Category Archives: power pop

THE CLICK FIVE – TCV

Posted on by

tcv-lojinxRound about 2006, The Click Five started to make a buzz with their debut ‘Greetings From Imrie House’, a disc that had been likened by some to a largely ignored power pop band from the mid-90s called The Loveless.  By a strange coincidence, The Click Five were discovered by talent scout Wayne Sharp, who back in the 80s had discovered a power pop band called Candy, who would later evolve via Electric Angels into The Loveless. [Candy also had the distinction of launching the careers of sometime Guns n’ Roses man Gilby Clarke and power pop icon Kyle Vincent.]

While that album, indeed, carried a vague similarity to The Loveless, The Click Five seemed far too lightweight – more Busted and McFly than the power pop for which they were so clearly aiming. The hooks were there, but they were really sugar-coated. Factor in Eric Dill’s vocals, which appeared horribly auto-tuned throughout huge chunks of the album and…well, let’s just say it could have been better. The Click Five definitely seemed more in tune with the world of teen-fodder than destined for a place in the pantheon of power pop cool.  The album made a few waves in the US, eventually shifting over two million units worldwide (with about thirty copies sold in the UK). All seemed to be going well until Dill quit the band.

They found a replacement in vocalist Kyle Patrick, a man who personally knew the band, but allegedly didn’t care for their music at that time. 2007’s ‘Modern Times and Pastimes’ ushered in a new phase for The Click Five. While they retained the knack for the kind of hooks that’d always been part of their music, with Patrick on vocals, they dispensed with the auto-tune elements somewhat and brought in better, stronger arrangements. Music with a potentially broader appeal, a shift away from the teen market. The slight new wave influences that crept into The Click Five’s music was a welcome addition, too. Things definitely seemed to be improving.

Produced by Mike Deneen, whose previous credits include the fabulous ‘Flippin’ Out by Gigolo Aunts, this third Click Five release takes the promise of ‘Modern Times’ and ups the stakes even further. Within minutes of the opening number ‘I Quit! I Quit! I Quit!’, it’s obvious the band have finally found their niche. Kyle Patrick’s vocals are so much better than those of Eric Dill, and everybody appears far more confident with the slightly tougher, Fountains of Wayne-esque sound they first experimented with on ‘Modern Times’. The rhythm guitars posses the best kind of power pop punch, against which Kyle Patrick’s effortless vocal delivers a stupidly catchy hook. The power pop greatness carries through ‘Fever For Shakin’, albeit in an even harder way. The harmonies and hooks are prominent, but somehow, Joey Zehr’s drum kit maintains a bigger presence. The guitars are chunky, occasionally lapsing into slightly raucous rock ‘n’ roll soloing near the tracks end, while the keyboards really round out the sound. Easily one of the album’s best numbers – especially after it rather cheekily throws in a few unexpected Beatles inspired riffs during the bridge. ‘Nobody’s Business’ is another number which goes squarely for a feel-good approach, chock-full of new wave keyboard lines and handclaps. If you’re a power pop fan, you’ll certainly have heard it all before, but The Click Five deliver these hooks in such an infectious way, it’s a track that’s almost impossible to dislike.

The softer side of The Click Five presents itself on the acoustic based, ‘Good as Gold’, a mix of power pop and Americana. Gentle shuffling drums pave the way for an easy vocal, slightly retro twanging guitars and an arrangement which evokes Ryan Adams at his most syrupy. While there’s a definite difference between this and material like ‘I Quit! I Quit! I Quit!’, The Click Five show they’re equally adept both styles. Sharp harmonies and rhythms drive ‘Way Back To You’ and while a simple chorus provides another highlight, take a listen to the arrangement – it’s impossible to not smile at Ben Romans’s keyboard line which comes straight out of the Greg Hawkes school of playing.

