The Freebies-S/T

The Youtube algorithm finally got it right and pointed me in the direction of a new favorite Los Angeles band. (“Even a stopped clock is right twice a day” as I first heard on a Ride album.) It might have been their bio that did the match-making as it listed shared favorites like the Velvet Underground, The Beach Boys, Ramones, and ‘60s girl groups.

The current twee revival bands are pleasant, but it’s hard to get truly excited or listen beyond one spin, when one remembers when records like Tiger Trap and The Decline and Fall of Heavenly were in current rotation at select college radio stations. My joke is that there are too many bands playing K-pop now! What separates the Freebies from their indiepop, twee and jangle contemporaries, is that they have the essential rock ‘n’ roll foundation as they incorporate the aforementioned classic influences along with the best aspects of other decades. 

Starting off with their most power-pop-ish number “Hard On U,” recalls the ‘B’ Girls, the MnMs and the Pinkz and makes quite the opening statement. “Josephine, I Love You” has a dreamy doo wop meets girl group sound going away for a holiday with Joey Ramone and Debbie Harry. Evoking both cub and the Undertones, “Friends” is played with the stripped down speed & sass of Hunx and his Punx and Pookie and the Poodlez. “Kiss Me” seems to be a joyous spin on “Will He Kiss Me Tonight” by Dolly Mixture as the question for the ages is finally answered. Starting on a drum hook and coiling guitar like “We Got the Beat,” “What's On Ur Mind” darts off in some wonderful directions with an unconventional, yet distinctive arrangement consisting of two alternating movements that spiral around each other and sounds like something out of Tetsuko’s playbook. 

 

Guitarist/vocalist Breanna Limón's love of Teenage Fanclub can be heard in the strummy “Love is Strange” when one of those big Bandwagonesque riffs appears. She’s also a major fan of Big Star and Alex Chilton, so we can set our future expectations sky high when it comes to songwriting and captivating melodies. Peach Kelli Pop and Alvilda come to mind with “Lucky 4 You,” a number that gathers momentum and twists and turns like a waterslide that actually works. The album concludes with two demos that have the feel of Dressy Bessy and Slippers.

Overall, the harmonies glow throughout the album and cast additional layers of dimension that allows the group to truly stand apart. Too bad that SFTRI, Shredder, or Teenacide are not still around to release this catchy & upbeat debut driven by a ringing Rickenbacker and overflowing with hooks galore.

Do What You Fear Most: The History of the Velvet Underground by Richie Unterberger

“I have like 3 huge Velvet Underground books. Do I really need another?” was the response of a musician friend when I told him about this epic 800 page book. “Definitely yes," was my reply because it’s from author and researcher Richie Unterberger. His books include 2002’s Turn! Turn! Turn!: The '60s Folk-Rock Revolution, White Light/White Heat: The Velvet Underground Day-By-Day from 2009 and The Unreleased Beatles: Music and Film, which won a 2007 Association for Recorded Sound Collections Award for Excellence in Historical Recorded Sound Research. With Do What You Fear Most: The History of The Velvet Underground, Unterberger presents the most exhaustive, comprehensive and definitive account of the Velvet Underground ever published.

Take Off Your Wraparound Shades
Unterberger's approach is to build up from the factual details to convey their seismic, searing and hypnotic sound along with their enigmatic and extremely layered history. This approach allows readers to step back to observe and appreciate how this unlikely combination of misfit musicians and contrasting personalities somehow coalesced to create some of the most groundbreaking rock ‘n’ roll music of the 20th century.  While providing the requisite coverage of founding members Lou Reed and John Cale, Unterberger equally recognizes the integral contributions of drummer Maureen Tucker, guitarist Sterling Morrison and multi-instrumentalist Doug Yule to make them a collective creative force. Extensive attention is also given to the Teutonic singer, model, actress Nico who hovers over the narrative like a spectral presence. Furthermore, Unterberger chronicles how the international, mixed-religion and mixed-gender musical aggregation crossed over to Andy Warhol’s Factory and the high art world during his peak Pop art years and became synonymous with the artist for more than 15 minutes. Unterberger skillfully balances the group’s two eras which yielded four official albums. Their first two albums were a riveting combination of Lou’s gritty literary style and "subway sound" guitar playing with John Cale’s avant-garde/classical background, allowing them to be the consummate ‘60s art-rock group that never proceeded in a predictable fashion. A transitional turn towards a more subdued and somewhat spiritual sound characterised their self-titled third album made after the versatile, yet much more conventional musician Doug Yule replaced John Cale. Still, their pivotal third album contains the surging “What Goes On” where the enthralling intertwined guitars take on the wonderful drone of what Lou Reed described as “1000 bagpipes.” They finished with Loaded, which was supposed to be loaded with "hits"-if one is to believe Lou Reed lore. Accordingly, Unterberger traces their trajectory from a band, when they were known as the Primitives and the Warlocks, who played for themselves to an act that played for Andy, Nico and the art world before arriving and finishing as a group who played for their audience.

