Velvet Crush -- Stereo Blues (Action Musik): Working with producer Adam Schmitt, this beloved duo turns in one of their finest efforts. On this album, Paul Chastain and Ric Menck come close to summing up all of the high points of the Velvet Crush sound, from shimmering power pop to easy country charm to pulsing rock and roll. With some fine assistance from friends like Darren Cooper and Buddy (The Grays) Judge, Stereo Blues is a disc which shows that genre labels are just that, labels. When bands like The Byrds and Big Star were making their classic works, they weren't trying to fit in a preordained slot, they were just using the past as a foundation to say what they had to say. And Velvet Crush is no different, investing total commitment into these classic sounding songs. The one constant on this record is ringing guitar sounds and Chastain's vocals, which are inviting and comfortable. Sometimes, Chastain has a slight drawl in his voice that reminds me of a less whiny Joe Walsh (please cover a James Gang tune for a b-side or something!). The highlights include the rootsy "B-Side Blues" and the similar but more stretched out "California Incline" with it's superb "I'd give it all/to see you smiling your smile" -- the Old 97s or Crush buddy Matthew Sweet would have love to written this puppy. "Do What You Want" has a chunky guitar part and sounds tailor made for Dave Edmunds, the seven-minute "The Connection" has some inspired guitar work, and the awesome opener "Rusted Star" sounds like first album Big Star infused with some of the vim of early Cheap Trick, an unbeatable combo. The summer's now, and the time is right for this disc. parasol.com

The Porcupines -- EenieMeenieMeineeMojo! (Maize): Sugary pop songs fit for cartoons. Shades of The Vandalias, this Illinois quartet has adopted animated personas for a series of twee pop-rock songs in the vein of artists like the late Phil Seymour, Mark Bacino and the earliest British invaders of the ‘60s. Much as Dan Sarkin realized with the late, great Vandalias, adopting a cartoon persona seems to free a band to be as gooey as they want to be -- so The Porcupines (whose members include Bill Retoff) can pull off a Merseybeat love song like "Forever, Always, Everywhere" without irony. And it sounds pretty good. In fact, the ‘pines (or would The Porkies be a better nickname?) have adopted a very old school playing style. Listen to the way they strum and pluck their guitars, the snare fills and the twinky lead parts (a la Harrison or The Searchers). This is a throwback to a more innocent age. Of course, if you don't like the ultra sweet stuff, then stay away. But if you've wanted something new to play along with your Dave Clark Five records, then you'll eat up songs like "Yes I'll Cry", the moony "To You" (as in, "I just wanna be/close to you"), which would be fun to punk up Ramones style, since its structure is so classic, and the tearjerking "Give Your Heart Away". The simplicity of this record makes it engaging. geocities.com/maizepop/

Flannelmouth -- "(What a) Comeback" (Grid): I have one major problem with Flannelmouth -- their lack of output. This Finnish band should not remain a secret, as they put their own spin on the romantic pop sounds once purveyed by Gene, The Smiths and James. Tuomo Kuusi has a tenor voice that swoops and glides, and it is an ideal vehicle for emotional songs. The A-side is a nice pulsing jangle rocker, superbly produced. While Ari Virtanen plays an insistent rhythm part, lead guitarist Mikko Kapanen plays a variety of nifty fills. Meanwhile, Antti Lonnblad (bass) and Markus Koskinen (drums) drive things forward. Kuusi sings Virtanen's somewhat humorous lyrics, as the protagonist is confident he will get back together with his girl, though he seems a tad too optimistic. The b-side, "Bravado", is a bit more muscular and lyrically more realistic, with Kuusi exclaiming "I'm failing tonight." On this song, you can really appreciate the guitar work, with the rhythm in one speaker, and the leads in the other. The instrumental break takes this song up one more gear. If it were me, this would be the lead track, no offense to "(What a) Comeback." The band has finally finished a full length album, which I can't wait for it. Even though they are Finnish, I think they are true keepers of the flame of the ‘80s British indie rock sound. gridrecords.com

