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.
How you got here from there really isn’t all that important; it’s that you wound up here that really matters. Many, if not most of you will, while flying your Klaatu flags high, proudly note that you were here from the very beginning (some of you will have been here even before the beginning, which is quite a feat of legerdemain).
In any case, you are here now because the music of Terry Draper has spoken to you through the years, since Klaatu burst on the music scene in 1976 or even before (kudos to you). Think about that: Terry Draper has been making music for at least four decades plus. That is a very long time to be putting smiles on people’s faces.
So, kudos to Terry. The thing is, though, that some of you will have come to this new album, a gathering of earthly delights picked from previous releases and featuring two new songs, without having experienced the wonder that is Klaatu. For you, this new album, In My Garden, is perhaps the perfect introduction to the music that Terry Draper has released during his solo years–music that looks at life and how to negotiate it.
Released on 180 gram vinyl with 11 tracks for old-school enthusiasts and on CD with three bonuses for everyone else, In My Garden is a veritable cornucopia of musical joy–something for everyone and then some, bringing together a community of been-there-all-alongs and hey-I’m-new-heres to celebrate the music of one of melodic pop’s most important practitioners. (Purchasers of either the vinyl or CD from Terry’s website also get a download with WAV files of the songs, a digital booklet, and nine videos.)
Whether you’ve been following Terry’s music all along or have just been hipped to him, you will find much to admire and enjoy here. Some personal favorites that may well be yours too, regardless of your starting point: “When I Grow Up,” from Civil War… and Other Love Songs, which contains one of Terry’s prettiest melodies; it’s a wistful song about holding on to one’s youth as a way of tempering the less-than-happy shades of one’s life. And “Jules and Me,” from Searching, a pretty, multihued song about getting lost in good books–in this case those written by Jules Verne–and being taken away to far-off lands because how cool is that.
More personal favorites: “Pied Piper,” a fun cover of Crispian St. Peters’ top five Billboard chart hit from 1966, which features the great Ray Paul, whose new compilation is about to be released, on harmony vocals. And another fun song, “She’s All Mine,” from Remarkable Women, a joyous, pop-rocking charmer about accepting one’s partner lock, stock and barrel.
Of the two new songs on offer, the beautiful “I Wish I Could Fly” is my pick to click–a gorgeous song that, on the surface, is about the freedom of flight and what it might be like looking down from above as you glide along through the skies. The first song written for an animated cartoon called Sparked (unfortunately never produced) is about the childhood of Nikola Tesla, who was the inventor of, among other things, the AC, or alternating current, motor. What a joy this cartoon would have been to experience!
Making its first appearance on an album (in this case, the CD version of In My Garden; it was previously released as a single track), “Latitude Adjustment,” featuring Ray Paul on backup vocals, finds Terry escaping the cold for the warmth of the sun in Florida. Never has an escape to the Florida Keys been so melodic or catchy. Or sun-tanny.
Helping to bring Terry’s catchy creations to life are Dana Countryman, Bill Nadeau, Brenda Webb, Spitt Passion, and more melodic fellow travelers. Old friend Ted Jones, who brought so many Klaatu album covers to life with his imaginative designs, provides this collection’s captivating cover art.
Welcome to Terry Draper’s garden of earthly delights. However you got here, you are here in this very special place. Track one, here you come…
Brad Marino | “What Comes Naturally” (Rum Bar, 2019)
For this rocking new single off the upcoming, highly-anticipated album from the Connection’s Brad Marino (Extra Credit, releasing April 19), the multi-instrumentalist extols the virtues of a rock ‘n’ roll lifestyle in a song that portrays a Rolling Stones-meets-outlaw country vibe.
What comes naturally for a guitar player keeping the beat? Sleeping late, steaks on the grill, breakfast (at a quarter to two), checking the sports scores, celebrating happy hour (but only from 3:30-5), and listening to records. Sounds like a life, doesn’t it?
Tap your feet in time with this top-flight melodic rocker, and look forward to Marino’s album, just a little over three weeks away.
Where to Get It (Single releases digitally on April 1):Amazon
The 21st entry in the ongoing Big Stir digital singles series is a warm-hearted, joyous double-sided melodic pop hug from Orange County, California’s Popdudes, with up-and-coming popster Addison Love and his pop Tim joining always-and-forever members Michael Simmons and journalist/drummer John Borack.
This million dollar quartet is more than up to the task of celebrating the original recordings by the Cookies and the Beatles (“Chains”) and Roy Orbison (“Dream Baby”). The harmony vocals on “Chains” are quite attractive; Addison Love sings the solo lines and plays lead guitar. On “Dream Baby,” Tim Love steps up to the microphone with a sweet lead vocal–channeling the Big O, no doubt (he also plays electric bass); the equally sweet sha-la-la-la, uh-uh-huh background vocals also shine.
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.
About said list…it was the subject of my one and only New Year’s resolution: to keep the number of entries to 15. Well, good luck with that, I told myself, and wouldn’t you know it…I couldn’t make that work. How about 20? No? Okay then, how about 22? Twenty-two it is.