Big harmonies swamp the chorus of ‘Be In Love’ which turns the feel-good factor back up to 11; against the memorable hook, there’s a string sting and horn sounds which come straight out of the 1970s. As the track falls apart at the end with in-studio clapping, there’s a sense that The Click Five know they’re onto something special. In terms of seventies inspired pop gems, this may just equal parts of The Silver Seas’ 2010 masterpiece ‘Chateau Revenge!’. ‘Just Like My Heart Falls’ is full of crisp rhythm guitars and features yet another great chorus. Perfect for radio, this summery tune presents nothing complicated or fussy – the band really tune into their knack for arrangements; something which becomes especially obvious once the counter vocal harmonies kick in at the end.

Seriously, ‘TCV’ is an album which aims high throughout and barely misses. Occasionally, there’s a lapse into teeny inspired power pop a la ‘Imrie House’, but generally speaking, this album showcases the work of a far sassier Click Five. The sappy ‘Don’t Let Me Go’ gives the nod to the likes of Maroon 5 and in doing so, possibly presents the album’s weak link – but even then, that’s solely down to personal taste, since (as far as the arrangement is concerned) it’s great at what it does. ‘TCV’ shows The Click Five have come a long way since their early days. Maybe you didn’t like them either back then. If so, maybe you ought to forget the band that made waves with ‘Imrie House’ and try this “other” Click Five too. On ‘TCV’, they get it just right.

[The UK issue on Lojinx rearranges the tracklisting and omits two songs from the original US release. These are replaced by two new tracks.]

Visit Lojinx Records here.

April 2011

“Easter Exclusive from Real Gone!: Free Unreleased Power Pop!”

Posted on by

There’s a special giveaway at REAL GONE to celebrate this Easter weekend. To say thank you to all our regular supporters over the past year or so, we’re offering a few unreleased power pop gems.

FREE legal mps from Mark Bacino, Mick Terry and Edward O’Connell, never before available anywhere!!!

First up is a demo from Mark Bacino; a track recorded during the ‘Million Dollar Milkshake’ sessions. Mark has three superb albums out at the time of writing, but any new bits are always welcomed! Download ‘So Does Mary (demo)’ here.

Edward O’Connell has kindly offered a stripped back, alternate version of ‘I Heard It Go’, a track featured in its original form on his excellent ‘Our Little Secret’. Grab it here!

Finally, Mick Terry has given us three demos to share. Each of these tracks can be heard in their finished versions on his debut disc ‘The Grown Ups’, which is well worth checking out.
‘Hoxton Song (boggia)’ ‘The Usher’s Tale (2009 demo)’ ‘Ringing Like a Bell (demo edit)’

REAL GONE would like to say a big thank you to Mark, Edward and Mick for giving these tracks so they can be shared with you all. If you like these songs, please take the time to visit each of the musicians at their respective websites (links below) to say hello – and maybe consider buying their albums if you haven’t already.

What do you mean “but I don’t like power pop”?!

Okay then. Here’s something for the rest of you.
Here’s the legendary Tom Jones, celebrating the resurrection of Jesus through the medium of dance:

www.markbacino.com
www.edwardoconnell.com
www.mickterry.co.uk

April 2011

STILL SPARK – Still Spark

Posted on by

Photobucket

Bringing together Boston musician Seth Freeman (previously of Little John) and songwriter/engineer Dan O’Leary, this debut release by Still Spark is a sum of many influences. Across ten cuts, the duo – augmented by several session musicians – deliver moments of power pop, straight up adult rock/pop and occasional rootsy numbers. While it promises a great deal, unfortunately their slightly sporadic mix of styles doesn’t always hit the mark.

