By Alan Haber – Pure Pop Radio
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”).
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.
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.
Where to Get It:
Richard X. Heyman’s Pop Circles: Kool Kat Musik. Listen to sound samples and purchase: richardxheyman.com CD Baby, Amazon, iTunes
The Doughboys’ Running for Covers: thedoughboysnj.com. Listen to sound samples and purchase: Amazon, CD Baby, iTunes
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.
Once again, we’ve got a pile of new music to add to the Pure Pop Radio playlist. Said pile reaches from the floor to the ceiling, which means it’s time to add said new music to our hard-working rotation.
Butch Young | Mercury Man Never, never, never tell us that the album is a goner–Butch Young’s miraculous, hall-of-fame-worthy Mercury Man instantly announces itself as one of the best albums of 2016 with its dazzling array of 1970s-styled instant classics, 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. We’re playing all of them in rotation: the title track, “Persephone,” “One Foot In,” “Dime Store Jesus,” “The Fools of May,” “Child of Nature,” “Sunday Driver,” “Mohammed on Top of the Mountain,” “Algernon,” “Asteroid,” “Wonderful Life,” and “Starlit Lullaby.” Astounding and really terrific.
The Doughboys | “Rock On” And here they come, barreling in from outer space or some wild and untamed structure being held together by bailing wire and chewing gum somewhere in the outer reaches, wherever that might be. It’s the Doughboys, and they’re rough and tumbling with garage-rock fever inside and around David Essex’s ’70s classic with Richie Heyman’s pounding drums, Myke Scavone’s wailing blues harp, Gar Francis’s rocking guitars and Mike Caruso’s bopping bass. Recorded by the Grip Weed’s Kurt Reil at his House of Vibes studio with widescreen, in-your-face fervor, this is another classic track from New Jersey’s in-the-pocket foursome. Rock on, indeed.
Herb Eimerman | “Soft Landing” This beautiful, heartfelt song, Herb’s first new recording of 2016, was written in remembrance of his father. Supported by Stefan Johansson and Joe Algeri, who also mixed and produced, and featuring some of the sweetest background harmonies you’ve heard in a very long time, “Soft Landing” will stay with you always.
Cotton Mather | “The Cotton Mather Pledge” The latest in a series of new songs from this venerable Austin, Texas band roars right in with a sneaky cymbal wash straight out of Ringo Starr’s “It Don’t Come Easy” and quickly settles into an energetic pop and roll number starring Robert Harrisons’ slightly-scratchy, fuzzed-out, attention-getting vocal. Dig the Beatle-esque, Rubber Soul-ish guitar harmony at about 1:40. Playing as we speak in rotation, it’s burning up our airwaves.
The Lunar Laugh | “Nighthawks and Mona Lisa” Jared Lekites and Connor Anderson are in a light country mood for this breezy, melodic, mid-tempo number slated to be included on the Lunar Laugh’s upcoming second album. It’s another keeper from the stars of Oklahoma City pop.
Erik Voeks – “She Loved Her Jangle Pop” and “Blue Water” Erik Voeks’ “My Dentist” is one of the stone-cold classics from Pure Pop Radio’s early days; these new songs are even better. “She Loved Her Jangle Pop” is a joyous, upbeat hookasaurus, as catchy as anything out there. “Blue Water” trades a slow and studied opening for a more upbeat pace, complete with a beautiful melody and more than a hint of Prefab Sprout in its DNA. New Erik Voeks is always a good thing. A great thing, actually.
The Del Zorros | “Go Ahead and Ask Me” Monty and Stede continue on in the time-honored Zorros-riffic tradition with another lovely, easygoing and typically tuneful song with another catchy melody that comes from, well, we don’t know where, but keep going there boys, will you? Now playing in rotation, as if there were any doubt.
The Lost Boys | “China in the Sink” This rollicking pop-rocker, all dressed up in catchy clothes, screams radio airplay, which is just what we’re giving it. Instantly memorable, with one of those indelible hooks and a short-and-sweet running time–1:49–this is a clear winner. A hit waxing if ever we heard one. Dynamic and quite wonderful.
The Big Believe | “You Already Are” We’ve been playing Amanda Thompson’s lovely songs for awhile and loving each one like the gorgeous creatures they are. This one is arguably Amanda’s best yet, a big, atmospheric and emotional ballad with hints of Kate Bush peeking out from its floorboards. Keep ’em coming, please.
Sons of Morning | Sons of Morning Here’s a nice surprise that made us smile. We like this band’s sound, which dips into many catchy musical nooks and crannies. How did they get their sound? Here’s how the band’s website puts it: “Painstaking efforts were made to achieve the desired feel for this album. All tube amps, a choice selection of just the right stringed instruments… drums that sound like drums, recording methods, and production were all key elements in presenting an album with the warmth of the analog days…” We’d say that about sums it up. We’re playing four songs: “He Wore Black,” a tribute to Johnny Cash; “Not a Sound,” “Hard Livin’,” and “Outta My Head,” a tune that could have been on the Association’s first album (no foolin’).