My annual list of the year’s best full-length releases collects what are, to me, the absolute top of the pops–the very bestest of the bunch. I liked and loved and adored many more long players, of course, but these are the ones I thought about and returned to the most.
As in past years, my favorite records of the year are listed in random order. I’ve never been able to compile lists of any kind in order of importance, size, or weight; my number five of today might drop to number 11 or rise two spots tomorrow, depending on my mood. So, random order it is.
Here are some truly exceptional releases–Pure Pop Radio’s Favorite Records of the Year: The Stars of 2018, presented randomly, all shiny and bright, all perfect for a place in your collection of great melodic pop music. A gathering of honorable mentions appears after the main list.
Enjoy.
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David Myhr | Lucky Day (Lojinx, 2018) 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.
A warmhearted musical journey, Lucky Day’s 10 lovingly crafted songs, written solo and with some of melodic pop’s top writers, feature beautiful melodies and top-notch playing and singing. All contribute to one of 2018’s best albums. “Room to Grow,” written with Pure Pop Radio favorite Bill DeMain, about giving a romance all the chances it deserves to prosper, is just one gorgeous example of the treasures on offer.
Produced by Brad Jones, Andreas Dahlbäck and Myhr, Lucky Day is a wonderful gift to lovers of melodic pop.
The Cherry Drops | Good to the Last Drop (2018) On-air and mobile deejay Vern Shank’s melange of bubblegum and sunshine pop populates the Cherry Drops’ third welcome, rousing collection of smile-inducing songs that simultaneously evoke memories of favorite old songs and create memories of new numbers written and performed in the manner of the ’60s and ’70s.
Featuring co-writes with fellow Cherry Drop Joshua Cobb and classic popsters such as the Archies’ Ron Dante, the Grass Roots’ Mark Dawson, and the late Gary DeCarlo of Steam, and choice covers of treasured hit classic numbers, Good to the Last Drop is a mighty fun ride.
“One More Try” is a Paul McCartney-esque mid-tempo slice of pure pop topped with Queen-styled electric guitar runs. “Feels Like Summer Love” is a loving nod to ’60s Beach Boys balladry, maybe the truest such tip of the hat in recent memory. The harmonies are gorgeous. The Cherry Drops pay homage to the Lovin’ Spoonful’s classic “You Didn’t Have to Be So Nice,” bringing in original Spoonful member Steve Boone on bass and opening with a lovely a cappella-over-keyboard opening.
Mothboxer | Open Sky (2018) Dave Ody’s outfit stretches into some of the most creative, expression-filled songs of its long history on an album steeped in clever songcraft. A coming together and pulling apart experience built around surprising chord changes and elastic melodies, set against primarily alternative instrumental backings, Open Sky is aptly named.
Among the many highlights: “Sunshine Sound,” a slow-to-mid tempo song set sound-wise vaguely in the Beach Boys’ Holland era, and “Million Miles Away,” perhaps the most immediate sounding song on the album, a piano-based tune with harmony vocals that shine.
Alice Bierhorst | Ready for My Close-Up (2018) The followup to 2016’s The Beacon is an even more astute collection of piano-based musical wizardry from this New York-based artist. High art meets accessible in these 10 songs that recall the works of early Carly Simon, Claire Hamill and Laura Nyro.
The title song is a pleasing, dramatic collision of Broadway and British folk. “Save It for a Rainy Day” is a slow burn of a ballad that shows off Bierhorst’s dynamic vocal range. “Beginners” is a drawing room waltz that rolls atop Peter Kiesewalter’s lively arrangement.
Call it all classical pop or singer-songwriter musings for the 2010s, but do call it yours by adding Ready for My Close-Up to your collection of smart pop. Bierhorst’s melodies reach the highest heights; Bierhorst is ready for her close-up, and then some.
Danny Wilkerson | Wilkerson (Spyderpop, 2018) Working together with Bleu, who produced this superlative pure pop platter and co-wrote the songs, Danny Wilkerson, the always-and-forever Pengwin, has whipped up a self-titled opus that is by far this year’s most affecting collection of catchy, melodic earworms.
Wilkerson is a thing of wonder. Any and all, for that matter, of these dazzling songs could, and do, serve as examples of how to do it. Like the dynamic leadoff track, “Everybody Loves to Love,” a masterful piece of writing and statement of melodic purpose that begins drawing breath as if it were arranged by Burt Bacharach and goes on to incorporate a variety of tempos and approaches during its alluring five-and-one-half minutes.
All told, Wilkerson is nothing less than a good thing. It is, in fact, a great thing, and another feather in the cap of the mighty Spyderpop record label.
McPherson Grant | McPherson Grant (2018) Paying sweet homage to the melodic pop ruling class headed by Harry Nilsson, Paul McCartney, Klaatu, Brian Wilson and the like, Scott McPherson and Jamie Grant–their last names fused together in joyous harmony–have crafted almost an hour’s worth of sturdy earworms. Endlessly endearing songs like the lovely and charming “Housekeeper,” about cleaning up a romantic life gone sour and empty and honestly assessing the less-than-attractive situation ensure repeatability.
