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.
Bill Lloyd | Don’t Kill the Messenger (Whole In One, 2020)
The relatively serene composure elucidated in the gentle repose of “The Kiss of the Summer Wind,” a warm musical hug of a song that closes Bill Lloyd’s latest long player, Don’t Kill the Messenger, heralds a change of season and tone. Don’t Kill the Messenger is another winning collection from this classic musician.
With “The Kiss of the Summer Wind,” Lloyd’s calming, melodic salve lowers the temperature drawn by the 11 songs that precede it, that, all told, rock with purpose, powered as they are by a surfeit of hard-charging electric guitars, purposeful and perceptive lyrical conceits, and the usual keen sense of melody. When this longtime favorite Nashvillian sings, we all listen.
An album about the art of communication and what that amounts to in the grand scheme of things, Don’t Kill the Messenger makes otherwise potentially unpalatable situations charted within its songs pay off by suggesting better angels to pursue.
In the hard-charging rocker “I’ve Had Enough of Your Love,” the narrator learns to walk away to lower the temperature on a soured relationship. In the quirky, chunky rocker “KAKA’N’8IT,” a person’s floor caves in as the spoils of war amount to the realization that too much is usually quite enough. And in the sly, winking, four-on-the-floor rocker “You Got Me,” cowritten with legendary producer of the Band, the Cyrkle and Simon and Garfunkel, John Simon, the perfect partner turns out to be less than that.
Lloyd stacks his deck of songs with more winning cowrites, putting pen to paper and pick to guitar strings with a number of longstanding pals, such as David Surface, Prince sideman Dez Dickerson, and Les Bohem, who has played bass for Sparks. Among the guest musicians who help bring these songs to life is Pure Pop Radio favorite Seth Timbs, who plays keyboards on two songs.
On this album’s photo-adorned cover, a sign, placed under a thick, hovering tree just ahead of a weathered white building, advertises a psychic’s tarot card and palm reading services. Depending on your state of mind, you would likely either scoff at this notion and take a nothing-to-see-here approach or wonder what might transpire by entering the building and chatting with the psychic.
Whichever road you choose to travel, playing Bill Lloyd’s latest rock-solid collection of melodic pop and roll is the kiss of the summer wind, not to mention the breeze that blows through the fall, winter and spring. Let it surround you.
Now Playing in Rotation on Pure Pop Radio: “Etch-a-Sketch,” “KAKE’N’8IT,” “You Got Me,” and “The Kiss of the Summer Wind”
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.
It’s true: We’ve been busy listening to the latest and greatest pure pop top tracks being released by your favorite artists and adding them to our ever-growing playlist.
What’s new on Pure Pop Radio? Now playing in rotation are some massively momentous monster tracks you’re going to love. Who from? Glad you asked! Here are just some of our most recent adds:
Not only have Sal Baglio’s Amplifier Heads released one of the finest melodic pop albums in many a year–Music for Abandoned Amusement Parks—they have quickly followed up with a luscious four-song EP titled Oh Golly Gee, which just happens to be part of the lyric to a lovely ballad called “Late to the Prom.” That song, and two others–“Short Pop Song About a Girl” and the provocatively-titled “Man on the Edge of a Ledge Contemplating a Jump”–are now playing in rotation on our air. More on the Amplifier Heads soon. Close your eyes, listening to “Man on the Edge,” and you’ll think you’re listening to a lost track from the Monkees being sung by Michael Nesmith. Really!
Rosie Abbott, an across-the-ponder who radiates talent at every turn, is releasing a gorgeous song cycle with singer-songwriter roots and baroque tendencies that melodic pop fans will devour with glee. Magnified, a very Kate Bush-y kind of affair, finds Abbott playing and singing everything in a most mesmerizing way. Pure Pop Radio is playing five of Magnified’s songs in rotation: “Alice Died,” “Robin Hood’s Stride,” “I Forget to Breathe,” “The Look in Our Eyes,” and “Erased.” Pure bliss.
The album’s title track:
Greg Pope’sWishing On a Dark Star is a top-tier long player that is perfect fodder for people hungry for great, catchy melodies performed with gusto. From start to finish, this is top-notch melodic pop; we’re playing six songs in rotation: the glammy “Gone,” “When the Road Began,” “Morning Sunshine,” “Wildest Dreams,” “Jump Back from the Light,” and “Crawling Back to You.” This is Pope’s grand achievement, his best release and a sure thing for this year’s best-of lists.
