August Album Reviews: Bloody Red Baron
GUEST POST: Mike Baron
Mike Baron (aka Bloody Red Baron) was the longtime album reviewer for Pop Geek Heaven. With the closure of that legendary power pop newsletter, we are very happy to host his latest round of album reviews here at Remember The Lightning.
Pop Aid 3: A Pop Compilation to Benefit Those Affected by the California Wildfires (Kool Kat)
Kool Kat strikes again with this two disc collection of fresh power pop starting with The Stewart Dolly’s “Hello There,” a wild trip down a winding country road. It accelerates on the straightaways and slows down on the curves. Go Time!’s appropriately snotty vocals highlight “No More Friends” with ringing guitar that sound like cymbals. Scott McCarl’s “Blow This Town” is aspirational and inspirational. Band of Jays’ “Lunch With the Professionals” has a Hollies vibe with outstanding falsetto harmonies. Larry Lange’s “Crush On Me” is Beach Boys-adjacent. Herb Eimerman’s “Years Behind” carries a whiff of the Canyon. Most notably, The Byrds.
Side two. Richard Turgeon’s “Hit My Ceiling” is a major key bullseye. The Dreambots’ “High Road” captures the peculiar magic of The Breetles. Ron Bonfiglio, whose solo records contain towering harmonies like the Sun Sawed In ½, stacks his harmonies here like Bill Lloyd. The Treasure of Mexico’s “Ejecta” has the happy Scandinavian vibe of The Merrymakers. Little Roger’s “Don’t Go There” is a throwback to fast ‘60s, reminiscent of Barry and The Remains. The Red Sticks’ “Walk On the Darkside” go up that Canyon, this time toward Crosby, Stills, and Nash.
Another brilliant smorgasbord for a good cause, with no duffers.
Peppermint Kicks—Pop Rocks In My Chewing Gum (Rum/Bar)
Sal Baglio is like a kid mixing Legos with Matchbox cars, wooden blocks and stacking rings. He blends familiar elements from the ‘60s to the ‘80s into configurations that are both fresh and familiar.
Certain riffs and basslines have a hold on the heart, as if from ancestral memory. “Radio Wam Bam Boom” starts in an alley and grows into a boulevard with Baglio’s cascading vocal. The quavering vocal on “Little Doll” is pure punk querulous. Sal’s no punk. He’s been rockin’ since the ‘70s, and never strays from his roots.
Some of these songs are bullets. “Lollipop Girl” is less than two minutes. Some are monsters, like “Gigantor,” which recalls Greg Pope’s “The Yeti.” “Speed Racer” is not the theme song. It’s better., rockier.
Like all Kicks’ records, Pop Rocks is short and sweet, ending with a trace of Madness on “We Did It All For Rock & Roll,” with an unexpectedly lush chord that drops like a rainbow.
The Chelsea Curve—All The Things (And More) (Rum/Bar)
The Chelsea Curve is in Gatling gun mode—or Brad Marino mode if you prefer—blasting out short, sweet, fast, punchy rock that flash like fireworks, starting with the irresistible “Jamie C’Mon.” They cram a lot into a little more than two minutes. They may recall The Runaways or The Muffs, but The Curve has more power pop grace than either of those bands. Also a touch of Milwaukee’s great, forgotten The Shivvers. “Do All The Things” clocks in at less than a minute. “Inconceivable” has a boppin’ vocal chorus that sounds like The Beach Boys channeling The Drifters. The soaring and lyrical “7000 Hours” comes out of the blue.
The Spongetones—The 40th Anniversary Concert…And Beyond (Big Stir)
Been listening to The Spongetones for years but they never sounded as good as they do here, on their 40th anniversary concert held in 2021. Live concerts can be make or break time. Bands that need the art of production perfection often come across as half-baked. But bands who have mastered their sound without studio tricks will roll over you like a steamroller, which is what happens here.
There’s a generous Midwest quality to most of these songs, although the band hails from North Carolina, beginning with the one-two punch of “Anyway Town,” and “Not So.” The live harmonies are to die for. Beach Boys quality. “Little Death” has a touch of Middle Eastern exoticism like The Cure’s “Killing An Arab.” Soaring harmonies on “The One That Gets You.” “She Goes Out With Everybody” could be a time capsule from the ‘70s, something The Knickerbockers might have sung.
Beatles influences, especially on “Don’t You Know?” and “Honest Work.” The latter has that dancehall beat The Beatles used on Sgt. Pepper. They don’t need to speed. The beautifully placed guitar solo in “Try To Please” matches the songs mid-tempo trot.
There are countless live recordings. This one is a classic. Reminds me of Fool’s Face Live.
July Album Reviews: Bloody Red Baron
Mike Baron (aka Bloody Red Baron) was the longtime album reviewer for Pop Geek Heaven. With the closure of that legendary power pop newsletter, we are very happy to host his latest round of album reviews here at Remember The Lightning.
