enjoyed either indoors or outdoors, depending on your mode of music delivery, allowing all of us to benefit from warm summer days and nights and some truly terrific music.
Just last month, a double dose of Heyman descended upon us in the form of Richard X. Heyman’s tremendous 13th solo album, Pop Circles, and Running for Covers, a fun, new long player from the Doughboys, the New Jersey garage rockers that count drummer Richie Heyman among their members. Whether billed as Richard X. or Richie, multi-instrumentalist Heyman always delivers first-rate pop and rock ‘n’ roll.
Richard X. Heyman’s Pop Circles A double dose of Heyman allows fans to experience many sides of the artist at once. Pop Circles favors Richard’s pop side, where melody, harmony and instrumental brilliance are king; Running for Covers puts Richie on the drum stool, where he helps his Doughboy brothers kick out the hot and powerful garage rock jams.
On Pop Circles, Heyman continues to favor the one-man-band approach to his recordings, but with one important, and most welcome, change: wife Nancy takes on bass duties throughout most of the album, playing innovative and melodically-charged parts on her Hofner Empress.
Pop Circles is sort-of a two-part affair, the first 12 tracks being the album proper and the final five being solo versions of songs previously appearing on albums by the Doughboys. Each of the 17 tracks earn their place in the running order (an 18th, hidden track is an extended version of the song, “Guess You Had to be There”).
Richard X. Heyman, surrounded by pop circles
As you would expect from a Heyman album, always a treat and a shining light in any pop release cycle, the highlights are plenty. Throughout Pop Circles, Richard’s instrumental and vocal prowess prove their mettle (no surprise there); his singular, one-of-a-kind drum parts and thickly defined harmony stacks are particularly inviting. And, as I said up above, wife Nancy’s bass parts are innovative and melodically-charged, and essential to the overall sound.
One of Richard’s best songs and best-ever arrangements is the powerful, rocking “Marlena,” which posits that a relationship is now gone, regardless of which road the narrator travels on or the New Jersey towns he blows through as he works his issues out in his mind. Richard’s lyrics are vividly stated and metaphorical, such as in this descriptive couplet (“Trusted a lamb so gentle and wise (Marlena) / Now here I am with wool over my eyes”). The song’s melody is ingeniously seductive; the chord structure inventive and compelling.
The narrator of the breezy “In a Sunlit Room” is tasked with coming up with a way to salvage a relationship. He hopes to come up smelling roses, but he’s on a steep, uphill climb and seemingly has the most to prove. He is nothing if not poetically realistic (“You must know that love has its peaks and valleys / Mount Everest to the Grand Canyon and back”). It’s a deep crevice to climb out of, for sure. Richard’s guitars really shine here, and Nancy’s bass provides a creative bottom end.
“Land,” originally the opening, Rolling Stones-styled rocker on 2012’s Doughboys release, Shakin’ Our Souls, is my favorite of Pop Circles’ “Richie’s Three-Chord Garage” set, recast here as a less manic, no-Stones-turned rocker. Richard’s vocal is particularly strong here, and his piano playing is superlative.
Pop Circles was recorded at the Kit Factory and at Eastside Sound, both in New York City. It’s a dynamic collection of songs, just waiting for you to listen.
The Doughboys’ Running for Covers Speaking of superlative, the 13 well-chosen covers that constitute the Doughboys’ new release make a case for pleading with the band to fashion an all-fave-classic-songs-we-didn’t-write show for fans. For now, though, this knowing selection of covers will do quite nicely. The group gives each classic nugget their all and then some, infusing them with garage-rock fury or pure pop finesse, depending on the song.
Running for Covers stands out of the ever-growing pack of covers albums by not simply choosing from the well of usual suspects; mixed in with the familiar (Neil Diamond’s “Solitary Man” and David Essex’s “Rock On,” for example) are more obscure tracks from the Kinks, Mose Allison, and the Four Seasons, among others, that might not come to mind, even in a pinch.
