Scroll down for capsule reviews of Jeremy, The Ordinary Boys, Nick Pipitone, Githead, The Arcade Fire, The Black Watch, Robert Gordon, Pukka, Moonbabies, a Jam compilation and Gigantic

Jeremy -- Find The Way To Be Happy (Jam): Jeremy Morris, the man who makes Howard Jones sound like Nick Cave, is back with more upbeat power pop and displays of guitar wizardry. This is a generous helping of happiness, about as long as a vinyl double album. This is, to an extent, a tribute to the power of being prolific -- Jeremy's songwriting has gotten better over the years, and much more consistent. While I would argue that this album is still too long, there are no glaring weak spots. More over, he throws in some cool covers and forays outside his patented power pop sound. As a die hard Sweet fan, I have to give Jeremy big props for his cover of the glam band's obscurity "Are You Coming to See Me?". This was never a proper Sweet release, as it was a prototype demo version that was the blueprint for the excellent album cut "Medusa". Jeremy multitracks his vocals to give the proper heft to this melodic rocker. I also enjoy Jeremy's forays into more ‘60s inspired sounds. "Don't Play With Fire" has a haunting feel, and a Lennon-ish folk-psych sound. Jeremy's lead work is extremely inspired here, punctuating the emotions of the tune with exclamation points. On "Big Day Coming", Jeremy goes Eastern, with faux sitars and a droning melody. These songs fit well with Morris's more typical happy power pop – songs like "Highway to Heaven" and "Great to be Alive" have big hooks that don't let go. Morris even shows off on "Heaven to Pay", throwing in some guitar leads that sound like Elliot Easton aping Foghat's "Slow Ride" and ending up with the finale of The Who's "Won't Get Fooled Again". A great addition to Jeremy Morris's considerable catalog. jamrecordings.com

The Ordinary Boys -- Brassbound (B-Unique): While you can hear a slight Madness influence in some of the work of the latest crop of British pop-rock bands, it's much more pronounced on this band's second album. The Boys' new disc really shares some melodic tendencies with the latter half of Madness's career, mixing mild ska with music hall melodies and observational lyrics. The Ordinary Boys are a bit more rocking than those Nutty Boys were, and don't quite have the same knack for the killer hook. But that's a high standard to live up to, and taken on its own terms, this is an enjoyable pop album. Part of the credit for that should go out to Stephen Street, who provides his typical polish and organization from the production chair. One of my favorite songs is "Skull & Bones", which is based on a pithy R & B guitar line that probably dates back to about 1968 A.D. The band plays this bouncy fluff with utter sincerity, singing about "Freemasons/freebasing", and it sort of makes sense, if you listen to the lyrics carefully, but you might be swaying and smiling too much to care. Yet, as much as I like the track, it shares a tendency that keeps the Ordinary Boys from being more – a sound that is engaging, but not entirely memorable. This isn't always the case. The sharp "Boys Will Be Boys" is the most forceful ska track, and while that's a relative statement, as this is a polite band, the harsher guitar is welcome. The middle eight is superb, and adds a strong melody to a sturdy track. And "A Few Home Truths" shows that the Boys are capable of building a song from verse to bridge to sublime chorus. The album ends on a strong note with the string laden ballad "Red Letter Day" (a cover of undisclosed origin) that portends a direction that might be fruitful for the band. This dramatic slow song really plays to all of their strengths. Now it's up to them to write some of these themselves. b-uniquerecords.com

Nick Pipitone -- Anything I Want To Say (Burst): Pipitone purveys an easy to like mix of pub rock and power pop and ‘60s influences. At times, he reminds me of a less chuffed Graham Parker (the Parker who sang songs like "Wake Up (Next to You)"). These are bouncy songs with intent vocals and an ace in the hole -- Don Moore of The Lackloves on lead guitar, a perfect foil for Pipitone's musings on the travails of the broken heart and unrequited love. Sure, "love can be a one-way street" may not be a genius level observation, but it's true, and Pipitone brings the truth home (on "One Way Street"). One thing Pipitone does really well is integrate his melodies with the rhythm of the song. On first listen, "Sunday" might just sound like a seamless pop-rock song – which it is, of course. After ten spins, the way he plays the melody off of the chunky rhythm guitar in the verse is so frickin' inspired, and then he spins a bridge that floats and flutters into a pithy tag line – it had to be hard work to sound so tossed off. That's probably the best of the five songs, but all of them are worthwhile. "Nervous Breakdown" is a bit more reserved, with a nice use the mellotron. Nick mellows out well. He finishes things off with "Perfect Girl", which contains some spiffy observations about romance (like "where there's subtlety/there's doubt"). The rough edges of his voice contrast with the light jangle of the music to make for an affecting number. Very well done. burstrecords.com