This coming October 9th would have been John Lennon’s 80th birthday; we all miss him terribly, of course. To help with our mutual yearning for his talent and wisdom, Jem Records is releasing a powerful tribute with vital covers of some of Lennon’s best and most-loved creations. Added to our playlist today, we are spinning a total of six tracks from Jem Records Celebrates John Lennon: “The Word” and “What’s the New Mary Jane” (The Weeklings); “You Can’t Do That” (The Grip Weeds); “No Reply” (The Gold Needles); a masterfully meshed take of “Revolution” and “Power to the People” (Richard Barone), and “It Won’t Be Long” (The Midnight Callers). Dig them all, as you should.
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. Be sure to save our branded player to your desktop for quick and easy access.
The hits, the future hits, and all of the hits in-between are spinning with glee on Pure Pop Radio. Come join the party and take a listen (click on our player above or below). And dig, if you will, some of our recent adds to our ever-growing playlist, such as the following choice nuggets:
A Pure Pop Radio favorite for all time, Bill DeMain has released a pair of dreamy ballads destined for the Nashville popster’s next album.
“Parastoo” is a gorgeous love song, a minute and 42 seconds long and adorned with only Bill’s sensitive vocal, acoustic guitar and Pat Sansone’s mellotron. A love story about planting the seeds of a relationship, the lyrics prove that to adore takes commitment: “It only takes a smile to fall in love,” Bill sings, “But it takes a lifetime to prove that it’s true.”
“Film Noir,” co-written by Bill and Danny Wilson’s Gary Clark, will take you to a smoky jazz club where the torch of love burns and the star of your film noir turns the tables on you and makes her escape (“She played you like a piano, her ticket out of town / And that little taste of sugar / Turned bitter by the day”). Cello, violin, tenor sax, bass, drums and piano provide the soundtrack to this emotional tale of almost and could-have-been.
Both of these destined-to-be-classic songs are now playing in rotation on Pure Pop Radio.
Timmy Sean has long been a fixture here on Pure Pop Radio. Remember when we covered his mammoth Songs of the Week project back in 2015? “My Jaded Love” is a new version of a song we first heard back in early 2016; it’s going to appear on Timmy’s forthcoming album, A Tale from the Other Side.
“My Jaded Love” is a mid-tempo pop-rocker with a catchy chorus and a strong vocal, both nothing less than Timmy Sean trademarks. Hear for yourself below (and on our air), and make a note to get A Tale from the Other Side when it becomes available this fall.
Ed Woltil has been in the spotlight before at Pure Pop Radio–for his hall-of-fame-worthy album Paper Boats, A Reverie in Thirteen Acts (one of our Favorite Records of the Year for 2014), and as songwriter and member of St. Petersburg, Florida band, the Ditchflowers. Here comes the Woltil spotlight again: One in My Tree is destined to be another feather in Ed’s cap. Ed’s gift for catchy melodies is as keen as ever; witness the should-be-hit-bound poppy opener, the upbeat “When We Fall in Love”; the pretty waltz, “Living in Between the Lines”; the breezy, Americanapopper “Caroline Wren,” and the rocking “A Matter of Time” (a genuine, good old toe-tapper), all of which are now playing in rotation on our air.
Check out “Make Me” from Ed Woltil’sOne in My Tree, and pre-order at Bandcamp below:
Lisa Mychols and Super 8, whose gloriously wonderful, self-titled album is a must-get for all of you must-getters who pride themselves on populating their collections with must-get, long-playing pearls of pop wisdom, offer a track not on their must-get album as a bonus for buying said album. They call this track their “secret” track, and it’s a doozy, an imaginative reworking of the Korgis’ beloved 1980 hit, “Everybody’s Got to Learn Sometime,” that sounds as though the band is dangling from a hazy hippie high wire with a warm, summer’s day campfire directly below them. Which makes it a must-get, so get on over to Lisa Mychols and Super 8’s Bandcamp page and… get it.
Where to Get It (Get the album and the secret bonus track):Bandcamp
Chris Church’s blazing collection of richly rendered pop-rockers, Backwards Compatible, is exploding here, there and everywhere. Catch the rocking “Begin Again,” slathered with a hefty yard’s worth of poppy background vocals, in rotation right here on Pure Pop Radio.
