Bob Burger / The Domino Effect

Bob Burger

The Domino Effect (JEM)

Bob Burger is quite a busy guy. Aside from holding membership in New Jersey’s top band, The Weeklings, the singer, songwriter and multi-instrumentalist also claims an artistically satisfying solo career. Bob’s current and fifth album, The Domino Effect, files in as a stone-cold testimony to his passion and comprehension of prescriptive pop rock, especially of the late seventies, early eighties ilk.

Equipped with a melodic rasp situated in the vein of both Don Henley and Tom Petty, Bob conveys his attentively-crafted material in a spirited and coherent manner. Staying in form with the music, the lyrics – which reveal a psychological awareness often laced with humor – are direct and bleed with worldwide allure. 

Ignited by a blush of bluesy guitar riffs and swaying rhythms, “The Suicide King” lifts the lid on The Domino Effect in faultless fettle, tailgated by “Impression,” a new wave styled number sliced of scuttling keyboards and a repetitious but persistently-catchy beat. 

Gleaming with spark and light, “Even If You Don’t” and “Merely Beautiful” are first-class guitar based essays, deftly supported by cracking patterns and attractive hooks. Dictated by an urgent bounce and an infectious sing-a-long chorus, “Pain In The Ass” and the slinky and sinister groove of “The One-Eyed Jack” reel in as other outstanding cuts to be admired. 

A twangy country feel surrounds the toe-tapping timbre of “I’m Free,” and then there’s “Rock & Roll Band,” which proves to be a fitting end to the program. Vibrating with high energy, cool licks and in the pocket harmonies, the punchy track communicates Bob’s ongoing devotion to music, stating how playing in bands has kept him sane all these years. 

Powered by virile vocals, creative arrangements and skintight instrumentation, The Domino Effect harks back to the days when every song on an album exerted serviceable qualities. After hearing this perfected piece of ear candy, you’ll wonder why Bob Burger isn’t a big star. Perhaps The Domino Effect is the album that will glean him the riches he so obviously commands. 

Spygenius / Jobbernowl


Jobbernowl (Big Stir)

A momentous occasion occurs June 24th, as this is the date the new Spygenius album is released. Skating in as the Canterbury, England band’s seventh full-length endeavor, “Jobbernowl” is jammed to the pores with tunes of the “hit repeat button” quality.

But then again, we wouldn’t expect anything less from lead singer and guitarist Peter Watts, bassist and vocalist Ruth Rogers, keyboardist and vocalist Matt Byrne and drummer and vocalist Alan Cummings, who certainly hold court as one of the most interesting and exciting musical configurations of today.

Enigmatic verse, compounded by ripe melodies, compelling instrumentation and perfectly-pressed harmonies represent “Jobbernowl,” beginning with the spinning thrust of “I Dig Your New Robes, Pierre!,” which is topped by a manic chorus of “Dig it! Dig it! Dig it!,” and then there’s the throbbing stomp of  “Sky-Pie, Century 21” that slips a pinch of zoomy surf-rock shadings into the fold via the iconic “Batman” theme. 

Submerged in jangling guitars and juicy hooks, “Mandy Rice-Davies Applies” cycles in as another particularly stand out cut on the album. Also seated in the platinum-plus category is “Screwy,” a bippity-boppity XTC-influenced number  charting the experiences of a couple who are nine years apart in age. 

An invitation to spool back to the flower power era, “The Marvellous, Mendacious Time Machine” is an uptempo slice of psychedelic pop magic, where “Son Of The Morning, Go Man Go!” rocks to a racing beat, based in the neighborhood of The Buzzcocks and The Undertones.   

Classy piano flourishes, whirling with beauty and grace, highlight “All That Is Solid Melts Into Ash,” which frequently reflects the moodier aspects of The Beach Boys, while the squeaky ukulele-driven “Foucault Swings Like A Pendelum Do” would make Tiny Tim glow with pride. 

As is the case with previous Spygenius albums, “Jobbernowl” contains a grab bag of notions, but such variation somehow manages to flow to a synchronized rhythm. So raise a toast to these three lads and a lady, and relish every minute of “Jabbernowl” and its avant-garde magnetism. 

Walker Brigade / If Only

Walker Brigade

If Only (Big Stir)

Having secured the reputation as a sizzling hot live act, Walker Brigade will finally be releasing their anxiously-anticipated first full-length album. Available May 27th, “If Only” includes offerings from most of the Los Angeles band’s 2017 mini-album, “Animal Therapy,” plus digital download singles previously issued by the Big Stir label, as well as new material and bonus tracks. 

