From the front cover, the Spellbinders appear to be a New Jersey showroom band/nightclub act whose repertoire is predominated by showtunes and covers. Actually, it’s a solid album from the magical year of 1966 teeming with outstanding vocal group harmonies/soul sounds and includes several songs that were also released as singles (that are somewhat elusive and in demand). Part of the album’s allure is that four of the songs are Van McCoy compostions and all of them were arranged by the legendary producer, vocalist and songwriter (of “The Hustle” fame and much more). The quintet’s other mark of distinction is that they could simply flat out sing and harmonize.
The opener “We're Acting Like Lovers” features some coiling guitar accents and call and response vocals. The song was also included on the Endless Beach comp that frequently appeared in used bins during the ‘80s. At the time, the comp confused me as I initially thought it was a surf collection as I was not then familiar with the term "beach music" that emerged from the Carolinas.
Liner Notes by Bob Merlis & Gene Sculatti
I recently learned that the group has been firmly embraced and revered by England’s Northern Soul circuit ever since they toured there in early 1967 and appeared with Donovan and the Mindbenders. Their first single “For You,” released in 1965, is a smooth number in the vein of the Miracles. The suaveness continues with the uptown soul of “Self Defense” that is adorned with Bacharachian horns, pizzicato strings and Gene Pitney-esque vocal inflections.
“Chain Reaction” was their follow-up second single and has more than a passing resemblance to “The Way You Do The Things You Do” by the Temptations. Its flipside, "A Little On The Blue Side" actually plays out stronger and could have seen chart action as it meets the Motown melodic and technical standards of cutting through on an AM car radio or transistor. Sweeping strings decorate the yearning “I Need Your Love” and take things into the Drifters and Ben E. King territory to conclude the album. A few highly sought singles were released after the album with “Help Me” (Get Myself Back Together Again) being the standout that features the top rate lead vocals of Bobby Shivers. The floor filler is a considered a staple in Northern Soul circles and can be found on The Northern Soul Story Vol.1: The Twisted Wheel.
While their singles encapsulate their peak moments, their entire album, touched by the magic of Van McCoy, has a consistency and momentum that makes it an enjoyable and engaging listen that deserves to be heard beyond the Northern Soul scene.
Songularity is the 2nd album of all-originals from the Japanese group that arguably understands and plays American pop better than most American outfits. Their core sound which can be described as “Land of the rising sunshine pop meets California color” has earned them a devoted world-wide following. This double album of 20 songs has the ability to expand their audience even further. Songularity radiates the widest-array of styles of all of their 10 albums by spreading out the writing duties. What other 21st-century groups have been operating at the high-level standards of the mid-60s for 10 albums over 15 years?
Shade After the opening statement of “Harbinger," Niina's vocals take on a tinge of Toni Tennille of Captain & Tennille on “Got to Be Rock and Roll.” (The octet has entered a different phase this decade as the lead singer role has transitioned from Megumi to Niina.) Next up is “Never Let You Go” that begs the question if the title was influenced by “Never Let Her Go” by David Gates? Nonetheless, it brings to mind Quincy Jones' productions of Lesley Gore, the theatrical stagings of Tchotchke and the mirage of Van Dyke Parks’ “Palm Desert.” With its exquisite arrangement and full bloom harmonies, it also sounds like it could have been culled from one the Best of Pied Piper Days volumes. The sophistication continues on “Begin Tomorrow” that falls into the Sunflower/Surf's Up/Spring-era of brother Brian. “Thelma” has immediate appeal with its blend of Bangles-ish pure pop combined with the '80s Americana of Lone Justice. Be sure to listen to the splendid banjo solo played by Yuichi Hirakawa. One of Disc 1's peak moments is “The National Bird” which allows the album to achieve lift off and soar with its ascending sound of anticipation and excitement as their sound heads off to new destinations. Additionally, its brisk pace unfurls to show off its vibrant and intricate arrangements. This could have been/or could be a Stereolab song and incorporates Eisako Otani’s tenor sax, which has always paired well with Pen Friend Club songs. The joyous “Really Feel” has all the catchiness of a TV theme song, while also somehow recalling Taeko Ohnuki’s Sunshower and the radiant Beach Boys-ish backing vocals heard on Brian Wilson’s first solo album on Sire. The striking “Die Alone,” composed by Rie Nishioka, evokes Brewer & Shipley (e.g., “I Can’t See Her”) with Alan Price of the Animals settling in on keyboards.