‘Love Comes Calling’ is upbeat and summery, with chiming guitars, handclaps and quirky harmony vocals. It makes a decent opening number and lead single with its feel-good nature, but misses out slightly due to a slightly wobbly lead vocal. His untrained vocal style kills most of the spirit during ‘Caroline’, despite the musical having some decent moments (which once again, are delivered to the listener by way of chiming guitars and sunny vibes). ‘The Way I Am’ starts out in a similarly punchy power pop mood, driven by Cars-esque staccato rhythms and big chords, but once you’re convinced we’re headed for an equally big chorus and key change, it softens and wanders into jangle-pop territory, with the electric riff complimented by acoustic guitar work. The chorus itself isn’t far off being a one-liner, sadly, but some good backing harmonies go some way to making it memorable.

The gentle acoustic vibes and the wordiness at the heart of ‘Still On Your Side’ seems far better suited to the slightly drawly vocal. Once the backing vocal harmonies are added alongside a few guitar flourishes, it provides one of the moments where Still Spark shine a little brighter; but as before, when Freeman attempts to hit bigger notes, things fall more than a little flat. The Gin Blossoms styled jangle-pop of ‘Best Times’ features some excellent ringing guitar work and pleasing harmonies, pulled together with a great hook. Topped off with a slightly raucous solo, it’s a track which clearly presents Still Spark in good form.

Over the course of the last few tracks, there’s a definite upturn in the album’s fortunes. The doo-wop meets power pop of ‘Careless Thing’ is, without question, the album’s best number. What could have been a typically flat vocal is given a boost by a female lead courtesy of Gaby Moreno, whose slightly quirky, expressive voice is given a chance to really shine when accompanied by sharp guitar chords and an upfront bass. The chiming guitars opening ‘Good Woman’ at first lead the listener into thinking we’re headed for Teenage Fanclub/Big Star territory, but soon, the grooves recall The Connells in a rather chipper mood. A few layered harmony vocals on the chorus pick things up even further, creating a track that’s nothing short of being a three minute ray of sunshine. It’s a great pity Still Spark couldn’t have tapped into this feel-good style a little more often.

The mid-paced ‘The Limelight’ showcases simple rhythms and a natural sounding vocal, augmented by some clean toned electric guitar fills, presenting Still Spark in a relaxed mood which evokes The Jayhawks. It’s a great way to finish the disc, leaving the listener with a strong memory of Still Spark in good form. The female backing vocals are slightly overdone (maybe even unnecessary), but do nothing to spoil what’s essentially a great roots-rock number.

With this self-titled disc, Still Spark have delivered a release that’s not always rootsy enough to deserve the roots rock tag, and with regards to occasional their power pop tendencies, these are often not quite breezy enough to hit their stride with the devastating effect deserved. However, as evidenced on the last few tracks, it’s not a release without merit. With regards to the lesser moments, even when the material doesn’t always work as well as you’d hope, Kay Hanley’s production brings a great sound. Worth checking out for a couple of tracks, but listening is certainly advised before making a purchase.

March 2011

THE PAINS OF BEING PURE AT HEART – The Pains Of Being Pure At Heart

Posted on by

pure

The Pains of Being Pure at Heart is hardly a band name which trips off the tongue. It may not always be one you’ll remember; however, in the past they’ve received some decent press. I hadn’t known what to expect when approaching this album, but it turns out I got a pleasant surprise.

Beginning with the bass-less, drum-less fuzziness of ‘Contender’, initially I thought this band wouldn’t interest me at all. But…by the time track two arrives, I’m reminded of the more commercial elements of Lush and 90s shoegaze/alt-pop – and that pleases me. Female ooh’s, quirky lead vocals, a pace that’s too punchy for the some of the indie kids, yet not quite punk-pop – a sunny quality which comes as a pleasant surprise. Faster than Lush, more tuneful than the indie-pop chav gold from Kenickie, Pains of Being Pure at Heart have some great musical qualities. ‘Young Adult Friction’ is pure jangle pop – the kind that never really goes out of style; and the slightly kooky keyboard lodged under the mix of other stuff helps to add colour. The only criticism is that at just over four minutes, it feels a little long.