Stay tuned for more adds to the Pure Pop Radio playlist. And don’t forget to listen. Simply click on the player below, and don’t forget to save our player to your desktop and tablet.
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.
A brand-new, most welcome drip of fun from Chicago’s artisans of pure pop mastery tops today’s roll of new adds to Pure Pop Radio’s ever-growing playlist.
Streaming in rotation along with a wide variety of catchy melodic pop nuggets both old and new is the new single from the Windy City’s Flat Five, whose 2016 debut long player, It’s a World of Love and Hope, was a musical tapestry of epic proportions. “Drip a Drop” is a wonderful example of how it is done (see how they done it in a live take from November 2019):
We now pivot from the Flat Five’s great new single to Rick Hromadka’s top-flight collection of wonderfully-realized pop ‘n’ roll songs, Better Days. We’re spinning three tracks in rotation on Pure Pop Radio: “The Ever After”; “The Last Volcano,” the last song recorded for the album, and the only one for which Rick plays all of the instruments, except drums; and “I’m Here to Entertain You,” a fun track possibly introducing a new genre: circus pop.
Pure Pop Radio favorite Kyle Vincent turns in another grand group of luscious melodic numbers on his latest album, Whatever It Takes, and we’re playing four in rotation: the upbeat and quite catchy “Bubblegum Baby,” “Two Cans and a String,” “The Girl in the Flower Shop,” and an affectionate tribute to the magical powers of “A Gilbert O’Sullivan Song.”
Kai Danzberg, who’s built up a strong following in the pop community with his last few releases, sees four more songs from his new album, Rockshow, added to the Pure Pop Radio playlist: “You and Me,” a real toe-tapper; “Living Room,” the upbeat “Making it Right,” and the very Paul McCartney-ish “Waiting for You,” our favorite new slice of Kai.
Add to all of the above a track from Jim Basnight’s 2019 album, Not Changing (“Having Fun”) and a new song from Your Friend Jebb (“Change of Seasons”) that features Lisa Mychols and Tom Richards, glorious upper-register harmonies, and a melody gift-wrapped with warmth.
Get ready, set, and go to the player depicted below, click play, and lose yourself in a wonderland of catchy melodic pop music on Pure Pop Radio. Listen all weekend long and into the weeks and months ahead, and don’t forget to save the player to your desktop and tablet. Enjoy!
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.
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.
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.
David Brookings and the Average Lookings Scorpio Monologue (2019)
After the credits roll at the end of the making-of video for this album, David Brookings turns to his guitar player, Patrick Yoho, and fans a deck of playing cards.
“Pick a card, any card. Don’t let me see it,” David says. Pointing to the deck in his hand, he tells Patrick to “Put it face down right here. Don’t let me see it. Right on top.” The card returned to the deck, David taps it, waves his hand over it, and in a move that echoes those of famous magicians through the ages, scratches it. He turns the card over and asks Patrick if it’s the one he chose. “Is this your card?,” David asks. Patrick nods in the affirmative. “It is,” David confirms, the room laughing and his voice smiling, as if that’s a thing.
It’s the details that matter, in other words. Also, have fun creating your art. And the art, this collection of catchy pop-rock songs called Scorpio Monologue, Brookings’ eighth release in 19 years, is all about the details that get tended to as songs are written and brought to the band; parts are worked out by each of the players, and the artist and his co-producer and engineer, Don Budd, shape it all into minutes-long symphonies of careful, musical expression that listeners absolutely dig.
It’s the details that matter; if Brookings and his cohorts get them right, and for each of the baker’s dozen tracks on Scorpio Monologue they most certainly do, the result is entertainment of the highest order which, in the hands of Brookings and his Average Lookings, is a trick that pays off handsomely with untold dividends.
Scorpio Monologue–11 originals and two covers–announces itself as a force to be reckoned with as the jangly and propulsive opener, “And It Feels Like…” begins to play. The song, about always striving to succeed amidst the chaos around you, safe in the arms of the one you love (“Go for the dream where you’re in the meadow / Something about you always calms me down”) is but one of many of the top-flight songs on offer.