Eric Anders -- Not At One (Baggage Room): Impressive singer-songwriter based in L.A. puts out an album that is indie by virtue of label only. Ten or fifteen years ago, sophisticated, accessible music like this would have been welcomed by a major label -- artists like David & David and Bruce Cockburn come to mind. Anders music is a bit more poppy than those examples, making Ron Sexsmith and Eliot Smith analogues as well. Yet the first artist who came to mind on "Halcyon Days" was Semisonic, which is due in part to Anders's moody vocal and also the lightly swelling guitar build up in the chorus. This is the first of a few songs that immediately grabbed my attention, as Anders really knows how to make a big hook that stays with you. The second time I heard those songs, I instantly remembered how much I liked them the first time. "Wearily" is another stand out and shows how well Anders knows his voice -- though he sings in a mid-range, he can hit some higher notes, which is very effective when used sparingly. On this song, the melody is tailor made to spotlight the best qualities in the voice. The song, co-written with Mark O'Bitz, uses sparse lyrics to paint a vivid picture of a cheating man whose wife has passed away and he's hit with losing the one woman who stood by him. It packs a punch. On "Not at One", Anders spends more time in the high range, singing over light guitar and drum accompaniment, augmented by a striking string arrangement in the chorus. He sounds so vulnerable, perfectly capturing how lost one feels after being dumped. This is followed by "Never Enough", where a nice balance is struck between a quiet rising-and-falling melody and a steady drumbeat by Keith Mitchell, with Guenevere Measham's cello exploring the worlds between the rhythm and melody. This is rock noir at its finest. Excellent adult pop music. ericanders.com

Bill Lloyd -- Back To Even (New Boss Sounds): Whether solo or teaming with Radney Foster back in the ‘80s, where he scored some country hits, Bill Lloyd has been a stalwart of tightly constructed songs chock full of melodies and intelligent lyrics. On this effort, Lloyd enlisted some impressive colleagues to co-write tunes, including Swan Dive's Bill Demain, Peter Case, Clive (Any Trouble) Gregson, 20/20's Steve Allen and Beth Nielsen Chapman. In addition, top flight musicians like Ken (ex-Wilco) Coomer, The Mavericks' Robert Reynolds, Pat Buchanan and Don Dixon play on some of the tracks. For all of this firepower, the album is typically unassuming, with Lloyd letting the guitars do the talking, ringing, jangling and soaring. That they do very well, as this disc has a real energy to it -- you could imagine that everyone ran into the studio, they were so excited to work on these tracks. On a few songs, the energy is applied to songs that show Lloyd to be an antecedent to beloved modern power poppers like Jason Faulkner and Brendan Benson. Heck, on "Kissed Your Sister" the fast paced drumming and distinctive keyboard line in the chorus make this a nice Falkner substitute, while Jason bides his time between releases. Lloyd is just as good when he goes more old school, like on the moody "Almost Taken", which layers lead and rhythm guitar parts in a simmering fashion as Lloyd then moves the melody in a few unexpected directions -- he knows that a great pop song takes you a few places, while never forgetting the main hook. Sprinkled throughout are nice Byrds-y and Beatle-y moments (though I suppose the guitar line on "I Got It Bad" could be classified as Searchers-y, too). The consistency displayed is impressive, and the cheeriness that pervades the project might make this disc an effective tool for sufferers of Seasonal Affective Disorder who can't afford more expensive therapies. billlloydmusic.com