L-R Nico, Andy Warhol, Maureen Tucker, Lou Reed, Sterling Morrison, John Cale 

The author’s research is as deep as it’s vast as he draws upon recordings, film, publications, as well as his own discoveries derived from his research at the Lou Reed Archives at the New York Public Library for the Performing Arts in the Lincoln Center and Pittsburgh’s Andy Warhol Museum. He surveys their historical press coverage-ranging from from mostly dismissive and sometimes disparaging treatment they received as being part of Andy Warhol’s Exploding Plastic Inevitable (aka EPI or Andy’s traveling avant-garde multimedia happening) from the major metropolitan newspapers to the slightly more accepting critiques appearing in the college press. While Unterberger asserts that Warhol was instrumental in putting the group on the map, he also contends that VU began to outgrow Andy's spectacle and become an attraction in their own right.  Nonetheless, Warhol would prove to be a lasting influence on VU and on Lou Reed in particular as he remained Lou’s mentor who challenged and encouraged Lou to continually write and work.

The Modern Lover
Unterberger also incorporates quotes from contemporaneous interviews culled from obscure underground publications like Cleveland’s The Buddhist Third Class Junkmail Oracle and the influential Fusion based out of Boston as well as later interviews with band members that appeared in '80s fanzines like What Goes On.  One of his greatest strengths is his own interviews with those who were there and close to the band. Some of the most valuable commentary and insight comes from acolyte and musician Jonanthan Richman and Steve Nelson who managed the Boston Tea Party venue, where the band drew their largest following in Boston. Both offer lucid first-hand accounts of their live performances with Richman mentioning the group’s ongoing musical shapeshifting, versatility and range, and Nelson on their danceability. Unterberger is also inclusive of the essential audience perspective. Susan Pile, who went from a fan to working for Andy Warhol at the Factory during the late '60s, also provides acutely perceptive recollections throughout the book. Meanwhile, Tom Wishing, then a Notre Dame student from South Bend, shares a wonderful memory of meeting them after their show at the Quiet Knight in Chicago and reporting that they were not Andy’s menacing monsters, but were decent folk with even Lou being described as “friendly” and "humble.”

L-R: John Cale, Sterling Morrison, Lou Reed

Unterberger recognizes that the band’s striking contrasts are now a major reason for the group's large and lasting appeal, while their unclassifiability hindered them during their active years as their label, MGM, misguidedly promoted them. Both on stage and in the studio the group transversed from over-the-top onslaught to a rarefied understated minimalism.  Their sound was simultaneously commanding and charming, which is a rare combination then and now.  As attested by Richman and other observers, they were a formidable live act who knew how to build intensity and had remarkable command of contrasts and dynamics. Their varied arrangements and Lou’s improvisational lyrics from performance to performance gave them the opportunity to be brilliant and make each live show a new experience. For these reasons, Unterberger provides almost an equal amount of coverage to the live recordings (both official releases and bootlegs) as he does their four studio albums and two revelatory compilations of previously unissued material released by Polygram during the mid-80s. Further, he also examines John Cale’s and Nico’s solo albums from the era that reveal additional dimensions. His overall approach to their recordings meets the needs of both novices, experts and many in-between listeners. As expected, Unterberger includes the critical, underground and popular reception of their official albums in the wake of their release.  These reviews span from the then emerging wave of astute rock ‘n’ roll criticism like Crawdaddy and Vibrations that was just starting to percolate to blurbs in the music trade publications (Billboard & Cashbox) to even unexpected small-town newspaper outlets where their albums somehow reached and impacted the hinterlands. 