Cut from the catchy cloth of so many ’70s classics, the perky “Come Around Again,” about learning to realize and revel in the bountiful joy in front of one’s face, is propelled by Zak Nilsson’s drums and a sunny disposition that wouldn’t feel out of place during the summer months. And speaking of summer, “Let’s Drive to Summer” recounts a slow-growing, toe-tapping Beach Boys-by-way-of-Holland road course from cold Canada to warm Florida (“We’ll just follow the coast/Our sandals and shorts in tow/Waiting till the palms wave hello”).
Produced, written, played, arranged and recorded by Scott and Jamie (and don’t ask who did what; it’s a mystery even to both halves of the duo), and featuring guest turns by Zak Nilsson and Klaatu’s Terry Draper and Dee Long, Song travels the path negotiated by so many artists who came before them, but in a way that is significantly and characteristically their own. Song is a marvel.
The Davenports | Don’t Be Mad at Me (2018) Scott Klass and crew’s fourth long player, arriving 18 years after their smashing debut, Speaking Of, is the usual collection of literate, assured, thinking person’s pop songs. Anchored by the masterful title song, a tremendously enriching melodically-charged experience about a family light whose world has slowed to a crawl, who is needing help to maneuver through her days, this album swims in waters populated with one incredibly rich song after another.
“Away From Me,” sporting a typically attractive Klass melody, is a vaguely countryish construct about saying goodbye to one side of one’s personality, supported by strings that bend somewhat ominously around the melody. And “I Don’t Know What to Do,” an insanely catchy kind of left-field number co-written by Klass and David Myhr, is built around a clever, rocky riff and does its business in just over two minutes. It’s quite ingenious.
Caper Clowns | A Salty Taste to the Lake (2018) The mighty Caper Clowns are back with their sophomore long player, another well-crafted collection of top-flight melodic pop gems. From the undeniably catchy opening confection “The Way I Dream,” which sports a clever acoustic guitar riff and an enchanting melody, to “Sacre Bleu,” a piano-based, harmony wonder that sounds like the kind of song radio should be embracing and sending up to the top of the charts, A Salty Taste to the Lake is a winner all the way. That makes two in a row. Good job, guys.
Les Bicyclettes de Belsize | The Twelve Days of Christmas (2018) A late-year surprise and not only a charming, top-flight holiday-themed album but one of the best melodic pop albums of the year, Charlie Darling’s collection of original from-the-heart Christmas songs will warm you like a heaping cup of peppermint candy cane-flavored good cheer.
Bittersweet holiday tales told in pretty swaths of lovingly rendered melody, and sung with an everyman’s sweetness, color this delightful song cycle; sincere, understated orchestration, a literary approach to lyrical conceits, and a pinch of sleigh bells catch the ear time and again in lovely slow- and mid-tempo-ballads.
Darling’s vocals, sort of a contemporary cross between the tones of the Big Dish’s Steven Lindsay and Pet Shop Boys’ Neil Tennant, are key to making songs like gentle ballads “Every Christmas,” about missing a love gone away grab hold of your heart. And then the artist changes course: “Andy Partridge (From XTC)” is a spirited pop sprint substituting the names of pop and rock bands through the ages for the various creatures evidenced in “The Twelve Days of Christmas” (Three Dog Night, the Dave Clark Five, Gang of Four, Nine Inch Nails and Joe Strummer (strumming), among them).
One of the best albums of the year, Christmas-oriented or not? Yes, indeed.
Bill Lloyd | Working the Long Game (Spyderpop, 2018) Bill Lloyd, one of melodic pop’s most distinguished practitioners of the art, has released one of the very best albums of 2018, with which you will fall in love.
Working the Long Game’s dozen melodic pearls, whether written solo or with top song scribes like 10cc’s Graham Gouldman, Cheap Trick’s Tom Petersson, and Wanderlust’s Scot Sax, are gorgeous, instantly classic gems of the Lloydian variety. Like the co-write with Graham Gouldman, “What Time Won’t Heal,” about letting love in again after a relationship withers away (“What time won’t heal/Love will repair/And if you open up your heart/You’ll find it there”).
The closer, “Shining,” is a beautiful ballad of the one-man-band variety that features some lovely sixties-inspired guitar lines and harmonies. The narrator sings about his true love and you will feel the emotion. It’s all fantastic, so get ready to fall in love.
Fernando Perdomo | Zebra Crossing (2018) Recorded in famed Abbey Road Studios and in Perdomo’s own Reseda Ranch Studios, the wearer of many musical hats’ fourth album is a rich tapestry of styles centered around the artist’s considerable composing and instrumental prowess. It’s a clear winner.
Highlights are many. The gorgeous ballad, “I’m Here,” is as good and classy an opening track as one could imagine; a strong melody and emotive vocals make the proceedings shine. The poppy “Sometimes I Feel Like Nothing at All,” cowritten by Beach Boys lyricist Stephen Kalinich, is an inviting tune topped by sensitive strings. And popster Ken Sharp guests on guitar on the should-be-a-radio-hit “Find Love,” a spectacular upbeat, McCartneyesque pop song.
Speaking of Fab connections, an all-in, emotionally reverent cover of George Harrison’s “While My Guitar Gently Weeps,” credited to the Zebra Crossing All Star Band, finds guest vocalists Diane Birch, Shawn Lee, and Jason and Daphna Rowe and lead guitarist Perdomo taking center stage for a thrilling album closer. What better Beatles track to cover for an album named in tribute to the area in front of the studio the Fabs called home?