It may not have been the desired end result, but ‘Hey Paul’ sounds like The Wedding Present even if vocalist Kip Bermon doesn’t have the curmudgeonly demeanour of David Gedge. One of the standout tracks, ‘Stay Alive’, shows the lighter side of the band. This track stands out due to the chirpy nature of the music alone, as the vocals aren’t as clear as they could be. Some moments feel a little more traditionally shoegaze – ‘Gentle Sons’ has an echoing vocal matched against a mid paced drone of guitars. Some listeners are bound to love it, but ‘Teenager In Love’ is my contender for the track likely to be skipped every time – if something reminds me of the twee nastiness of Belle and Sebastian that much, you can keep it! Thanks.

This album may not be an all round classic, but its balance somewhere between sugary pop songs and fuzzy noise is so early 90s it feels good…and sometimes, that’s all you need.

January 2010

MICK TERRY – The Grown Ups

Posted on by

the grown ups

With its lyrical themes and stories from the past loosely inspired by a diary from 1982, you could say this debut by London based singer-songwriter Mick Terry has been a long time in the making. ‘The Grown Ups’ is a personal record, but not in the soul-baring sense. It’s an album of lost friendships, relationship and closure which always retains a smile of optimism.

‘Hoxton Son’ opens the disc with simple, stabbing pianos with a gentle bass accompaniment. At the point where you think it’s about to elevate into Jellyfish ‘Ghost at Number One’ territory, Terry goes for a key change, but little more. Naturally, the rumpty-tumpty drums appear eventually – and by the time they do, the sound of the whole band is warm and inviting, without becoming intrusive. The sampled brass near the end isn’t entirely necessary, but on the whole, this paean to a London town has a charming quality, effectively pulling the listener into Terry’s musical world. ‘Northern Exposure’ follows suit with a similar marching feel – this time bringing more focus to the acoustic guitar. The mix of guitar and organ is effective and unfussy.

The acoustic based ‘Comets’ features slide guitar and accordion, but the heart of the song is provided by guitar and brushed drums. Terry’s storytelling approach comes with a heart warming quality and often unassuming manner. The chorus has a vocal approach which at first feels like it may irritate, but after a few listens becomes oddly endearing. The lead vocal has an intimate feel and a sound which reminds me very much of another London based singer-songwriter, Rich Barnard. I’m not sure whether that’s down to song writing style, or just the work of his English accented delivery. ‘Ringing Like a Bell’ has a very seventies feel, with tasteful electric guitar leads to punctuate the acoustic work. The warm bass and handclaps lend themselves to a tune with a very complete feel.

For the last couple of songs, the quality tails off. In keeping with the 1970s,
‘Tinseltown’ is pure easy listening; it doesn’t have the cool or song writing chops to make Mick Terry an heir to Billy Joel’s vacant piano stool, but certainly tips the hat to Andrew Gold. While Terry’s soft vocal and tales of jaded seaside towns and days past show strength, the music could have done with a little more embellishment – more than the ambling keyboard and drum machine featured.
Normally, I’m much more critical on singer-songwriter material which relies on programmed elements as opposed to more organic sounds, but Terry’s song writing has enough charm to get away with it here (but only just). Similarly, the keyboard string sounds which propel ‘Safe From Sound’ sound cheap, but an understated bass accompaniment and decent vocal performance (including a Brian Wilson inspired interlude) make the best of what could have been a dud. References to Small Faces’ ‘Ogden’s Nut Gone Flake’ and especially “The first Dexys album” reinforce the Englishness of Mick Terry’s teenage years. If viewed as a demo sketch, it’s easy to see what he was intending here, but this number doesn’t sound like a finished work – and certainly isn’t up to the quality of ‘Hoxton Son’, ‘Northern Exposure’ or ‘Comets’.

Featuring just eight songs and a reprise, ‘The Grown Ups’ is a succinct work, with the strongest tracks front-loaded; but two or three absolute gems held within provide more than enough reason for making it an album worth visiting…and revisiting.

February 2011