Consisting of vocalists and guitarists Tracy Walker and Jeff Charreaux, bassist Mark Fletcher and drummer Craig Tykra, Walker Brigade produces an immensely powerful sound that blends artsy punk incentives with jarring pop rock maneuvers. Brandishing both ability and attitude, the band thrives on the kind of paranormal rapport found in uniquely great groups.

Piloted by a feral intensity, “If Only” is a noisy but wonderously melodic affair, with songs such as “No,” “Tower,” “Fallout,” “Disease” and “Choker”  zoning in on Walker Brigade’s flair for fusing nail-biting tempos and expressions with user-friendly undercurrents. Split somewhere between quirky roots rock and hook-happy garage punk, the cocky swagger of “V.D. Doll” and the loose-limbed rumble of “Fancy Boots” plug in as further winners on the album, along with the properly titled “Shake Shimmy,” which hustles and bustles to a hip-grinding beat. 

Awash with shifting rhythms, pinching breaks and tantalizing twists and turns as a whole, “If Only” discharges one surprise after another. But a cover of “I’m Tired” – which was initially sung by Madeline Kahn in the  1974 box office blockbuster “Blazing Saddles” – testifies to be an especially unexpected treat. Tracy’s vocal performance on the tart and raunchy cabaret corker is absolutely phenomenal, as her phrasing, range and passion is stretched to extremes.

A rendition of Wire’s kinetic “Sand In My Joints” also appears on “If Only,” while the gig wraps up with a number not listed on the set. Slyly coined, “Rock And Roll Toilet” makes the Sex Pistol seem tame by comparison. Devised of two  grungy chords, a hoarse growl and super trashy drumming, the hidden cut is the real thing – just like Walker Brigade. Raw, authentic and pulsing with mind-exploding singing and playing, “If Only” may have been worth the wait, but let’s hope the band’s next album arrives sooner than later! 

All Of Thus

All Of Thus

All Of Thus (Gear Fab)

If you have never heard of All Of Thus before, you are not alone. Based in Victor, New York, the band cut just one album during their stint, which did not receive a speck of commercial promotion or attention. Simply dubbed “All Of Thus,” the album was released in 1968 on the Century label. Only 265 copies of the album were pressed, and ultimately gained the status of a serious collector’s item. Now revived onto compact disc, the rare pearl further offers the history of All Of Thus, authored by Mike Stax of Ugly Things magazine. 

Although the jacket sleeve of “All Of Thus” apes “Meet The Beatles” in a roundabout way, the band was a far cry from Fab Four imitators. Comprised of lead singer, songwriter and guitarist John Johnston, bassist and vocalist Don Corbit, keyboardist and vocalist Jerry  Huekensfield and drummer Barry Dagleish, All Of Thus exposed a preference for the psychedelic folk rock philosophy of The Byrds and early Love, filtered through a raggedy garage-pop edge. Raw and natural energy, as opposed to style and technique, furnishes “All Of Thus” with an enjoyable charm and innocence. The members of All Of Thus were still in high school when the album was recorded, and their youthful enthusiasm is contagious.

Jingly jangly applications are placed at a premium on the melodic kick of “She Think She Knows,” as well as “Artifical Lies,” which is executed at a bit of a slower meter and adds washes of whirring organ drills and social commentary to the track. Then there’s a cover of Pete Seeger’sBells Of Rhymney,” featuring a different arrangement than the initial version, not to mention a new set of lyrics. In the end, however, the giddy rendition mirrors the noted take by The Byrds, with its escalating and hypnotic harmonies that carry a hymn-like timbre.  

Routed by a rebellious sneer, hippy dippy prose and rolling and tumbling piano excursions, the gripping “Rely” is pricked with a stinging acid-tinted guitar solo, and “Bye Bye Baby” is a dance floor friendly nugget, marked by shaking grooves, shouting vocals and herky jerky riffs. A punchy garage rock vibe fuels the weirdly hooky “Last Night,” and the moody atmospherics of “Kind Of A Dream” produces a strong Zombies influence. Speaking of The Zombies, “All Of Thus” contains a brash and wild remake of the British band’s “It’s All Right With Me,” that includes some real cool surf rock drumming in the mix. A haunting interpretation of Burt Bacharach and Hal David’sWalk On By” strolls in as another inspired interpretation tucked on the album. 

Catchy singing, projecting a sense of power and confidence, chaperoned by unusual tempos and  instrumentation, reward  “All Of Thus” with an organic uniqueness to be appreciated and celebrated. 