“I Grow Up Fast” is an uptempo, poppy, jangly number about going after what you want in life, having learned from what you experienced in your youth (“And I played the field / And finally settled down”). “Rainbow Baby,” a gentle mid-tempo pop song, is about how much the new Brookings baby is a gift to his family (“Personality turned up to a hundred / Like your sister and your mom before you / When I see you smile it’s a look of wonder / How’d we get so lucky that we got you”). Brookings’ family makes cameo appearances during the song; baby Brady charmingly giggles during the close.
The upbeat, countryish “Silicon Valley” is a fun song about the quirkiness of the area (after a seven-year stint as a tour guide at Sun Studios in Memphis, Tennessee and giving a tour to Apple’s Steve Jobs, Brookings relocated to San Jose in 2009 to work for the tech giant). The blazing Chuck Berry-esque “She’s Mad at Me Again” is another top highlight about a guy who frequently does the wrong thing (“I did it different than I meant to do / But don’t defend me or she’ll get mad at you / She’s mad at me again”). The rocking guitar, plucked right out of the sounds-like-Dave-Edmunds playbook is a lot-of-fun highlight.
Scorpio Monologue, Brookings’ second album fronting the Average Lookings, is another in a long line of meticulously crafted collections from one of pop-rock’s top indie artists. Don’t miss it.
A lovely, reverent cover of a song from Jackie Lomax’s March, 1969 debut album on Apple Records, “Fall Inside Your Eyes” is all about the feeling and effect of attraction.
In the booklet that accompanied the 2010 reissue of Lomax’s Is this what you want?, Jackie says that “Fall Inside Your Eyes” “…is about a psychic connection between two people that doesn’t need words.” And, in fact, the lyrics carry that idea: “I know I can’t explain just why I feel this way / But just one look from you and there’s nothing I can do.”
Lomax’s song floats atop a seductive melody and affecting lyrics. His original track, produced by George Harrison, features an electric piano in the mix; Wisely underlines his ace arrangement with tender pedal steel guitar played by Eric Heywood, and elevates the track with an equally tender harmonica solo. Wisely plays that solo and the guitars; John Fields, who produced with Wisely, plays bass and drums.
“Fall Inside Your Eyes” features on Wisely’s upcoming, much-anticipated new album, Face the Sun, due on August 2.
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 slim, trendy, smiling pop art-ish musician, drawn with angles, feet slipped into Beatle boots and holding a familiar looking bass is depicted on the cover of his album as a guy you should get to know if you don’t know him already. He’s peddling some so-called bloody rubbish, or so says the title. Don’t believe him.
The musician depicted in smart, cartoony fashion on the cover of Bloody Rubbish is Ray Paul, still and always head muckety-muck at Permanent Press, known by pop fans as one of the premier indie record labels, the original concern sadly gone but certainly not forgotten. Bloody Rubbish is a smashing collection of 10 choice Paul classics drawn from throughout his four-decade-plus career. Said classics, it should be noted, are neither bloody nor rubbish.
Sequenced in a kind of time traveling back-and-forth fashion, Bloody Rubbish begins with “I Need Your Love Tonight,” a track first issued in 2017, a rousing, very catchy and full of guitars side sporting a typically passionate Paul vocal and one of his patented can’t-get-it-out-of-your-head melodies. Guitars and strong vocals are the backbone of every recording contained herein.
The thing about Paul’s output is that many or most of his recordings could come from any year, slab of vinyl or shiny compact disc. So his 1978 single on Euphoria Records–“Lady Be Mine Tonight” b/w “Hold It”–is absolutely interchangeable with “I Love It (But You Don’t Believe It)” from 2016’s superb platter, Whimsicality; 1980’s up-tempo and Badfinger-ish “Brokenhearted,” and 1981’s “How Do You Know?” b/w the early XTC-ish “Keep it Confidential,” released on Permanent Press. All of these choice tracks are included here, and all are divine examples of Paul’s mastery of the pop form.
Bloody Rubbish serves up three previously-unreleased rarities for the Paul collector and, really, any fan of melodic, rocking pop: “Love Me,” a moody, melodic, mid-tempo Paul song waxed in 1977 at Euphoria Sound Studios, and two live tracks with his new band from 2017–“Standing on the Edge of Goodbye” and a passionate cover of the rocking “Open Up Your Door,” both billed as by Ray Paul and RPM (the latter song is a cover of Richard and the Young Lions’ 1966 single).