Githead -- Profile (Swim): A band featuring Colin Newman of Wire. The compositions are credited to the band, but the similarities to Wire are unmistakable. In fact, some of the songs sound more like late-‘80s Wire, when the band was getting alternative airplay for songs like "Eardrum Buzz". Wispy melodies and lightly strummed guitars float over metronomic beats, with gentle vocals. Sometimes the soundscapes have a vaguely psychedelic pull, but I wouldn't want to accuse Newman of morphing into Pink Floyd territory. And any such comparison would fall away once Newman begins singing in that distinct clipped style of his. Newman is joined by two members of Minimal Compact. The songs here generally pulse along, with electronic percussion being joined by warm swaths of guitar. This is pop music along the lines of Kraftwerk and Brian Eno – human voices and playing, with a bit of a techno background. The best track may be "My LCA (Little Box of Magic)" with a soothing vocal by Malka Spiegel. The mix of the instrumental elements is perfect and the melody is summery and simple. What keeps this from being too pop is the band's willingness to let atmosphere build and envelope. At its best, the songs are enchanting. Numbers like "Pylons" and "Wallpaper" are ambient, yet have enough of a song lurking about to reward repeat listening. I hope that this isn't just a one-off project, as there are some strong concepts at work here that could be further refined and changed to make some great music. swimhq.com

The Arcade Fire -- The Arcade Fire (Merge): This is a reissue of the Montreal band's 2003 debut EP, which was never widely available. Had it been, I don't know if everyone would have expected an instant classic like Funeral, but the potential for greatness was there. The main difference here is that the sound isn't as consistently fleshed out as on the subsequent LP. Sometimes it's not needed, as the low key "My Heart Is an Apple" has a nice mellow vibe. But on "Headlights Look Like Diamonds", the compositional structure is strikingly similar to some of the songs on Funeral. The difference is that "Headlights" never quite takes off into higher regions. That's the element that's missing, the awesome rush of energy. It should be noted that "Headlights" is still a nice track. There are two definite highlights on this disc. "No Cars Go" is an outstanding track. The song is centered on a throbbing bass and shuffling drums, as the accordion, guitar and keyboards provide a melody line. The bass/drum combo is a hook unto itself, and everything else springs from it. This song probably is the strongest indication of the Talking Heads influence on this band (who has covered "This Must Be the Place" live). The closing track "Vampires Forest Fire" is a sweet song that shows the band's flair for a classic old school melody. The song takes time for an extended piano instrumental interlude that is almost a song unto itself. The stately piano then blends with the verses, giving the track a bit of an orch-pop feel. The song then swells to a crescendo. Just further evidence of how special this band is. mergerecords.com

Moonbabies -- War On Sound (Hidden Agenda): Did you know that Sweden has more male-female synth duos per capita than any other country on the globe? I don't actually know if that's true, but it sure seems that way. This is an eight-song stop gap while the duo of Ola Frick and Carina Johansson complete their next album. At 40 minutes, it's bargainous. The title track leads things off, and it's a pure pop charmer, with a gentle Frick vocal, that sounds to me like a combination of Pernice Brothers and Lindsay Buckingham. The blend of Frick's and Johanson's voices in the chorus is special. They turn in two cover versions. First, a take on Midnight Oil's "Stars of Warburton" from the Aussie band's Blue Sky Mining. The Oils always had a way with a melody, and the Moonbabies add some lushness and a soothing vibe to this strong composition. Well done. Even better is the version of Pink Floyd's "Arnold Layne", that shoots psychedelia through an electronica prism, with an array of burbles and bloops and Johansson's crystalline voice shining through the synthetic haze. Admittedly, the marriage of a warm voice to chilly electronics is nothing new, but it still works, and this is also evident on "Ghost of Love". The band also provides a first take recording of "The Orange Billboard" from their last album. It still sounds quite good. In fact, listening to this EP reminded me of how good their last album was, and makes me excited for their next full length. Frick and Johansson are on of the best co-ed synth pop duos around. parasol.com