Mick Terry | Days Go By (Kool Kat, 2018) Mick Terry’s Days Go By is 2018’s standout pure melodic pop album. It’s filled with the kind of songs that used to jump out of transistor radios way back in the when.
Every one of these 10 songs is golden. Witness: “Emily Come Back,” an upbeat, poppy tune that’s sure to please and features this album’s title in the lyric. “Everybody’s Talking” is an upbeat, sixties influenced Motown-meets-Billy Joel song (think around the time of Joel’s An Innocent Man album), a toe-tapping classic if ever I heard one. And “Friends Like That” is another upbeat gem with a great melody, handclaps, horns and a crazy, meaty guitar solo.
Working with producer Jim Boggia, Terry has produced a clear, melodic winner.
Astral Drive | Astral Drive (Lojinx, 2018) Longtime producer and songwriter Phil Thornalley has made nothing less than the Todd Rundgren album that Todd Rundgren never made in the 1970s. Astral Drive is nothing less than one of the best albums of 2018.
Astral Drive finds Phil Thornalley doing most of the heavy lifting for a joyous tour de force composed of original songs that echo the catchy sounds that the Hermit of Mink Hollow made all those many years ago. Thornalley, a legendary producer and songwriter whose lengthy list of credits includes co-writing Natalie Imbruglia’s “Torn,” fell in love with Todd Rundgren’s music when he heard Todd’s song “Useless Begging.” The rest, as they say, is history.
Astral Drive’s go-to, so-much-fun-to-listen-to song “Summer of ’76” practically demands that you sing along, whether you know the words or not. You will love, with all of your heart, the warm ballad “Wishing I Could Change the World,” which honors the classic Todd-meets-Philly-Soul bond, and the glorious, melody-infused, upbeat “Love is Real.”
One of 2018’s biggest and happiest surprises, without a doubt.
Michael Simmons | First Days of Summer (2018) Musician and high school educator Michael Simmons, from Yorktown Lads and the much-missed sparkle*jets u.k., has crafted a stylistically diverse collection of songs that expertly lays out the artist’s diverse musical vision and dedication to craft.
From the opening and closing near-perfect, soft-pop bookends “Do Your Best to Care,” a keyboard driven toe-tapper featuring a determined, jazzy electric guitar solo, and the sleepy, closing ballad “Center of the Spiral,” which ends as if a turntable’s needle has become comfortably stuck in a loop within a record’s runoff wax, First Days of Summer speaks to melody-hungry melodic pop fans.
What shines brightly and decisively from within these dozen tracks is the passion that Michael Simmons has for making and playing music (he played most of the instruments on this album). He would do well to keep at this music thing and start planning his next collection with due haste.
Linus of Hollywood | Cabin Life (2018) Nearly 20 years after his debut long player landed on planet Earth, Linus of Hollywood has served up 10 scoops of tasty, melodic treats on Cabin Fever, his delightful fifth effort that really, truly is the kind of thing that puts a spring in your step.
Some heartfelt words of wisdom are imparted in the fast-paced pop song “Won’t Let It Get Me Down,” played and sung with gusto. Cabin Life’s tender closing ballad, “It Was You,” details a love story for the ages. Beautifully sung and dedicated to Linus’s wife Augusta, the emotional arrangement marries delicate orchestration to nimble acoustic guitar playing as Linus sings about his true soul mate. “I finally got out of my own way,” he sings. “Everything just felt so easy/And I left behind my yesterday/You saved me from myself, believe me.”
“Drive up to the hills/Take that winding road/I think I remember where it goes,” the title song sings. And that winding road? It goes to one of 2018’s very best albums–Linus of Hollywood’s lovely Cabin Life.
Dana Countryman | Cabaret of Love (Sterling Swan, 2018) The year is not complete without a musical missive from melodic pop music’s melody and harmony king. Dana Countryman’s Cabaret of Love is one of 2018’s top long players, a joyous song cycle that surveys the feeling that unites us all: love.
Every number is a winner in this Cabaret of Love. “Just See If I Care” is a happy-sounding, hit-the-road-Jill Merseybeat-styled rocker featuring the Spongetones’ Jamie Hoover singing along and playing lead guitar in quite a Fab way. The heartfelt Four Freshmen homage, “The Night I Fell in Love With You,” is an unforgettable, romantic number with an affecting tea room orchestra arrangement and warm lead vocal sung by Tim Smolens from I.S.S. (Ideal Social Situation).
Cabaret of Love is chock full of guest star turns from such pop favorites as Klaatu’s Terry Draper (who turns in a top-shelf, particularly romantic lead vocal on “I’ll Be Shining Above You”), Klaatu’s Dee Long (electric guitar on “Shout”), and Tiny Volcano’s Scott McPherson (vocals on “You’re Still Number One”).
Cabaret of Love is a glorious gift for music lovers everywhere.