Kudos to Ray Gianchetti at Kool Kat Musik for releasing this compendium of “bloody rubbish,” which comes in a nattily-attired jewel case with a four-page booklet sporting thumbnails of Ray Paul releases and an array of eye-catching photos.
And kudos to you, smart pop people, for catching on to some of the finest uptempo pop recordings that have had the opportunity to seep into your consciousness over the past four-plus decades. This Bloody Rubbish is bloody fantastic.
Smith and Jones | Something Worth Learning (Childless Mother Records, 2019)
Last year’s Petty by Carpenter Smith and Jones, a loving tribute to Tom, was a big hit here at Pure Pop Radio, and for good reason: its passionate takes on some of Petty’s most beloved songs spoke to us, and probably spoke to you, too.
That very same passion is renewed and celebrated here on Abby Smith and Sophie Jones’ sophomore duo collection, Something Worth Learning, produced by Michael Carpenter. The album’s twelve songs, chronicling the ups and downs and sideway glances of relationships, speak to all types of hearts, however they beat and tumble.
Carpenter’s production is crisp and clear and alive, bringing Smith’s songs to life with just the right combination of instruments and depth of solo and harmony vocals. The trio of Carpenter, Smith and Jones is a shining example of fate drawing on a colorful canvas.
The album kicks off with the lively and upbeat “As I Am,” a catchy bubblegummy concoction that should for all the world be called Progressive Partridge (Family). This take-me-as-I-am song gets these proceedings off to a catchy start.
There are more five-star songs and performances on Something Worth Learning than on most albums being released these days. Case in point: “One Last Time,” a beautifully rendered ballad very much in the early Joni Mitchell style. With just piano and voice, this tale of a broken relationship plays out with sure emotion after the relationship is in tatters. But the girl pines for one final positive memory (“You could tell me I’m beautiful / Just one last time”).
Another Mitchell-esque song, a ballad entitled “In the Middle of the Night,” pairs solo piano and voice as a poetic dreamscape takes hold of listeners’ senses; in these words lie all emotions tethered in a relationship. These words, written by Smith, are monumentally sound and descriptive: “In the middle of the night / I go walking in the rain / Leave my pillows to their dreaming / My sheets, to lovers’ stains / Just a passing storm that’s all.” And then, there is this: “In the midnight of my memory / I hear that black bird singing / Softly as a lovers’ touch / A kiss upon my ear / Hear that melody rise and fall / Lovers and losers / She sings for us all.” Quite simply gorgeous.
“Love Lives in Darkness,” an emotional ballad, plays right out of the Mary Chapin Carpenter playbook–a very good thing. Even the vocal is Carpenter-esque, circa her Come On Come On album from 1992. About love lived in shadow, the song barely reaches out to light (“We raise it up on a stolen Sunday / We raise it up with an early morning embrace / Before the day is woken / Before a word is spoken”). The deeper truth? “A love lived in shadows / Is a love built on lies.”
The liveliest song on this album, relentlessly clever and smile-inducing, is the bouncy “Last Night I Saw Jesus (The Book of the Boss),” a tongue-in-cheek hosanna shot straight from around the world to Asbury Park, New Jersey’s favorite son, Bruuuuuuuuce Springsteen. Over a hippety-hop bass line and sure-footed finger snaps come the rousing huzzahs: “Come on, head on down to tenth avenue / And find a place on the church pew / We’re singing a hymn from the book of the boss / Oh he saved me and he’s gonna save you too.” And, if you were wondering, this song’s lyrics make it crystal clear: Bruce is “looking good for his age.”
Something Worth Learning, played by Abby Smith, Sophie Jones and Michael Carpenter, along with Matt Ferry, is something well worth having.
Pure Pop Radio favorite Kenny Herbert is back with perhaps one of my favorite of his most recent creations–contemporary pop with more than a dash of 1930s and 1940s pizazz.
A delectable horn section, orchestration, plonking piano, and Kenny’s honey-coated vocal, full of love, power this toe-tapper inspired by Kenny’s wife Caroline, who, he says, “has the best smile in the world.” Making this song’s dazzling chart sing are Pilot’s David Paton on bass; Bob Heatlie, making the brass and strings come alive; Martin Wykes on drums, and Rab Howat playing guitar and singing background vocals. David Valentine, who plays piano, also produced at Heartbeat Studios in Edinburgh, Scotland.