Pop Sunday

Jeremy / Brighter Day


Brighter Day (Jam)

Not only is it a given for Jeremy Morris to release a new album every few months, but the peerless quality of his work is to be further counted on. Therefore, it truly goes without saying, the Portage, Michigan-based singer, songwriter and multi-diversified instrumentalist’s current concoction, “Brighter Day” contains such perennial prizes. 

A number of Jeremy’s friends were brought on board to participate in the project. Among these notable compadres are Tim Boykin of the Lolas, Herb Eimerman (solo artist, the Britannicas, the Nerk Twins, Hot Mama Silver) and Randy Massey (solo artist, Hot Mama Silver), while drummer Dave Dietrich – who has played with Jeremy since the late eighties – also appears on the disc.

Piled high with electrifying guitars, attended by Jeremy’s trademark Beatles meets Byrds vocals, ringing chords and a snappy and sturdy arrangement, the title track of the album pitches earnest optimism in both sound and verse. The lion’s share of the set is steeped in a similar sonic mold, so be prepared to be  swept away by a tidal wave of rocking power pop thrills.

A sinister tone, pin-sharp hooks and penetrating riffs illustrate the fiercely catchy “Devil In Disguise,” which profiles the actions and intentions of a seriously wicked fellow. Segments of hard and heavy guitar flourishes, bordering on metallic, link arms with piping hot pop melodies on cuts like “Bury The Hatchet,” “Love You Anyway” and “Hand Biter,” where “Meant To Be” dips a dash of space-age psychedelic seasonings into the stew.

The dual spirit of Bo Diddley and Buddy Holly surfaces on the thumping shuffle of “New Happy Helmet,” and “Now You See Me” and “Drink It Up” twinkle and chime with tuneful energy. A sassy and swaggering groove, tempered by softer and sparkly textures, characterizes “You Must Believe,” and the inisisent stride and jingling crunch of “Waiting For My Ship” proposes a surefire radio-instructed vibe. 

Other pick hits presented on “Brighter Day” are the brash garage rock grit of “Out Of My Cave” and a pair of precious piano-directed ballads – “Can’t Make You Stay” and “Love That Lasts Forever” – which really push the point home when it comes to expressing emotional attachments. The album additionally features a quartet of cool cover versions, including 20/20’s classic “Yellow Pills,” Cheap Trick’s bold and punchy “Take Me Back,” the harmoniously syncopated rhythms of the Move/Electric Light Orchestra’s “Do Ya” and Rick Nelson’s “Thank You Lord,” an invigorating country flavored gospel hymn. 

As previously mentioned, you can always rely on Jeremy to deliver the goods, and this fantastic record confirms his mettle. Bottled tight with inspired singing, exciting instrumentation and an authentic attitude, “Brighter Day” pops and rocks in all the right places at all the right moments. 

Nick Piunti & The Complicated Men / Heart Inside Your Head

Nick Piunti & The Complicated Men

Heart Inside Your Head (JEM)

Make note of May 20th, because that’s the day Nick Piunti & The Complicated Men’s eagerly awaited sophomore album, “Heart Inside Your Head” will be issued. 

Composed of Nick Piunti on lead vocals, guitars and synthesizer, Jeff Daksiewicz on electric guitar, Kevin Darnall on piano, organ and synthesizer, Jeff Hupp on bass and Ron Vensko on drums, the widely championed Detroit, Michigan band is caught operating at the pinnacle of their panache on this great album. 

All ten songs on “Heart Inside Your Head” were written by Nick, citing the unsettling events of the past couple of years as the motivating factor behind the collection.

Fashioned of direct and perceptive lyrics, a sense of self-evalutation tends to steer these ear-clasping numbers. Possessing a raspy and robust tenor that could pass as the power popping cousin of Bryan Adams, Nick delivers the verse with style and conviction, while The Complicated Men exercise exemplary chemistry by maintaining a taut and concentrated hold throughout the proceedings.

Bounding full steam.ahead with strapping rhythms, penetrating chords and windswept harmonies, “My Mind (Plays Tricks On Me)” recalls the melodic force and gravity of The Who, where “Slave To It” rolls to a captivating groove, and “I Want Everything” entails a slower and delicate tempo, ribbed with splashes of distortion and jangle.

Ruled by a bouncy beat, chiming guitars and lively vocals, “Trying Too Hard” checks in as the criterion of classic power pop, the appropriately christened “Hopes Up” sparkles and swaggers with optimism, and “Nothing New” is a pretty and precious ballad.

The album also includes two songs that were paired as a single release last summer. There’s the rocking title track, which is shaped of an absorbing arrangement, cooking hooks and zingy breaks, and the comparably energetic “One Of The Boyz” that features a giant sing-a-long chorus impossible to ignore. 