Carpenter Smith and Jones | Petty (Big Radio, 2018) Petty is a sincere and lovely celebration of the music of one of rock’s most magnanimous songwriters and performers, now sadly departed. It is a triumphant achievement, performed with heart by Michael Carpenter and songbirds Abby Smith and Sophie Jones.
The trio’s earthy vocal blend and the perhaps more deliberate pacing of the songs combine to amplify the emotions contained within the lyrics and music for a particularly engaging listen.
“Runnin’ Down a Dream” is recast as a slow, sometimes moody shuffle, a vocal workout bolstered by bracing electric guitars and Carpenter’s forceful drums. “Don’t Come Around Here No More” finds itself swimming atop a dreamy landscape played out with only nimble electric guitar backing beneath the trio’s emotional vocals (the final harmony stack is a joy to behold). And the Traveling Wilburys’ “End of the Line,” which closes this collection, takes on a singalong gospel tone; handclaps and joyous, freeing vocals abound. Prepare for an emotionally uplifting listening experience.
The Grand Levé | The Grand Levé (2018) 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, is a music making veteran (best known for the equally grand Longplayer).
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.
Dig the Electric Light Orchestra vibe of “All in the City.” “Free” is very melody-rich Tom Petty, and “Yesterday Man” is very pure pop and Göran Hjertstedt by way of Longplayer. The mutli-retro “Two to Tango,” a bluesy drawing room number about love and dancing that namechecks Fred Astaire and Ginger Rogers, is another slice of joy.
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.
Louise Goffin | All These Hellos (2018) An exceptional dialog driven by melody and emotion, All These Hellos is a steamer trunk full of memories placed under a microscope to help us figure our place under the sun.
Anchored by Goffin’s lovely, fragile vocals and superb playing from star musicians such as Fernando Perdomo, these 10 songs are quite an attractive showcase for superlative songwriting. The artist is clearly invested in these slices of reflective pop; such is the strength of communication with the listener.
Goffin embraces her pop side with a number of straight ahead, upbeat charmers. “Good Times Call” is a soulful and very catchy sixties-esque pop number about being in love and feeling it. “Life Lessons,” another upbeat pop tune with piano at its core and punctuated by horns, is about being true to yourself and following your heart. And the title song is an inviting mid-tempo number about needing the memories of a childhood place to fade.
A wonderfully rich collection of songs; a terrific album.
Super 8 | Hi Lo (Futureman, 2018) Paul Ryan, d/b/a Super 8, ended 2018 with another top-flight recording–his third of the year–collecting 11 strong songs about employing hopefulness along one’s path through life.
“Angels and Neil Diamond” is a tremendous piece of writing, an easygoing, acoustic look back on childhood’s glory days, reliving one’s youth through good times and bad. It’s a lovely, affecting song that is followed by proof that the title is holly holy. Ryan presents a clever take on Diamond’s wonderful “Cherry, Cherry,” which is pretty life affirming on its own, especially in Ryan’s recasting of the tune as part garage, part coffee house, and all Super 8.
The Rolling Stones nod, “Good Times” (“Had enough of the bad times”), is a happy stroke in the running order, as is the pop-folk hybrid “Bob Dylan Said That,” about getting by in life with your own vision, and, no doubt, following on from what you’ve learned from the bard’s poetry.
The hits just keep on coming; you’ll love every one of them, delivered in Ryan’s emotive style. And for those of you wondering why the man didn’t go for four albums in a single year, just remember…there’s always this year.
The Grip Weeds | Trip Around the Sun (Jem, 2018) This dynamic collection, recorded at the Grip Weeds’ home base, House of Vibes in Highland Park, New Jersey, pushes across the finish line a dozen high energy songs. The band has upped the level of urgency normally associated with their work. In other words, business as usual, with a bit more zing.
In the well-appointed, melody-drenched opener, “Vibrations,” the stage is set with a mix of chiming guitars and rich harmony parts. Not for the first time on this album, I felt as though I were listening to Free Design vocalizing decades after that group’s 1960s and 1970s heyday. The effect that the Grip Weeds have achieved with this song alone is hall-of-fame worthy.
So it should hardly come as a surprise that the band’s deft weaving together of yesterday’s musical signposts and today’s contemporary approaches continue throughout these songs. Take the poppy “After the Sunrise,” for example, which slides from tender acoustic to more upbeat electric guitar stances so expertly, with a lovely melody and sweet harmonies in tow.
The whole pop-rocking ball of wax rolls into the exhaustive closer, the six-minute-long title track, which states its introductory case firmly opened in widescreen, Who territory and concludes with all instruments and vocals blazing and coming together in an impassioned burst of emotion. What a welcome shout of energetic joy this album brings!
Vegas With Randolph | Legs & Luggage (2018) Legs & Luggage is Vegas With Randolph’s best album yet. It is a marvel. This is a new-phase VWR album that thunders across the plains with harder-edged chutzpah than their previous releases. The guitars are louder and the sound is more aggressive. The sound is more purposeful, but just as catchy and fun as always.
For this new album, the band has recorded songs with flashy hooks just as they have done all along, but this time around, there is perhaps a little more oomph spitting out of the engine. This new-phase VWR is a well-oiled and rocking machine.
