December Album Reviews: Bloody Red Baron
GUEST POST: Mike Baron
A Note From Mike: Folks notice that I only give good reviews. All this music comes from the heart. That’s what power pop is. Nobody pays these guys. They’re lucky to book a gig at International Pop Overthrow. A handful of bands make a living at it but for all of them, it’s a labor of love. If I heard a record that doesn’t click for me I don’t review it.
The Roar of Silence by Greg Pope (Octoberville)
Greg recorded this in a corner of his bedroom this year. It sounds like a full band. It’s more elegiac and ethereal then his other recent albums, and more melodic. “Fallen Star” is particularly sweet, with Pope’s wordless vocalizing, then the lyrics with that one/four harmony, and a hook to die for. His bass snakes through this album like an anaconda. “The Roar of Silence” illustrates how compelling an instrumental can be with a handful of well-placed chords.
Halfway through the song shifts gears as Pope sings, leaping from chord to chord; says so much with so little. “It’s All Pretend,” bass elbowing the guitar aside to play the lead (well, they play in tandem). “Hours, Days & Years” is an acoustic/electric blend, effortless vocals that never have to reach. Never sounds strained. “Pirate Paddy” has an Appalachian feel, like something Scott Miller might sing. It could be a sea shanty, it could be roots rock, or some good ol’ boys singing about the civil war. Outstanding.
Clearly Opaque by The Lucky Shots (Kool Kat)
Sacramento-based Lucky Shots have been at it for a quarter century. Brent Seavers on guitar and vocals, Laura Seavers on bass and vocals, Andrew Seavers on drums, and Ted Murdock on vocals and guitar. You see these lists: “Ten Greatest Guitarist, Rated.” Hendrix. Clapton, Jimmy Page. They owe their place on those lists to their success and fame and who can deny them. But there are hundreds—thousands—of guitarists who can play as well, and I would put Ted Murdock and Brent Seavers on that list. Andrew Seavers drums like Keith Moon. His drumming is in your face but never intrusive.
They sound a little Buzzcocks-y, a little like The Cry!, but they have their own sunshiny vibe. The guitar solo on “On the Run” is lit. It will kick you off your ass and onto the floor. “All Alone” showcases their Knickerbockers harmonies, and “I Heard” puts them onstage with The Who. Brent’s simple descending riff on “Here I Go” is unforgettable. “Only the Night Knows” steps into blues territory. The aptly named “I’ve Become A Spy” features spy chords. You know what I mean. Top ten.
Here We Are by The Gypsy Moths (Rum/Bar)
The Gypsy Moths call themselves garage-based soul shakers but that’s misleading. They shake your soul but it’s done with such a light touch that you’re not aware it’s happening. Think Fairport Convention or The Lemon Twigs. This two album set is a tour de force in maximum impact—not with volume or intensity, but the genius of the compositions, redolent of the British Invasion. Peter & Gordon. Chad & Jeremy. A hint of Cowsills. A thousand bands but their own sound.
The guitar on “Heart To Break” is a rippling brook. “Rubber Dubber” suggests XTC and Squeeze—easy comparisons that suggest the land, but not the trees, flowers, and butterflies. “Fold Up the Air” borrows chords from “Stand By Me” before taking a left turn into the sky. The Gypsy Moths is such an apt name. They sound effortless, bypassing critical thinking with exquisite melodies and harmonies.
“Like We Used To Do” has a Brian Wilson sensibility, circa Sunflower. The simple elegance of Scott Miller (yeah yeah, I like Scott Miller) seeps into “Tell Me She’s Alright.” “Go On Forever” could have come off Workingman’s Dead. The effortless fills on “He Really Must” sound like a butterfly in flight. A gypsy moth. “Rock Ola 444” sounds like honky tonk. Last song, “Looking For You,” is a profound song about loss. Dylan would be proud. You might mistake it for Dylan. Psychedelic at times, with hints of the Canyon, this is both a throwback and a look forward. May be record of the year.
Strange Times by Stereo Ready
Greg Potter returns with a new group and a 4-song EP. Potter was the guiding force behind Blank Pages, also a trio. He did not leave behind his signature sound. It’s instantly identifiable due to his unique voice and song structure, which favors descending melodies and adjacent chords. Like the Hushdrops (Stereo Ready doesn’t sound like Hushdrops, but a little). In keeping the chord changes in a lane, they find beauty and appealing melody. Potter and bassist Tim Stillmun harmonize, Potter on the bottom, Stillmun usually four notes up. “Perpetual Sun” with its descending tonic and sidewinder guitar is emblematic of their sound. Full sound for a trio, like Supergrass. Supergrass adds one more voice to the mix, but both bands deliver maximum sound.
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November 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.