Sunlight Keyboard player Soi offers “Merry-Go-Round” which turns out to be one of the most instantly catchy songs in the PFC catalogue. “You’re the One 1965” seems like Spiral Staircase’s "More Today Than Yesterday” picnicking with “Does Anyone Reallly Know What Time It Is?” by Chicago, but belted out by Carol Connors. “Breaking Up” reopens the Brill Building as heard through retro Japanese sounds of the ‘80s like CONNY(ex.THE VENUS). "In Your Light" and “Little Life” both have a contemporary vibe, but meaning a Carly Simon/Carole King/Allee Willis kind of contemporary played on a silver stereo system between wicker furniture and under skylights, wood beams and hanging fern plants. One of the album’s deepest cuts that draws the listener in is the understated “For It’s Worthwhile.” Rie Nishioka’s composition is embellished with a banjo like those heard in those lavish and layered productions of Kaoru Sudo (須藤薫). “California Again” seems obviously inspired by the Beach Boys’ “Do It Again,” which we know as the Beach Boys rewriting the Beach Boys and always seems to work in getting listeners instantly in a good mood. With its back to basics approach, “California Again” works on the same level. The country sounds of “Promise” is not surprising given the wide-ranging listening habits of such a large group, but it's still their first recorded foray into country. This ambling number is lead singer Niina’s composition and features an appealing twanging guitar (Fender Telecaster?) played by Yuichi Hirakawa. The title track “Songularity” is a lovely Pet Sounds-like instrumental that also reaches the musical shores of Eiichi Ohtaki and Tarao Bannai Gakudan (多羅尾伴内楽団).
Over the course of 20 songs, there is a lot to take in, but Songularity has a flow and arc to it due to its sequencing and interconnectedness. Its stylistic diversity offers several entry points for new followers, while also accommodating their long-time listeners. Guided by their collective musical knowledge, melodic instincts and togetherness, the group has maintained their sound & style based on mid-60s West Coast pop-rock, while also exploring a wider array of musical realms and sonic dimensions. Overall, Songularity is the sound of the Pen Friend Club moving forward towards their Pacific-spanning dreams.
While I was familiar with Ireland’s The #1s, I first heard Conor Lumsden, drummer for The #1s, playing under his Music City moniker when he appeared live on WFMU's Todd-o-phonic Todd show way back on October 27, 2018. It was exciting to hear somebody creating and playing ‘70s power-pop at such an ambitious and authentic level.
From time to time, I would check in for any Music City activity, but suspected that Conor made an Irish exit like so many other promising acts from the post-recession, pre-Covid era (2010-2019). The surfacing of this album here in early 2026 is a true surprise, but comes with the albatross of sky high expectations based on the promise of the “Pretty Feelings” single. The influence of American power-pop drives everything, while also creating the album’s momentum as it heads off into some different directions.
The debut covers ground from powerful pop rockers (“When the Day Comes By,” “Do I” “You Remember”) and brittle Big Star laments (“Little Flavour,” "A Matter of Time") through that late ‘70s/early ‘80s sound when heartland rock, new wave and AOR were clashing and converging together on radio and soundtracks (“Pretty Feelings") to some soaring ballads (“Autumn Song,” “Something on Your Mind”) that bring the album to a smooth landing.
Besides the natural comparisons to cosmic Chris Bell and the grounded Tulsa/L.A. Shelter/American Recording Co. sounds of Dwight Twilley & Phil Seymour, Music City is one of the few modern acts that could appeal to listeners of the Greg Kihn Band. 38 Special and maybe even Scandal on rock songs like “Common Sense” and “The Conversation.” Upon initial listens I thought the album leaned a little too heavy into dense AOR during the middle stretch, however Lumsden is not afraid to reach for the brass ring. It would be cool to see him paired up with rising star Billy Tibbals for a West Coast jaunt and hear these songs in a live setting.
Music City is at its best with the straight-ahead power-pop that gets the album off to a captivating start. “When the Day Comes By” is propelled by Plimsouls-esque rhythmic guitar work throughout before exiting off to an exquisite Rickenbacker 330 solo. Further, its persisting melody and wrap-around chorus recalls the best of the Beat and solo Paul Collins. The two last ballads are standouts and close the album on an extremely strong note. “Autumn Song” casts a hallowed and hushed Big Star atmosphere. Meanwhile, “Something on your Mind” is evocative of the sophisti-pop of Joe Jackson, Ted Leo, and Eric Carmen replete with piano elegance and quotes of “When You Walk into the Room” from Fiachra Mac Oireachtai-all under a spectacular sunset of Beach Boys backing harmonies.