The Four Seasons’ “Everybody Knows My Name,” from the group’s 1966 album, Working My Way Back to You and More Great New Hits, is an inspired choice, a lovely, catchy pop song that is very different from the other fare on Running for Covers (and holds special significance for the Doughboys–see below). Another track, Herman’s Hermits’ “My Reservation’s Been Confirmed,” from 1966’s Both Sides of Herman’s Hermits, is another straight-ahead, catchy pop song, also of the I-probably-wouldn’t-have-thought-of-that variety.
Two of the songs included on Running for Covers hold special significance for the Doughboys–they are the re-recorded a-sides of the group’s two Bell Records singles from the 1960s (“Rhoda Mendelbaum” and the aforementioned Four Seasons track, “Everybody Knows My Name”). They are jewels contained within this album of interpretation that shine from start to finish.
Other tasty highlights include a searing, four-on-the-floor take on Question Mark and the Mysterians’ “96 Tears,” and a powerful, rocking, crunchy guitar-ized version of the Band’s “The Shape I’m In,” which turns the original recording on its collective ears.
The Grip Weeds’ Kurt Reil produced, recorded, mixed and mastered Running for Covers at his House of Vibes studio in Highland Park, New Jersey (Kurt also helped out with vocals and percussion). It’s another fine job for all concerned.
The Doughboys
A Double Dose The Doughboys’ Gar Francis, Mike Caruso, Myke Scavone, and Richie Heyman play up a storm on Running for Covers, a tremendously entertaining garage- and pop-rock testament to the classic songs of yesteryear; Richard X. Heyman does the same for his catchy pop songs contained on Pop Circles, that feature the singer-songwriter’s incredible, vital instrumental skills and intense harmony stacks.
This double dose of Heyman, where Richard X. meets Richie and garage-rock meets pop and roll, is a present for music fans all over the world. Obviously, you should be all in for some of the best music being made today.
Alan Haber’s Pure Pop Radio is the premiere website covering the melodic pop scene with in-depth reviews of new and reissued recordings, and a wide variety of features. We’ve been around since the first weekly Pure Pop Radio shows, which began broadcasting in 1995, and the 24-hour Pure Pop Radio station, which ended last August.
Welcome to your number one home for coverage of the greatest melodic pop music in the universe from the ’60s to today.
Put a guitar in Fernando Perdomo’s hands–you pick the genre–and you’ll get a performance that will knock your socks off or, alternatively, blow your mind.
Perhaps both, if you catch him on an especially good day.
Perdomo talks with me about the Laurel Canyon sound of the mid-1960s and the film that celebrates it–Echo in the Canyon, now playing at a theater near you–on this week’s all-new edition of Pure Pop Radio: In Conversation (listen below). (We also talk about the groovy soundtrack album.)
Echo in the Canyon is the glorious, passionate big-screen celebration of the Laurel Canyon sound of the mid-1960s that found music makers like the Mamas and the Papas, the Byrds and Buffalo Springfield making history and touching hearts around the world with their soon-to-be-classic recordings, waxed at some of the most famous studios in history. The film deftly spins a magical, melody-rich tale, told through interviews with iconic performers like David Crosby, Michelle Phillips, and Jackson Browne, and performances by the Echo in the Canyon band, headed by Jakob Dylan.
Perdomo, who plays in the Echo in the Canyon band along with such stellar musicians as Geoff Pearlman, Matt Tecu, and Jordan Summers, talks about how he got this golden gig and what it was like to play with such heavyweight guests as Beck, Stephen Stills, and Neil Young. The film, now playing in theaters nationwide, is memorialized on the powerful soundtrack, produced by Andrew Slater, who also directed.