It’s not just the sound of this thing, it’s the words sung sweetly, confidently, meaningfully and powerfully all the way through, telling stories of a scholarly seductress (“She’s An Intellectual”), completely fulfilling forever love (“I Have You”), and riding the roller coaster of love even though it might tug back (“Jacob”). Then, there’s “Three Red Hooks,” presenting the power of music as a metaphor for confident performance with perhaps this album’s most creative lyrics (“Rock steady/Kick it like Eddie/Didn’t know if he meant Van Halen or Vedder/But whatever/While we’re together/We’d better turn it up loud/And kick it on out”).
This album is titled Legs & Luggage because the songs are largely about transitioning from one thing to another, about taking chances, about moving on from here to there—about transporting emotion packed neatly, or otherwise, in virtual compartments. Legs & Luggage functions as a bridge to the next chapter in Vegas With Randolph’s life; how that reality will manifest itself is unknown at present. But manifest itself it will.
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 this last August. Welcome to your number one home for coverage of the greatest melodic pop music in the universe from the ’60s to today. Happy New Year!
We continue with our Holly Jolly Christmas Party here on day four, reviewing the latest and greatest holiday releases that are perfect for gift giving. You’ve still got some wrapping paper on hand, right?
Before we get to today’s gift suggestions, let’s give our last two-pack of holiday presents to one lucky person. Today, Curry Cuts’ White Lace and Promises: The Songs of Paul Williams and Now Sounds’ deluxe expanded edition of the Mamas and the Papas’ People Like Us are up for grabs. Enter below.
This is our last post of 2018. As we gather with friends and family to enjoy the holiday season, and prepare our annual Favorite Records of the Year feature (coming in early January), we wish you all the best and thank you for your support. We couldn’t do this without you. Have a Merry Happy and a Gear New Year!
Well then, let’s get to talking about the tunes…
Brad Marino | Almost Here (2018) The Connection’s Marino, singing all of the vocals and playing all of the instruments, turns in a trio of Christmas musings set to a holiday beat. The title song is an uptempo number about keeping holiday commotion to a bare minimum (“This Christmas is for you and me”). “Merry Christmas, Happy New Year” is another uptempo track celebrating the season (“A time for us to come together/A time for us all to remember/Merry Christmas and Happy New Year”). An uptempo, Rockpile-styled cover of the holiday chestnut “Blue Christmas,” usually delivered in a bluesy frame of mind, caps off a fun EP, perfect for this time of year.
Michael Simmons | “Christmas All Over Again” (2018) Capping off a really good year in which he released his bravura solo album, First Days of Summer, sparkle*jets u.k.’s Simmons whipped up this bit of holiday joy. Covering Tom Petty’s beloved Christmas tune with good cheer and including Simmons’ best Petty impersonation, sweet background vocals, a nifty electric guitar solo, and bits and bobs of a couple of Christmas classics before the first verse (spot the homages!) is certainly an honest day’s work that we, the listeners, benefit from. Well done, sir.
Bob Burger | Christmas Can’t Wait (2016) This sterling five-track holiday EP shows Zeek Weekling as his actual self, Bob Burger, the long-time New Jersey music man whose solo albums are highly recommended.
Burger helps you celebrate Christmas with, among other top tracks, the upbeat “Gonna Be Christmas,” offering up an enticing melody and attractive harmonies; the humorous, vaguely countryish story song “Santa’s Gonna Crash (Right Through the Ceiling),” which wonders why the big guy can’t just use the front door instead of weighing down the roof, and a knockout version of “Ave Maria,” which features an impassioned lead vocal.
Burger even helps you usher in the new year with the rock shuffle “Happy New Year to Ya.” Whether with the Weeklings or solo, Bob Burger is one of music’s sturdiest artists. Gift this EP to everyone you know, is my suggestion.
Here’s a live version of “Gonna Be Christmas,” with Bob and Jimmy Leahey:
The Butties | “Santa Claus is Coming to Town” (from 12 Greatest Carols) (2005) If the Beatles recorded “Santa Claus is Coming to Town” in their early style and modeled it after their version of “Twist and Shout,” you’d have this classic side, just one of a dozen such clever holiday workouts contained on the album 12 Greatest Carols. The Butties also wrap bits of “Let It Be” around “Let It Snow,” and rework “We Wish You a Merry Christmas” with the spirit of “Sgt. Pepper’s Lonely Hearts Club Band.” Plus many more smile-inducing tracks, perfect for Beatle fans on your gift list. The Butties are really fab!
Pop Co-Op | “Wrap Yourself in Christmas Eve” (from Happy Holidays from the Co-Op Communique) (2018) On this holiday-themed release, a free download, the Co-Op Communique matches the 12 days of Christmas with a dozen holiday tracks that celebrate the season from artists as diverse as John T. McMullan, the Bradburys, Dw. Dunphy, and Pure Pop Radio favorite Super 8.
Pop Co-Op’s quartet of popsters–the Spongetones’ Steve Stoeckel, Mr. Encrypto’s Bruce Gordon, Stacy Carson, and Joel Tinnel–lead the pack with my favorite offering, written by Stoeckel, “Wrap Yourself in Christmas Eve.” This is a clever acoustic number about availing oneself of the warmth of the night before the big day. The deft acoustic guitar figures are truly special.