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.
It is a bushelful of happy that greets me on this day, almost a month since I last posted due to various bits and bobs. Finding a new Weeklings song in my email inbox–an old-fashioned Weeklings song, if truth be known–speaks to my most get-in-there, take-it-apart-and-put-it-back-together-again-for-you instincts. Because what fun it is to wear the happiness that Weeklings recordings bring, like a new suit resplendent in audio jewels that really make me smile.
Started at London’s Abbey Road Studios, written by Lefty and Zeek Weekling, and finished off at home base in New Jersey, “I Want You Again” is perhaps a quintessential example of the Weeklings’ melodic sense that embodies significant Beatles and fellow traveler touchstones as much as the group’s own contemporary identity.
An I-really-shouldn’t-have-pushed-you-away-and-by-the-way-can-I-get-you-back song with a beat and a beating heart, “I Want You Again” is a jangly joy with a McCartney-esque bass line, Merseyside guitar stabs in the bridge, an “A Hard Day’s Night” namecheck (“When I think, of the time, when our love burned bright / When we shared, every word, singin’ ‘A Hard Days’ Night'”), and, most importantly, echoes of the Fabs’ “You Won’t See Me” and a closing melody quote from Badfinger’s “Baby Blue.”
“I Want You Again” is just the latest example of New Jersey’s finest fab foursome’s pursuit of audio excellence that bridges decades of catchy melodic pop. A bushelful of happy, if you will.
Alex Chilton | From Memphis to New Orleans (Bar/None, 2019) Songs from Robin Hood Lane (Bar/None, 2019)
When most people think of Alex Chilton, they likely remember his work with the Box Tops, whose big 1967 hit, “The Letter,” he sang at age 16 with the maturity of a much older and perhaps wiser artist, and Big Star, an influential group blessed with a deep vat of melodicism and rock-influenced pop songs that have stood the test of time, such as “September Gurls,” “The Ballad of El Goodo,” and “Thirteen.”
It is less likely that casual music fans–people who grew up with the Box Tops and Big Star–also embraced Chilton’s music that followed. Two new, comprehensive compilations from Bar/None seek to mend the fences over which Chilton jumped in the 1980s and 1990s to make music that was stripped down, less commerical, and sometimes undersold, yet still viable and enjoyable and quintessentially Chilton.
From Memphis to New Orleans draws from four releases produced in the second half of the 1980s. A mix of original and covered punchy, seductive bluesy rock (David Porter and Isaac Hayes’ “B-A-B-Y”), punchy rockers (Ronny and the Daytonas’ “Little GTO”), Bakersfield country (Chilton’s “Paradise”), gentle pop with a beat (“Let Me Get Close to You,” a Skeeter Davis flip side scribed by Carole King and Gerry Goffin that originally appear on High Priest) and rock and soul grooves, the album chugs happily along as it shows off the wares of Chilton’s post-Box-Tops-and-Big-Star eras.
Probably, the sides compiled on From Memphis to New Orleans are closer cousins to Chilton’s previous work and likely more palatable to fans of the Box Tops and Big Star, but it’s the covers of classic songs in the style of the music that he heard growing up, compiled on Songs from Robin Hood Lane, that might just provide a clearer picture of where Chilton’s heart really found the most peace.
Songs from two Chilton releases–1991’s Medium Cool and 1994’s Cliches–sit comfortably alongside four previously unreleased sides on Songs from Robin Hood Lane. Chilton nestles quite comfortably in the moods and emotions of a dozen jazz, blues and pop numbers, showing quite different sides of his musical persona. They are, in their way, just as emotional and effective as the singer’s work during his rock and pop years.
Highlights include the quietly bouncy “My Baby Just Cares for Me,” cut by Nina Simone in the 1950s and played out here with only Chilton’s masterly acoustic guitar picking and playful, jazzy vocal; “Don’t Let the Sun Catch You Crying,” a jazzy, supper club take on the 1940s standard and one of the four previously-unreleased tracks on this collection; and “That Old Feeling,” a half instrumental and half sumptuous vocal workout of Sammy Fain and Lew Brown’s classic written in the 1930s and essayed by many classic vocalists, including Patti Page and Frank Sinatra.