The soundtrack releases on CD tomorrow, June 28, and on vinyl August 2. Thirteen classic songs are featured, including the Byrds’ “Goin’ Back,” the Mamas and the Papas’ “Go Where You Wanna Go,” and Buffalo Springfield’s “Expecting to Fly.” Here is a taste of the great sounds contained in the film and on the soundtrack:
Listen below to my in-depth interview with Fernando Perdomo, talking about the 1960s Laurel Canyon sound and this moment’s magical, musical experience, Echo in the Canyon, on this week’s all-new edition of Pure Pop Radio: In Conversation.
Listen to my interview with Fernando Perdomo about the 1960s Laurel Canyon sound memorialized in Echo in the Canyon by clicking the play button on the following player, or by clicking on the Pure Pop Radio button to the left to download (then right click and choose “Save audio as” to save the file to your computer).
Be on the lookout for the announcement of the next all-new edition of Pure Pop Radio: In Conversation, coming soon.
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Listen to a wide selection of archived Pure Pop Radio: In Conversation shows by clicking here.
Alan Haber’s Pure Pop Radio is the premiere website covering the melodic pop scene with in-depth reviews of new and reissued recordings, and a wide variety of features. We’ve been around since the first weekly Pure Pop Radio shows, which began broadcasting in 1995, and the 24-hour Pure Pop Radio station, which ended last August.
Pure Pop Radio: In Conversation, hosted by Alan Haber, is the Internet’s premier talk show presenting melodic pop music artists in conversation about their work. New episodes appear here exclusively on the Pure Pop Radio website. Podcast versions of previously-aired episodes are archived here.
Welcome to your number one home for coverage of the greatest melodic pop music in the universe from the ’60s to today.
Astral Drive | “Wishing I Could Change the World” (Lojinx, 2019)
Phil Thornalley, Britain’s champion of 1970s-era Todd Rundgren, returns as his Astral Drive nom de plume with a joyful Dave Bascombe (Tears for Fears) radio remix of “Wishing I Could Change the World,” originally waxed for 2018’s self-titled Astral Drive album. Also on board: two new tracks.
A plea for love becoming the constant that makes everything alright (“I keep wishing that the world would change / Love come pouring down like gentle rain / I’m still praying / Dreaming like every boy and girl / Wishing we could change the world”), the song’s jubilant, hopeful arrangement, and yearning vocal signify the coming of a melodic pop standard that really can change the world.
Accompanying the Bascombe-ized “Wishing I Could Change the World” are two new tracks, easily slottable into your growing Astral Drive collector’s bucket. A passionate, slowed-down take on the classic “Up On the Roof,” complete with Thornalley’s Rundgren-ized, understated vocal harmony stacks, draws new levels of emotion from the lyric (“Right smack dab in the middle of town / I’ve found a paradise that’s trouble proof”). The roof, in the case of Goffin and King’s classic song, is the perennial happy place, where hope triumphs over the alternative.
“Who Loves You,” essentially a new song (an unfinished number that didn’t make the Astral Drive album), “…is about how life can change in a heartbeat and how insecurity can haunt us just as easily as love can lift us,” according to Thornalley, quoted on the Lojinx website. Another Rundgren-esque number and as good as anything on the Astral Drive album, “Who Loves You” is a question perhaps best asked…up on the roof, where the answer should become clear.
Another melodic triumph for Astral Drive, this new single shines a light on the world at large, praying for love to conquer all.
For all the sour, sad sack boys and girls out there, Butch Young’s eminently catchy, sweet-with-the-sour, Brian Wilson-with-a-touch-of-George Harrison ditty “Captain Serious,” about a guy to whom a smile is just a frown turned upside down, is your song. For everyone else, this song is a melodic pop confection par excellence from a Pure Pop Radio favorite.
I quote lyrics fairly often in my reviews, because I believe the words married to music are just as important in the long run, if not more so. Young’s depiction of this much-too-serious captain of his industry includes some rather clever wordsmithing. To wit: “Captain Serious / Is looking sour as a lime or a grape / His face is dour as some days-old lemonade / Left to spoil in the rain”. And this: “Oh, did your mom make you so? / She never really let you play your rock ‘n’ roll / Oh, did your Dad come home / And catch you reading Tolstoy all alone?”