Enter below to win a pair of melodic presents for the holiday season from Pure Pop Radio (Curry Cuts’ White Lace and Promises: The Songs of Paul Williams and Now Sounds’ deluxe expanded edition of the Mamas and the Papas’ People Like Us). Be sure to fill in all fields (type “Curry Now” in the Comment field), and send the completed form to us by tomorrow, Saturday, December 22, at 10 am ET. US residents only. Good luck.
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 ended this past August. Welcome to your number one home for coverage of the greatest melodic pop music in the universe from the ’60s to today. Happy holidays!
Michael Simmons, long-standing member of the west coast melodic pop community, crafted his smash, just-released solo album, First Days of Summer, at home, recording in sparkling Kitchen-o-Phonic sound (guess where the studio resides). The results are no less than magical.
Michael joined me in a spirited conversation about First Days of Summer on the April 11 edition of Pure Pop Radio: In Conversation. We talked about how he wrote and recorded his new songs, and played three of them: “Fuzzy Green Hat,” the roots of which were in a dream; “Let’s Fall in Love,” a song that would rightly be thought of as Prince Pop; and “Bucket List,” a song that happily circles a mix of NRBQ, Nick Lowe and Rockpile vibes.
First Days of Summer is available in a variety of bundles, each featuring the vinyl and CD versions of the album. Get yours at Michael’s Bandcamp site (where you can listen to the songs played during this program).
Listen to my interview with Michael Simmons from the April 11 edition of Pure Pop Radio: In Conversation by clicking the play button on the following player, or click 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). (This interview is presented in scoped format; the songs have been removed due to copyright concerns.)
Listen to a wide selection of previously-aired Pure Pop Radio: In Conversation interviews by clicking here.
Pure Pop Radio’s signature shows, Alan Haber’s Pop Tunes Deejay Show, playing the latest and greatest melodic pop songs from today and across the decades, and Pure Pop Radio: In Conversation, the premiere Internet melodic pop talk show, air weekly on Pop that Goes Crunch Radio.
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!
Tune in to Pop that Goes Crunch Radio by clicking on the following snazzy-looking button:
Michael Simmons | First Days of Summer | Crab Apple, 2018 You will likely know musician and high school educator Michael Simmons from the much-missed sparkle*jets u.k., from Yorktown Lads, whose Cameron Lew makes quite fine music on his own, or Popdudes, a musical conclave that counts journalist and drummer John Borack among its ranks. Now, it’s time to know Simmons as a solo artist who has produced a terrific long player that will stand, when all of this year’s dust has settled, as one of the best of the year.
First Days of Summer, the music of which was recorded from 2015 to 2017 in sparkling Kitchen-o-Phonic sound, reflecting the location of Simmons’ studio, is contained inside a striking cover bathed in a fiery orange wash with tools of the musician’s trade on the front and song lyrics and credits on the back. This is a stylistically diverse collection of songs that expertly lays out the artist’s diverse musical vision and dedication to craft.
The opening and closing tracks are near-perfect, soft-pop bookends: “Do Your Best to Care,” a keyboard driven toe-tapper featuring a determined, jazzy electric guitar solo, and the sleepy, closing ballad “Center of the Spiral,” which ends as if a turntable’s needle has become comfortably stuck in a loop within a record’s runoff wax, together form a comfortable wrapper within which sit First Days of Summer’s other songs.
Inside this wrapper, you’ll find a variety of catchy sounds, such as the mid-tempo pop-rocker “Fuzzy Green Hat,” steeped in a decidedly Something/Anything?-era Todd Rundgren vibe and all about creative inspiration, no matter where it may come from. The jangly, Andy Partridge-esque bopper “No More Girls” concerns itself with growing up where love is concerned (“I can’t sing about girls no more/No more girls for me/No more songs about girls for sure/A woman’s more my speed/And I know what I will do/I’m gonna sing about you”). “Bucket List,” on fire with a whole lot of Rockpile and NRBQ bluster, celebrates the embracing of true love.
And there’s more. “Let’s Fall in Love” is a lively, beat-driven, Prince-inspired slice of dance pop about second chance romance. The title track, a dreamy, breezy number, recalls the best of Jeffrey Foskett with a pinch of Burt Bacharach horn embellishment and a wash of Todd Rundgren balladry. It’s sublime.
What shines brightly and decisively from within the dozen tracks on First Days of Summer is the passion that Michael Simmons has for making and playing music (he played most of the instruments on this album). He would do well to keep at this music thing and start planning his next collection with due haste. The sound you hear in the distance is listeners wanting a followup.
Where to Get It: Release date is TBD; check Michael Simmons’ Bandcamp page for the latest information
David Myhr | “Room to Grow” (from the forthcoming album, Lucky Day) | 2018 A joyous, jazzy-by-way-of-Paul-McCartney-esque song from David’s upcoming Lucky Day album, set for a May 18 release, “Room to Grow” was written in Nashville with Pure Pop Radio favorite Bill DeMain. It’s the kind of song that would be equally at home in an intimate club and your own music room. David’s vocal is smooth and emotive, the instrumentation bounces along to the bopping beat, and clever touches like the luscious bridge, lively background vocal arrangement and nimble Stevie Wonder-like harmonica break will put a smile on your face. Now playing on episodes of Alan Haber’s Pop Tunes Deejay Show. A catchy, delectable triumph.