The graphic designer and musician from Dublin has ambitiously crafted and patiently developed aspects of workaday life into his grand statement. Music City has now delivered the album that many were doubtful would ever happen. On a similar level of surprise, The #1s came back with a single in 2025. If this pattern continues to hold, maybe we will even hear from the Pacifics once again.
West Coast Jazz trombonist and composer Harry Betts was born in New York and raised in Fresno. The accomplished and versatile Betts got his start in Stan Kenton’s orchestra and later joined the Bob Keene Orchestra before leading his own. His trombone playing can be heard on The Beach Boys' Christmas Album, Glen Campbell’s remarkable “Guess, I’m Dumb” single and The Mason Williams Ear Show album. He also did extensive soundtrack work including scoring A Swingin' Summer and Winter A-Go-Go. Composing and arranging a soundtrack for a surf documentary was not that far of a stretch as Betts also played trombone on the cinematic “The Lonely Surfer” album by Jack Nitzsche. This soundtrack was recorded at Columbia Recording Studios in Hollywood, engineered by Pete Romano, produced for Jackie Mills for Wednesday's Child Productions and released on Epic Records. The top-tier session players still remain a mystery at this point.
The film (on YouTube at the time of this writing) follows La Jolla’s Windansea Surf Club (amazingly still in existence) and their long boards from the waves and craggy rocks of Malibu to their 1967 adventures in the Fiji Islands, New Zealand and Australia. Narrated by Jay North (aka Dennis the Menace), the film documents a crucial transition point in surf history on the cusp of the short board revolution (introduced by the Australians). It also has the distinction of featuring footage of pioneering Japanese-American woman surfer Joey Hamasaki, who was a member of the Windansea Surf Club.
The all-instrumental soundtrack, thankfully more '67 than '69 in sound and spirit, matches and enhances the mood of the documentary that was filmed in 1967, but not released until 1969. The wide-ranging recordingcan be listened to on the foreground and in the background as it features a variety of ‘60s sounds that blend well together within songs and across the album. Leading off is the tone-setting “Theme From The Fantastic Plastic Machine.”This opening number immediately delivers some fuzzed up riffs and dashing bongos before heading into a tube of double picking and sweeping strings. Somewhat surprisingly, the 45 version of the theme became big in the Northern Soul scene during the ‘70s.
“Endless Bummer” combs the shore with a trickle of soft harpsichord notes before becoming submerged in a sea of strings, but the waves are not happening in the Fiji Islands nor New Zealand. Its overall mood is akin to a theme to a ‘60s medical drama. The horn intro of “Night Flight” seems to quote “Ain't No Mountain High Enough,” if not every late ‘60s game show intro before coils of sparkling guitar and go-go drumming drive the song forward. “Green-O” sounds perhaps inspired by the “Hawaii Five-O Theme” as the Ventures' version of the TV theme song was a huge hit in 1968.
“Straight Ahead” brings the soft focused sunburst pop, while the jaunty and effervescent “Rock Slide” takes the tijuana taxi into frivolous fun as thehornsand xylophonefills out the cascading sound. Meanwhile, urgent horns and racing bongos of “McTavish” are evocative of Mark Eric’s “Night of the Lions.” Lush and lovely strings return on “Nat's Theme” and cast an atmospheric spell similar to Bill Pursell's "Our Winter Love" or even the “Airport Love Theme.” “Outta Sight” buoyantly perks up the ears like lapping waves and prefigures the sound of the High Llamas at their most whimsical. With “Green Grotto,” Betts delivers his most adventurous, ambitious and churning number that ranks up with David Axelrod and epitomes what Domenic Priore has termed Psychedelic Surf Pastiche Washout.
There is no incidental music on this soundtrack as Betts’ compositions and arrangements bring forth a spacious sound that is deep, wide and constantly moving. The Fantastic Plastic Machine is one of the last shifting swells of ‘60s soundtrack surf and recommended for listeners of Bacharach, Stu Phillips, Howard Roberts, the Sandals as well as Shibuya-kei.