The flip of this sterling Big Stir digital single, “Beautiful Dreamer,” a wonderful, dramatically orchestrated, catchy ELO-ish ballad, charts the course of a person who hides within sleep to avoid doom and gloom (“Bad feelings bottled up and then / An imminent calamity / Run baby, run”). Will these bad feelings pass, beautiful dreamer? “Have another wink or two / Before you spring to life / When will you open up / Your heart to see / The spell you’re under?”
Young’s 2016 album, Mercury Man, was a big hit for me, and was one of the bright stars of my Favorite Records of the Year: Stars of 2016 feature. I wrote: “Butch Young’s miraculous, hall-of-fame-worthy album is a modern classic by way of its dazzling array of 1970s-styled instant classic songs, peppered with a mix of Paul McCartney and Harry Nilsson-esque magic. Every one of these Los Angeles-based artist’s songs is a clear winner, like the title track, ‘Persephone,’ ‘One Foot In,’ and ‘The Fools of May.'”
I also said Mercury Man was awesome. And so are these incredible, miraculous songs that make up the 31st Big Stir digital single offering (both are earmarked for an album release next year). Don’t miss this one.
This monumental, audacious bundle of retro-fueled imagination, wackadoo musical composition and performance closes with a majestic, classically-influenced instrumental in which impassioned orchestration and lyrical guitar work play as the audience exits the auditorium–you being the audience and your music listening room being the auditorium.
But don’t exit the auditorium just yet: hang in there for the last 12 seconds of this album’s title track, the very last track, when a burst of packed-tight harmony voices shouting “Pretty things!” bounces off the walls like a Spalding® High-Bounce Handball. It’s a reminder of what you’ve just heard: a never-mind-the-boundaries kind of album in which glam meets pop meets rock meets all sorts of other stuff, too.
Farrington’s Pictures of Pretty Things packs a box set’s worth of ideas and musical manipulations into just about 35 minutes of–what’s the word I used up top? Audacious? Well, audacious it all is, without a doubt.
Farrington, aka mad musical scientist James Patrick, works his magic in a Queen frame of mind, singing like a glam superstar with a pure pop heart. And save for a few harder-edged rockers, the artist stays put squarely in a melodic pop sandbox which, for my tastes, is an eminently satisfying domicile.
Piano and other keyboards, played with passion, save for one song, by Farrington, majorly drive these songs, although the drums, played by co-producer Marcos de la Cruz, also pack quite a desirable punch. Anthony King, playing a good chunk of the guitar and bass parts, and other fine folks, including Kai Danzberg and Fernando Perdomo, help to make this astounding mix of great songs and performances a towering achievement. These songs are all about the sound and how the hooks aplenty grab hold of you and don’t let go.
Achieving towering status are any number of top-drawer tunes, including the ultra-poppy “The Love Show,” a mid-tempo Queen-tinged song which is ultimately about love, love, love; the power-poppy “Long Way to Nowhere,” ultimately about the power of music (“Blondie dancing in a heart of glass / She makes me dizzy”); and “When I Was You,” an uptempo beat-driven pop song about ultra-disappointment in a doomed relationship (“I wish you were dead, she said / Yeah, I guess the feeling is more than mutual / So take me back to yesterday / When I was you”).
These songs are all about the sound; frankly, I’m not entirely sure what most of these songs are about, but they sure sound good as good can be. “Blue,” a mid-tempo pop-rocker bops ahead with a decidedly Sweet “Love is Like Oxygen” vibe that is intensely infectious. And “Violins,” another poppy pick-to-click, tells the tale of a girl in a shaky relationship who finds solace in the sound of violins (“She listens to violins / And her imagination runs wild again / She listens to violins / The music makes her smile again”).