Catdesigners -- Strange Little Creature (Googlie Mooglie): British band plays guitar pop songs kissed with bits of psychedelia, art rock and a bit of charming Anglo wigginess. So the tunes float in a netherworld somewhere between Robyn Hitchcock, 10CC, Robert Wyatt, Pink Floyd and other eccentrics. And while the beginning of the disc is characterized by polite-yet-bent mid tempo stuff, there is a tension lurking underneath that bursts on the lurching, fuzz toned "Freak Show", a song which is driven by a thick bass line as it circles around the ears like an off-center carousel. From there, the second half of the disc contains some particularly inspired sounds. On "Strange Gods", the bass line moves up and down the scales, while the guitar has that space age sound I associate with Pete Shelley's solo records. Then, like icing on the cake, a pretty keyboard passage (think Ultravox, circa "Reap The Wild Wind") provides a nifty contrast, fitting in despite the fact that it doesn't really fit. The spiffy "Congratulations on Your Head" is all sinister guitars and spidery bass, sounding like The Smiths meeting John Entwhistle at his most biting. The more straightforward songs are not to be dismissed -- "Vague As I Am" and the title cut are quite memorable. googliemooglie.co.uk.

Delta -- Singularity (Elephant Stone): This British band sniffed the rarified air of major labeldom back in the ‘80s. The best comparison for Delta, I suppose, would be Gomez, in that Delta was also a band with firm blues rock roots, and was trying to do something fresh with them. That sometimes meant using the blues as a foundation for atmospheric tracks that floated along with solid guitar picking, such as "Dealt Out". However, the music on this compilation that goes out towards the margins is less compelling than the tracks that are evocative of a modern version of Free or Traffic, and, on a couple songs, the Allman Brothers Band. Songs like the slinky "Sugared-Up" and the majestic "Cowboy Raga", full of excellent dual guitar work, conjure up the ghosts of free form FM playlists past, with more brevity than their predecessors. The other thing that is striking about Delta's music to my new-to-Delta ears is how they avoid cliched blues rock trappings without undermining their faithfulness to the spirit and the sound of the music. No need to throw in grit for the sake of grit, or even worse, sounding like a modern Chicago blues band, while they succeeded with lead vocals that may not be authentic, but fit well with the tunes. For example, I'm listening to "All My Life", and while this is merely a variation, rather than a reinvention, of the ol' wheel, damned if it isn't heartfelt and pointed, with gospel inflected backing vocals and more of those killer guitars. I've listened to this over a dozen times and I'm more impressed with each spin. elephantstone.com

Old Ghost -- "Light Returns" (Old Ghost/Morphius): Lovely Americana with a spacious sound that evokes a vast starry sky on the plains as Paul Hutzler tells his tales with a slightly sandpapery voice that is bit similar to David Lowery. And Lowery's old band Camper Van Beethoven (the major label edition) is a good point of comparison, along with The Band and Randy Newman. "Black coffee when I rise/corn whiskey every night" (from the aptly titled "Black Coffee, Corn Whiskey") is typical of the rustic tone of the disc. This slow tempoed song showcases guest Timothy Horner's excellent fiddle work, while Hutzler demonstrates that he is a master of the busted romance lament. Horner plays a key role on the best track on the album, "Throw It Away". This is a perfectly arranged track, beginning with Stuart Wolferman playing the melody on his piano, leading into the verse, which marches along like so many Band classics. Hutzler's vocal turns the song into the chorus, which beautifully builds the delicate intensity, Steve Moore adding emotionally appropriate color on his trombone. And need I add that the middle eight sets up Moore's solo so it has maximum impact? This song is a splendid encapsulation of what one goes through to get over a broken heart. There are a few other numbers that come very close to this standard, and overall, the album casts its moody spell quite well. While this isn't per se alt-country, it would probably appeal to folks who like the more downcast work of artists like Jay Farrar. Nicely done. morphius.com