The Morrells -- Think About It (Hightone): The Springfield, Missouri roadhouse band is back with more lighthearted rock and roll. This band just rocks so easily and breezily, with Ron Gremp (drums) and Lou Whitney (bass) playing bopping rhythms, while keyboardist Dudley Brown and guitar whiz D. Clinton Thompson provide plenty of color. Blues, country, R & B and rock are ingrained in these guys, and it's not often that you hear such effortless excellence. Case in point -- the dry wit of "Ain't My Day", a Gremp chronicle of a mess of minor mishaps and miseries. This song is so basic, with a swaying rhythm, a slight melody and some handclaps -- it shows how simplicity can be a virtue. This is followed by a showcase for Thompson's virtuosity and Whitney's swaggering personality on the slow blues track "Guitar Man" (co-written by Lee Hazelwood). A little flash and a lot of sass go a long way. Whitney is the cuckolded lover on the clever "How Come My Dog Don't Bark". Here, Whitney realizes that his dog, who usually go nuts when there is company, is silent when one certain visitor comes to the house. Whitney is backed by a light piano accompaniment -- it's almost jazzy. Thompson contributes a few originals, the best being the "Cool Summer". And there are some familiar covers -- a slowed down, slinky version of Chuck Berry's "Nadine" and a peppy take on The Monkees' "Let's Dance On". I doubt The Morrells will ever equal their stellar debut Shake And Push, but this album confirms that they still are guaranteed fun, and we all need more fun. hightone.com

Various Artists -- Dana & Carl Present: This Is Rock ‘n' Roll Radio, Volume 1 (Jam): Dana Bonn and Carl Cafarelli (who is a heck of a rock writer, by the way) host a radio show on WXXE-FM, Syracuse, New York, playing great rock and roll, as the show's name implies. Dana and Carl have given valuable radio exposure to a slew of power pop artists, playing them alongside all-time faves such as the Ramones, T. Rex and others. On this compilation, the artists pay tribute back -- sometimes directly. Cafarelli's fave rave band The Flashcubes get things rolling (and rocking) with "Carl (You Da Man)", a bopping ditty that name checks a ton of tunes that have been played on the show. This track begins a veritable power pop highlight reel, from well known artists like Chris von Sneidern ("Lonely Tonight") and DM3 ("1 X 2 X Devastated" -- true math rock), and acts who deserve much more attention, like Chris Richards, who, yet again, on "It Doesn't Sound Like You" shows that he is a power pop master (dig the wistful Cheap Trick a la "Downed" chord change that he throws in -- genius I tells ya). Other striking tracks include The Oohs' "Mr. Cliche", which has a slight Cars/new wave feel, very smart lyrics and their patented spot on harmonies; Ed James's "Shiver and Shake", which also is new wave-y in the verses and cotton candy fluff in the chorus; "She Can't", a splendid melancholy jangler from The Jellybricks, a fine cover of The Beatles' "And Your Bird Can Sing" by The Kennedys; and yet another sunshine power chord fest from The Lolas ("Sticker"). If Dana and Carl keep this up, they will give the International Pop Overthrow compilations some sterling competition. jamrecordings.com

Pukka -- Nowadays (self-released): Five songs of melodic forceful rock from a Finnish quintet. This EP opens with the passionate "Nowadays", which sounds like a mix of Cheap Trick and Idlewild. Lauri Kuusi sings his ass off, while guitarists Kalle Hurme and Sami Nykunen combine insistent chording with precise guitar leads. This track is almost worth the price of the disc alone. The four other songs are quite good also. On the finale, "Humu", the band shows a real flair for the dramatic. The contrast between the rumble of Jari-Petri Voutilainen's bass and the alternatively delicate and buzzing guitars is compelling, as Pukka whips up a frenzy in the instrumental portions of the song. This song goes in a lot of places in three-and-a-half minutes and the band should not be afraid of stretching out more in the future. "Argentina" is another excellent number, with an ominous guitar riff contrasting a more melodic Lennon-esque passage. This type of writing worked for the aforementioned Cheap Trick and Nirvana, and Pukka does it well too. thepukka.com