Both From Memphis to New Orleans and Songs from Robin Hood Lane sport beautifully-laid-out packaging that includes immersive and informative liner notes by Glenn Morrow and track personnel and discographical facts. Bar/None is to be congratulated on both releases; listeners will come away from hearing a fuller picture of Chilton the artist.
The lesson learned in pop-rocker Bryan Estepa’s new digital release, “I’m Not Ready for This,” is that first loves are woven into one’s heart forever (“Forgetting first loves can’t be done”).
What to do with such a realization is another thing entirely, as noted in this mid-paced guitar popper. After all, first loves can be a fleeting thing (“Stay together for a little while / Run its course on this crooked mile”).
This track, with its smooth lead vocal, engaging backgrounds, and lovely, pleasing chords, will stay with you for a long while, even if your first love isn’t showing in your rearview mirror.
(Watch the stylish black-and-white video for “I’m Not Ready for This” below. The use of light fading quietly in and out to suggest the memory of a first love fading in and out over time is quite impressive.)
The banjo’s the thing here, which is the thing that counts most in Jacob Panic’s world. A rock/pop hybrid love song exhibiting immense power and emotion, “The Heart/Breaks” is all about love, and the more of it–the stronger it comes on–the better.
“Put your lovin’ arms around me / And everything’ll be alright,” Panic sings, and when those lovin’ arms lock tight, an explosion of emotion comes due. “Listen to the heart beat go / A mile a minute / Many miles it flows / It gets dark / It gets cold,” and where do you go from there?
Mostly, the choruses are drawn with thunderous drums and instrumentation mixing with powerful vocals; the connecting tissue is softer, limber. The feeling, near as I can tell, is when you truly feel love and it totally encompasses you, you fall hook, line and sinker.
A tremendous track from a tremendous performer, co-written by Panic and Steve Antonelli, and featuring Antonelli on guitar, bass, and drums and Lea B. singing backgrounds.
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.
Armchair Oracles Caught by Light (Kool Kat Musik (CD), 2019)
Comprising 10 songs drawn in bewitching colors, doused with the spirit of decades of classic guitar pop and seasoned by Norway’s quartet of the moment, Caught by Light jumps to the front flank of 2019’s finest releases.
Armchair Oracles, twisting and turning in and around the essence of bands such as Badfinger and Teenage Fanclub, roll out a virtual guide to being safe and at home in this life.
The breathtakingly beautiful “Don’t Let It Break You,” a muscular power ballad with soft shoulders, sings a song of hope and guidance as the narrator offers sage advice to a young friend (“Don’t let the hard times break you or leave you all behind / You’ll be good if you stand your ground”). “Several Stories” tells a melodic tale of someone who understands how to rebound from a fall from grace (“Whenever I am down / You will be around to make it better”).
Songs such as the provocatively titled “She Gets Me High,” a concise, crafted-with-care ballad about the narrator’s safe place (“I close my eyes / I hold my breath and then exhale / She lifts me up and gets me high”) continue the listener’s journey through an invigorating program of melodically-sewn musical life lessons. (We reviewed three tracks previously released as singles here; all three–“Porcelain Heart,” “All My Time,” and “Downsized Life”–are extraordinarily good.)
An unmissable long-player from Atle Skogrand (vocals and guitars), Bjørn Gamlem (guitars), Jan Ove Engeseth (bass), and Charles Wise (drums).
Lannie Flowers | “What Did I Know” (SpyderPop, 2019)
A love-her-but-not-for-a-lifetime toe-tapper in the best uptempo Flowers in the Dirt-era Paul McCartney tradition, “What Did I Know” continues the ongoing offering of fabulous free songs given away each month by Lannie Flowers and SpyderPop Records, during the run-up to Lannie’s forthcoming album, Home. (And, by the way, none of these free songs will be on Home.)
This is the 13th of the “Flowers” picked and presented to fans of one of melodic pop’s greatest assets, and it’s a doozy, free for the taking on SpyderPop’s website. Christmas continues to come early, am I right?
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.
By Alan Haber – Pure Pop Radio
Chris Church’s blazing collection of richly rendered pop-rockers, Backwards Compatible, is exploding here, there and everywhere. Catch the rocking “Begin Again,” slathered with a hefty yard’s worth of poppy background vocals, in rotation right here on Pure Pop Radio.