Eliot Wilder -- The Sentimental Education Of Eliot Wilder (self-released): Wilder manages to show off a nice range of tunes on this disc, and, even better, the album does not suffer from the uneven quality that sometimes occurs when trying to do so many things. But he is skillful with all of his endeavors, whether it's roots music, power pop or, most bizarrely, a cover of Jonathan King's "Everyone's Gone to the Moon". Wilder turns this silly pop tune into something lush and dignified. Guest vocalist Natalia Cooper is positively ethereal over the fascinating backing track that sounds like a mating of Laurie Anderson and Phil Spector. I honestly did not recognize that it was a cover until I saw the songwriting credits. Other nifty tracks include the jangle rocker "Hard Won", which paraphrases the Bobby Fuller Four's "I Fought the Law" in the chorus in a track that would make a nice companion to Nick Lowe's "Born Fighter", the cool "Sensitive Boy", which made me think of both Del Shannon and Tom Petty (something about the melody), and the chugging "Nobody", which falls between major label era Replacements and a plethora of roots rockers. The numbers that think outside the guitar rock box also work well: "My Story" is a space age ballad with a nifty homage to Elton John thrown in, while "Gone" is a swell combination of moody song with clever production and arrangement tricks that enhance the megahook in the chorus. The only negative is that Wilder is merely an adequate vocalist, and sometimes his material demands a little bit more than he can provide. But Wilder mostly overcomes that, resulting in a winning effort. eliotwilder.com

The Exploding Fuck Dolls -- Crack The Safe (Disaster): Kind of like repeating a scientific experiment to prove a theory, the Dolls unleash their second compilation in two years to confirm that they were one hell of a punk band. During the ‘90s, the Dolls weathered constantly changing lead vocalists to consistently lay down hot tunes that carried on the sounds of The Clash, Sham 69 and other leading lights of ‘70s punk. Another good comparison would be Vancouver's stalwart D.O.A. With the steady membership of Art and Steve Godoy, the Dolls have reformed to continue their slash-and-burn rock ethos, leading a figurative call to arms on angry numbers like "No Company Town" and "American Bomb". The tracks are not arranged chronologically, which works well, actually. Their material is consistent enough that it flows very well, yet you can still here how their songwriting matured within the confines of their steadfast style. For example, check out the melodic guitar chording that underpins the terrific "St. Petersburg" -- this is the same thing I love about bands like Husker Du and Leatherface, playing nasty, dirty guitar chords that are powerful, yet tug the emotions, too. The other thing that keeps this material from just being simple homage is how incredibly well played it is. In particular, the rhythms here are not plodding as some of the original British punks were -- this may be a subtle difference, but it gives the tunes a bit more kick. The liners indicate that the current edition of the Dolls has played out live, so hopefully they either have found a way to book some studio time, or at least rolled tape at some of their shows. disasterecords.com

Tan Sleeve -- Bad From Both Sleeves (Bus Stop): Exquisite harmony inflected pop from the team of Lane Steinberg and Steve Barry, formerly of The Wind. They combine sweet sounds with some clever lyrics. Their easygoing music reminds me at times of Simon and Garfunkel, with a less folkie orientation, Eric Carmen, Barenaked Ladies, and a crossbreeding of Gouldman/Stewart era 10CC and Fountains of Wayne. This a band that confronts the issues of the day, whether it's "Maria Bartiromo" (the television business reporter that the late Joey Ramone also wrote about) or "Puffy's Gun" (remember that incident back in a more innocent time, when Mr. Diddy was seeing J. Lo?). I think they do even better when they bring their wit to a fictional scenario -- "Making Tyrone Disappear" is about a cuckolded husband who commits the perfect crime and pins it on his wife. While these songs are amusing, they don't wear as well as their more timeless songs, like the sweet "It Doesn't Snow in New York Anymore" or "Take a Piece While It Lasts". Their cleverness extends to the production -- on "Bad From Both Sides", a groove oriented song that mixes blues guitar licks, a slow ska rhythm and what is either a sample or an emulation of the intro of The Hollies' classic "Stop Stop Stop" that floats in and out of the song. They didn't need to throw that into the busy song, but it works quite well, as does the song, which is a nice change of pace. To top it all off, they throw in a version of Henry Mancini's "Breakfast at Tiffany's". Think about, a gazillion versions of "Moon River", and Tan Sleeve, being their iconoclastic selves, try something a little bit different. Moreover, this fits in with a couple keen forays into pure soft pop. Well done, gentlemen. busstoplabel.com

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