Gigantic -- Some Suburban Road (Popboomerang): This Aussie jangle rock band has been around for a while. This EP offers some reliable mid-tempo pop-rock. The title cut reminds me a little bit of Guadalcanal Diary, moving from a slower jangle to more robust guitar work from Drew Michael. The song has a driving wistfulness that is engaging. This is followed by "Mr. Sound", another song that shows the increasing sophistication of the band. The interplay between the descending keyboard line of lead singer Mark DiRenzo and Michael's varied guitar parts fuels this song. This is big pop, with a brooding edge. The band offers a sweet alternative to the more rocking fair on the tender "The Highest Comfort". This is a soulful power pop ballad, with a strong vocal from DiRenzo. This is the type of pop they seem to do best Down Under. Soft, but not wussy. The EP ends with a pure rocker, "End Transmission". Michael offers both a thick heavy riff and some lead guitar punctuation. What little melody there is in the song offers some light amongst the murk. The song could use a bigger hook, but the guitar solo may be worth the price of admission alone. This EP may just serve to say ‘Hey, we're still here", and portends some more quality music ahead. popboomerang.com

Robert Gordon -- Satisfied Mind (Koch): This disc, which came out last year in Europe, hits U.S. shores as a domestic release, finally. Gordon was one of the original rockabilly revivalists, who took a lot of stick from certain rock critics back in the ‘70s, who implicitly faulted Gordon for being born 15 years too late to record in the ‘50s. In retrospect, Gordon made some fine rockabilly records, and although he hasn't been on a major label since the early ‘80s, he still makes fine rockabilly records. Working with a crack band led by Eddie Angel of Los Straitjackets, Gordon's voice has mellowed and deepened a bit over the years, but it is still a fine instrument for jivin' and rockin'. Angel and company deliver a relaxed groove, and on a track-by-track basis, every performance is, at a minimum, pretty good. However, the album might have been even better if they had picked out a couple more flat out rockers, or, a few more killer ballads, to raise the temperature just a bit. Nevertheless, there are some excellent renditions of great tunes -- note how effortlessly Gordon croons "Sea of Heartbreak", showing more vocal range than you might think he has. Johnny Neel's organ provides just the right color on the soulful "Your Angel Steps Out of Heaven". This track also shows Gordon's production skills, as every instrument sounds just right in the mix, supporting a typically spot on vocal. And Gordon goes a wee bit country on the title cut, and he sounds just fine backed by tinkling piano and pedal steel. He gamely tries a bluesier slowed down take on The Hollies' "Long Cool Woman", and it's not bad, but that's just a tough one to cover. Listening to this made me think that some folks should write some new tunes to be Gordon-ized, as he still has his chops. kochentertainment.com

The Black Watch -- The Innercity Garden EP (Pink Hedgehog): Four new songs from the L.A. band fronted by John Andrew Fredrick, he of the literate pop songs with a slightly British ‘80s-indie feel. The first two numbers preview the band's incipient The Hypnotizing Sea album. "The Innercity Garden" is strumming peppy electric folk rock number. The song is pure momentum with a melody on top. This is kind of a more rocking take on the ‘80s indie inspired forays of the recent Pernice Brothers. The highlight of this disc (and likely the LP to come), is "Dylan, Dylan, Dylan". It is wholly appropriate that one of the most literate songwriters of the past decade or so comes up with a fantastic tribute to Mr. Zimmerman. Fredrick manages to be reverent and a tad irreverent at the same time. The song bounces around with (of course) harmonica accompaniment. Frederick focuses on how Dylan impacts on his life: "‘fore I got so darn heartbroken/every single word he'd spoken/reached down to my soul..." The other two songs are also fine. "Moonlight Thru Ivy" is a sweet acoustic number with a gloss of a Latin feel – not quite "Spanish Harlem", but lovely just the same. The EP closes out with "The Teacup Song Take Two" a ringing song that brings back memories of early James, and college radio faves like Pop Art and The Connells. A very nice teaser. pinkhedgehog.com

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