July Album Reviews: Bloody Red Baron
July 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.
Kingdom of Mustang—Glad Days (Kool Kat)
In 2002, Not Lame released a collection of The Deal’s recordings featuring Mark Roebuck and Haines Fullerton. That music is so powerful that today, 22 years later, I can instantly summon the first track, “Don’t Go Out,” in my head. Mark Roebuck is a phenomenal writer and singer. If you can find a copy of that rare record, get it.
Years later, Roebuck formed Kingdom of Mustang and began releasing a series of records noted for their melodic resonance and Roebuck’s distinctive singing. They weren’t power pop, they were achingly romantic pop. Until now. Mustang’s second release on Kool Kat is the hardest record Roebuck has recorded since The Deal. His songwriting is unique and instantly identifiable, like that of Hushdrops or Marshall Crenshaw. So is his singing, the way he goes up or down a half note in the middle of what would otherwise be a sustained note. “More Than They Deserve” grabs you and shakes you. “The End From the Middle” is a jaunty, cherubic song about existentialism.
The recording is remarkably crisp. You hear every word, which can’t be said for many power poppers. “Say Hey to Blue,” another distinctive Roebuck comp, features Rusty Speidel on guitar. I always laugh when I see a column named “The Ten (or Twenty, or Hundred) greatest guitarists of all time.” We have guitarists right here in my small town that rival the world’s best. There may be a thousand greatest guitarists of all time. Big major chords block out “All You’ve Got To Do Is Love,” with sweet two-part harmony. After all these years Roebuck’s still got it.
Blake Jones & The Trike Shop—And Still… (Big Stir)
Power pop’s a big tent and these guys are outliers. Their songs are not sleekly integrated into a swooning whole, but stitched together like a parade of custom low riders. Some have their tails jacked in the air. Some do a boogaloo as they pass.
Many of the songs are short, like “Mock Stoner Voices,” with beautifully timed percussion holding it together. The everything-but-the-kitchen-sink approach recalls Jackdaw 4, while “Used Record Stores” is more 10cc playfulness, a mere snippet. The wordless interlude, “You Put Theremin On My Hype Sticker,” is almost as long as the title, and features the theremin sounding like an opera diva warming up. “String Lights and Hold On” recalls Jackdaw 4 again, a jaunty Christmas song. There are catchy bits and pieces throughout, but the effect is more Spike Jones than Brad Jones.
Mark Ward—Let ‘Er Rip
Mark Ward hits the ground running with a timeless set of power pop that recalls all the classics from The Knickerbockers to Paul Collins, beginning with “I’ve Been Around,” which sounds like a time capsule from the ‘80s. The perfectly proportioned “Pixie Girl” embraces Paul Collins’ simplicity and a minor key bridge that could have come from Barry & The Remains. “Love Me Once Again” has that sweet fourth chord harmony that occupies the center of so many power pop songs. “Paint My House” is a kissin’ cousin to XTC. “Zip It Up” edges into country while “Villain” travels into Merle Haggard territory.
Telejet—Spiritual Age (Kool Kat)
It’s been a great year for power pop and it’s not over yet! One magnificent release after another, and here comes a knockout punch from Gene Hughes, who does most of the vocals and instrumentals, with a little help from his friends.
Telejet is based in Toronto and this is their third album. It’s too short, beginning with the dreamy sunshine pop of “Beautiful World.” Every song scores. The hazy “Indian Summer” recalls the unobtainable Campbell Stokes Sunshine Recorder, one of those perfect records that come along maybe once a year. The harmonies on “Peace In My Lifetime” sound like the most recent Sun Sawed in ½, which is the gold standard of two and three part harmonies. Gene adds horns to the mix on “Spiritual Age.”
You get a sense of his aesthetic from the titles alone. Is that a flute on “Gavendianda?” Does it matter? The harmonies on “That’s Why” are so sublime it’s like hearing them for the first time. A strong contender for record of the year, but the competition, as usual, is ferocious.
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As you write, Kingdom of Mustang's lyrics are more clear in the mix. I've found that a very large percentage of indie bands these days bury their vocals in the mix and have me deciphering the lyrics. I'm a prose and poetry writer. Lyrics are just as important to me as melody. I remember that Nirvana's lyrics were initially difficult for my classic rock ears to hear. Now, Nirvana's words are just as clear as Foreigner's!
Half the records to which I listen, the vocals are muddled or buried in the mix. I like the label to include the lyrics in the package.