By weaving together strands of foot stomping arena rock with liberal dosages of customary pop ingredients, Nick Piunti & The Complicated Men produce gold spinning tunes that get straight to the point. Inspiring and refreshing, “Heart Inside Your Head” is ideal therapy for these uncertain times. 

Simon Love / “I Love Everybody In The Whole Wode World (Except You)” and “Me and You.”

Simon Love

I Love Everybody In The Whole Wide World (Except You)/Me And You (Tapete)

Simon Love has been mighty busy these past couple of decades, and while doing so, has crafted a slew of great music. From 2000 to 2011, the Welsh singer/songwriter fronted The Loves, ensued by a stint with The Knickers. Simon eventually decided to go it alone, and his third solo album, “Love, Sex, Death etc,” is slated to be issued the eighth of April. Until the disc is available, here’s a look at two singles that have already been released from the forthcoming package.

Spitting bullets at an obviously despised individual, “I Love Everybody In The Whole Wide World (Except You)” is a potent production, conducted by impassioned vocals combining the salty nasal-pitched whine of Ray Davies with the rootsy drawl of Leon Russell. Corking piano chords, sweeping hooks and a nifty sing-along and bob your head type chorus are also responsible for propelling the track. 

Busting at the buttons with rounds of glorious melodies, “Me And You” sails in as a neatly-chiseled pop pleasure, bouncing and swinging to a display of brass orchestration, fetching licks, heavenly harmonies and hale and hardy drumming. Simon’s lilting vocals – caught somewhere between shades of The Monkees and Teenage Fan Club – top the tune with a suitable shimmer and polish. As an additional sweetner, “Me And You” is a valentine to Simon’s wife.

If these songs are any indication of what the rest of the material on “Love, Sex And Death etc” offers, a very enjoyable album is definitely to be had. 

Anton Barbeau / Power Pop!!!

Anton Barbeau

Power Pop!!! (Big Stir)

According to the definition printed on the back sleeve of Anton Barbeau’s latest album, power pop is “a guitar-based form of self-limiting pop music created primarily by/for unrequited men who wish The Beatles had never invited Dylan up to their hotel room.” And while Anton has certainly fathered a fair share of tunes grounded in the genre, he has always avoided restricting himself to a solitary style. So, therefore, calling the album “Power Pop!!!” Is merely a stroke of the singer, songwriter and multi-faceted instrumentalist’s sardonic wit. 

After thirty-plus years of making music and recording an equal amount of discs to match, Anton – who originally comes from Sacramento, California but currently lives in Berlin, Germany – still has plenty of petrol to spare. In fact, “Power Pop!!!” is possibly the musical mad scientist’s best album to date, as the collection seamlessly reinforces his remarkable shapeshifting techniques for composing and playing strangely addictive songs.

The first cut on the album, “Entrez-Vous Dans Les Maisons” punches in at just a little over a minute in length and is a piano instrumental featuring an ominous church type timbre. Then there’s “The Sound” that namechecks The Byrds, The Beatles and XTC, and climaxes to a squall of fizzy psychedelic loopings. Fired by a super speedy clip, “Hillbilly Village” blows in as a demented country-salted ditty, and “Free” is a tight and bright trance-inducing hip hop/electro-pop number. 

On the vigorous title track of the album, Anton proclaims, “Put down your guns, you culture cops, there ain’t no crime like power pop” and “the kids get high on power pop,” where “Running On The Edge Of The Knife” is an action-packed rocker, smirking with mischief and menace. A tribute to one of Anton’s main inspirations, “Julian Cope” dials in as wiggy pop piece, and the swift and bubbly jitters of “Never Crying Wolf Boy” five-fingers a couple of kicks and tricks from The Cars.

The ghost of Buddy Holly and a lady who doesn’t realize she is a cartoon character are referenced on “The Drugs,” which offers some sweet and gentle piano work and baroque pop orchestration before turning a corner, and letting loose a barking rap admirably emulative of Bob Dylan. On a far more traditional plane, “Whisper In The Wind” and “Rain, Rain” are lovely synth pop sentiments, glowing with hypnotic hooks, feathery harmonies and catchy and insistent rhythms. 

Anton’s British-inflected vocals and phrasing – reflecting a melding of John Lennon, David Bowie and of course Julian Cope – are perfectly tailored for the peculiar poetry and inventive sonic operations he so enthusiastically binges on. Cloaked in novel arrangements, off-center melodies and wonky ruffles, “Power Pop!!!” presents a wealth of interesting and exhilarating moves celebrating various art rock fashions, rather than the tongue-in-cheek moniker of the album. Good for Anton, forever following his muse and unraveling riches in the process. 