A box set’s worth of magical ideas imaginatively whipped into shape by a mad musical scientist who knows how to mix just the right ingredients, Pictures of Pretty Things is one heck of an achievement.
Where to Get It: Check back soon for purchase links
Alan Haber’s Pure Pop Radio is the premiere website covering the melodic pop scene with in-depth reviews of new and reissued recordings, and a wide variety of features. We’ve been around since the first weekly Pure Pop Radio shows, which began broadcasting in 1995, and the 24-hour Pure Pop Radio station, which ended last August.
Welcome to your number one home for coverage of the greatest melodic pop music in the universe from the ’60s to today.
Fernando Perdomo talks about the Echo in the Canyon film and soundtrack on Pure Pop Radio: In Conversation this Thursday, June 27
By Alan Haber – Pure Pop Radio
Oh, what it must have been like, wandering through Laurel Canyon in Los Angeles in the mid-1960s, among the songwriters and performers who struck gold in the Hollywood Hills and draped the burgeoning folk-into-folk-rock landscape with hit after lasting hit.
Echo in the Canyon is the glorious, passionate big-screen celebration of the Laurel Canyon sound that found music makers like the Mamas and the Papas, the Byrds and Buffalo Springfield making history and touching hearts around the world with their soon-to-be-classic recordings, waxed at some of the most famous studios in history. The film deftly spins a magical, melody-rich tale, told through interviews with iconic performers like David Crosby, Michelle Phillips, and Jackson Browne, and performances by the Echo in the Canyon band, headed by Jakob Dylan.
Pure Pop Radio favorite Fernando Perdomo, the “it” musician of the moment, whose imaginative, passionate playing elevates music being made in genres far and wide, from pop to prog and back again, talks with me during the second in the new series of Pure Pop Radio: In Conversation shows about becoming a member of the Echo in the Canyon band, giving unique, widescreen insight into the project. The show debuts here on the Pure Pop Radio website this Thursday, June 27.
The Echo in the Canyon band is currently entertaining filmgoers at certain film showings with exciting live performances that help to turn audiences in cities across the country onto the gospel that is the Laurel Canyon sound. The magical band performs era-defining songs like the Mamas and the Papas’ “Go Where You Wanna Go” and the Byrds’ (by way of Gerry Goffin and Carole King) “Goin’ Back,” testifying to the ongoing vitality of the music that helped to shape a generation and beyond.
Echo in the Canyon is now playing in theaters nationwide; the soundtrack, produced by Andrew Slater, who also directed the film, is powered by the core band (Geoff Pearlman, Matt Tecu, Jordan Summers and Perdomo, among others) and guests such as Beck, Stephen Stills, and Neil Young. The soundtrack releases on CD this Friday and on vinyl August 2. Thirteen classic songs are featured; two can be heard above and another, Love’s majestic “No Matter What You Do,” can be heard below:
Don’t miss Pure Pop Radio favorite Fernando Perdomo, a member of the Echo in the Canyon band, talking with me about the film, soundtrack and live performances during the second in the new series of Pure Pop Radio: In Conversation shows. The show debuts here on the Pure Pop Radio website this Thursday, June 27.
Stay tuned for announcements of more all-new Pure Pop Radio: In Conversation shows, coming soon.
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Pure Pop Radio: In Conversation, hosted by Alan Haber, is the Internet’s premier talk show presenting melodic pop music artists in conversation about their work. New episodes appear here exclusively on the Pure Pop Radio website. Podcast versions of previously-aired episodes are archived here.
Alan Haber’s Pure Pop Radio is the premiere website covering the melodic pop scene with in-depth reviews of new and reissued recordings, and a wide variety of features. We’ve been around since the first weekly Pure Pop Radio shows, which began broadcasting in 1995, and the 24-hour Pure Pop Radio station, which ended last August.
Welcome to your number one home for coverage of the greatest melodic pop music in the universe from the ’60s to today.