Where to Get It:Lucky Day will be released by Lojinx on May 18
Radio Days | El Delfin y El Varano | 2018 Speaking of diverse musical vision and dedication to craft, Milan, Italy’s Radio Days have, save for one track, stepped outside of their power pop comfort zone to deliver a four-song EP full of wonder. It is after the hard hitting, pounding opener “Time is Over” that the group starts serving up surprises. The beautiful “Sometimes,” a slow-paced ballad bolstered by lovely, close harmonies, is followed by a clever reinvention of the Ramones’ “I Wanna Be Your Boyfriend,” recast here as a sensitive ballad adorned with Radio Days’ trademark vocal prowess. The title track, a Dick Dale-meets-just-about-any-’60s-surf-band-you-could-name mid-paced workout, roughly translates, according to Google, as “The Dolphin and the Monitor,” but you’ll probably be happy going with “Cool Instro.” Great stuff.
Pure Pop Radio’s signature shows, Alan Haber’s Pop Tunes Deejay Show, playing the latest and greatest melodic pop songs from today and across the decades, and Pure Pop Radio: In Conversation, the premiere Internet melodic pop talk show, air weekly on Pop that Goes Crunch Radio.
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!
Tune in to Pop that Goes Crunch Radio by clicking on the following snazzy-looking button:
Where to Get It: 
The Cherry Drops | Good to the Last Drop (2018)
Mothboxer | Open Sky (2018)
Alice Bierhorst | Ready for My Close-Up (2018)
McPherson Grant | McPherson Grant (2018)
Where to Get It: 
The Davenports | Don’t Be Mad at Me (2018)
Caper Clowns | A Salty Taste to the Lake (2018)
Les Bicyclettes de Belsize | The Twelve Days of Christmas (2018)
Fernando Perdomo | Zebra Crossing (2018)
Mick Terry | Days Go By (Kool Kat, 2018)
Astral Drive | Astral Drive (Lojinx, 2018)
Michael Simmons | First Days of Summer (2018)
Linus of Hollywood | Cabin Life (2018)
Dana Countryman | Cabaret of Love (Sterling Swan, 2018)
Carpenter Smith and Jones | Petty (Big Radio, 2018)
The Grand Levé | The Grand Levé (2018)
Louise Goffin | All These Hellos (2018)
The Grip Weeds | Trip Around the Sun (Jem, 2018)
Vegas With Randolph | Legs & Luggage (2018)
By Alan Haber – Pure Pop Radio
Michael Simmons, long-standing member of the west coast melodic pop community, crafted his smash, just-released solo album, First Days of Summer, at home, recording in sparkling Kitchen-o-Phonic sound (guess where the studio resides). The results are no less than magical.
Michael joined me in a spirited conversation about First Days of Summer on the April 11 edition of Pure Pop Radio: In Conversation. We talked about how he wrote and recorded his new songs, and played three of them: “Fuzzy Green Hat,” the roots of which were in a dream; “Let’s Fall in Love,” a song that would rightly be thought of as Prince Pop; and “Bucket List,” a song that happily circles a mix of NRBQ, Nick Lowe and Rockpile vibes.
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!
You will likely know musician and high school educator Michael Simmons from the much-missed sparkle*jets u.k., from Yorktown Lads, whose Cameron Lew makes quite fine music on his own, or Popdudes, a musical conclave that counts journalist and drummer John Borack among its ranks. Now, it’s time to know Simmons as a solo artist who has produced a terrific long player that will stand, when all of this year’s dust has settled, as one of the best of the year.
A joyous, jazzy-by-way-of-Paul-McCartney-esque song from David’s upcoming Lucky Day album, set for a May 18 release, “Room to Grow” was written in Nashville with Pure Pop Radio favorite Bill DeMain. It’s the kind of song that would be equally at home in an intimate club and your own music room. David’s vocal is smooth and emotive, the instrumentation bounces along to the bopping beat, and clever touches like the luscious bridge, lively background vocal arrangement and nimble Stevie Wonder-like harmonica break will put a smile on your face. Now playing on episodes of Alan Haber’s Pop Tunes Deejay Show. A catchy, delectable triumph.
Speaking of diverse musical vision and dedication to craft, Milan, Italy’s Radio Days have, save for one track, stepped outside of their power pop comfort zone to deliver a four-song EP full of wonder. It is after the hard hitting, pounding opener “Time is Over” that the group starts serving up surprises. The beautiful “Sometimes,” a slow-paced ballad bolstered by lovely, close harmonies, is followed by a clever reinvention of the Ramones’ “I Wanna Be Your Boyfriend,” recast here as a sensitive ballad adorned with Radio Days’ trademark vocal prowess. The title track, a Dick Dale-meets-just-about-any-’60s-surf-band-you-could-name mid-paced workout, roughly translates, according to Google, as “The Dolphin and the Monitor,” but you’ll probably be happy going with “Cool Instro.” Great stuff.