Terry Carolan / Flights Of Fancy

Terry Carolan

Flights Of Fancy (Counterfeit)

Terry Carolan’sFlights Of Fancy” provides all the delectable elements we have come to expect from the respected singer, songwriter and multi-instrumentalist who has been a staple of the pop rock circuit for more than forty years. Having acquired recognition with a number of different bands, including Just Boys, The Pin Ups, True Hearts, New Movies, Blue Cartoon and Heirs Of Fortune, Terry further cuts the mustard as a solo artist as this mighty fine album assuredly attests.

Flashing the signage of a quintessential frontman, Terry’s vocals are amiable and robust, emoting his smoothly-scribed songs with an intimacy and directness spurring response to both the words and the music. Additionally pronounced by a polish and a shine, his radio-friendly pipes resemble a blending  of Billy Joel, Todd Rundgren and Allan Clarke of The Hollies

A towering vocal performance, unified with a symphonic sheen represents “Solo Rita,” and a lightly-buttered psychedelic air cushions “The Muse,” which strolls and swirls to a gorgeous display of dreamy melodies and visually-enhanced lyrics. Containing earnest dialogue regarding the madness and confusion consuming life today, “The World Keeps Turning” clicks in as a bouncy pop rocker, rippling and coiling with ringing chords, tight drumming, choice hooks and an electrifying break. 

Terry’s first-class piano skills are acutely accented on the measured cadence and haunting contours of “The Box,” as well as the sweetened punch of “Love,” and the downright dynamic “Fade,” a skin-prickling power ballad expressing sorrow at challenging changes afoot, but accepting these changes and courageously forging onward. 

The desire for a happier time and place is communicated on the bright and bonny “I’ll Go Home (Elsyian Fields),” where “Easter ’83” steps in a  twitchy and tuneful guitar instrumental. Gushing with color and wonder, “A Holiday For You” is cemented by soothing rhythms and textures, breathtaking harmonies, bracing Beatles-Badfinger six-string samplings and a whirling progressive pop rock mini-jam. 

Sitting high on the hill as a bold piece of work, “Flights Of Fancy” fuses innovation, purity, beauty and spirited verse into a symmetrical set of songs dictated by moderate tempos. Neither too fast or too slow, these sophisticated and superior songs should also be lauded for their sonic quality. Hardly a flight of fancy, the album totally summarizes Terry’s genius for creating top-grade pop rock on every level imaginable. 

Amoeba Teen

Amoeba Teen

Amoeba Teen (Big Stir)

If you liked Amoeba Teen’s previous album – “Medium Wave” which was released three years ago – you will love their latest venture. Simply titled “Amoeba Teen,” the ten-track disc surveys the band encapsulating the joys and wonders of classic pop rock, while dispensing their own exciting tones and colors onto the palette. 

Consisting of lead singers and guitarists Mark Britton and Mike Turner, bassist Simon Muttitt and drummer Carl Bayliss, the group hails from Stourbridge, England, where “Amoeba Teen” was recorded at Claptrap Studios. 

To begin with, these lads can really carry a tune, as their vocals radiate a triple shot of power, energy and charisma. Backed by accomplished harmonies –  extending from blissful to blistering – every song on “Amoeba Teen” not only features great singing, but premium instrumental performances. Motivated and imaginative, the band never ceases to freckle their fare with thrilling zigs and zags. 

Tapped as the first single from the album, “January” pins traditional country factors to big and bright pop hooks, resulting in a sparkly slice of twang and jangle. Fueled by a cocky sneer and a pounding beat, “Barlight Crawl” reprises the glitter rock of acts such as The Sweet and T. Rex, and although “Mainstream” includes similar qualities, funky horns and a blush of boogie are added to the program. 

Designed to shake walls and shatter glass, the heavy and intense “King Of The Cut” is notably modeled after the piercing guitar workouts and spiralling rhythms of Crazy Horse. Remnants of Raspberries and Jellyfish can be heard on the perky charm of “Melody For You,” as well as the absolutely ravishing “A Good Reason Why,” which focuses upon a heart-tugging blend of breathtaking vocals, celestial atmospherics, and elegant piano presentations. 

A tonic cocktail of herky jerky tempos,  crashing guitars, pointed melodies and staggering breaks is served on the modernized new wave sensibilities of “Just Not That Into You,” and “Putting The Kids Through College” strolls along at a rather smooth and leisurely pace that kind of wanders into jazzy Steely Dan territory. 

Eclectic in all the right ways, “Amoeba Teen” expertly exceeds the band’s many influences, making for a spectacular collection of era-defying pop rock sounds and expressions.