VU 1969 L-R: Doug Yule, Maureen Tucker, Lou Reed, Sterling Morrison

He also places the band in context of their times and interestingly considers them against two comparable music acts where antagonism ran both ways, even in the presence of some parallels and commonalities. Although not at all friendly with the Grateful Dead, both both bands partook in the practice of performing "lengthy improvisations on stage” and both were previously known as the Warlocks. VU and the Dead would also greatly benefit from being widely bootlegged with flourishing tape trading communities emerging in decades to come. Frank Zappa and the Mothers of Invention and the Velvet Underground were downright hostile to each other, but they shared the same label (MGM), producer (Tom Wilson) and bent towards the avant-garde.

There are a few aspects that could have been incorporated and a couple minor criticisms that did surface. One aspect I wished Unterberger covered was the Velvet Underground sharing a seemingly incongruous bill with Chicago (Transit Authority) at Hollywood’s Whisky A Go Go in October 1968.  However, odd pairings were somewhat the order of the day in the late ‘60s, Chicago (CTA) was considered a progressive jazz pop group at the time and the show is covered in his aforementioned White Light/White Heat: The Velvet Underground Day-By-Day book. In addition, the standard practice of endnotes would have served this book well and would have provided a resource for researchers. From time to time, Underberger does have the tendency to get a little too matter-of-fact and shouldn’t be afraid of bringing out his inner-Lester Bangs more often. As good as his granular details, Unterberger's writing gains momentum and takes flight when describing their music that spurs revisiting, relistening and reevaluation. For instance, Unterberger’s details regarding how the recording sessions for Loaded were loaded with problems are especially illuminating. He then proceeds to convey the essence of these mostly straight-ahead songs. Despite all the complications, the group arrives at their most accessible record with “fully rounded pop-rock harmonies” in their catalogue that acts as an entry point for new listeners as well as an enduring classic for long-time fans. Still, I have always appreciated that Unterberger keeps his writing music-centric and mostly objective in a world that is otherwise. If one wants more dirt and conjecture, there’s a towering stack of Lou Reed biographies readily available. Further, his chronological history is also not a hagiography, but an even-handed account on how they were on the vanguard of the ‘60s.  As a journalist who values and trades in actual fact, Unterberger manages to keep their mystique intact with his careful handling and passion for their music.

"We’re Gonna Have a Real Good Time Together"
L-R: Lou Reed, Maureen Tucker, Sterling Morrison, Doug Yule

Do What You Fear Most advances our understanding and admiration for what the group accomplished in the second-half of the ‘60s.  It’s never something current listeners should take for granted because so many of the stones have been unturned and their music catalogue is now readily available. The proto-punk group were so ahead of their 1964-1970 time, it has required decades for their sounds of extreme contrasts and everything in-between to find their multi-generational audience. Overall, Unterberger provides readers and listeners with an even deeper and greater appreciation of a daring and courageous group who made music both endearingly human and startlingly original. In the end, the Velvet Underground created their own musical waves that continue to move forward today.

A version of this review was submitted for for possible publication in the fall 2025 (Volume 56, No.2) edition of the ARSC Journal. 

TeenBeat Mayhem -Slipped Through the Cracks

What’s more American than U.S. bands from basements, garages and rec rooms incorporating, interpreting and counterattacking the British Musical Invasion of the Mid-'60s?  

Chicagoland’s Patrick & the Shamrocks come storming in with “Wind Blowing Through the Trees.” The winsome gem has a “Little Black Egg-ish” feel to it, while “Yes, That's What I'm Gonna Do” begins with a “Moulty” like statement of self-determination to initiate one of the most rousing and catchy numbers heard in ages. Be sure to check out Patrick’s next band Society’s Children, which was a warbly psych-folk-rock outfit with his mom on lead vocals that can be heard here. Thankfully, both sides of the Gnomes’ 45 have been included from the Northeast prep school combo, whose origin story took over 4 decades to track down! The soul-pop-garage of “Something's Going Wrong” recalls “Something’s Gone” by the Jam (the 1968 U.S. band on Sire). Just when you think it can’t get even better, “The Sky is Falling” comes tumbling through the speakers. It’s a moody soul-pop ballad with a Memphis feel like the Guilloteens and something that Greg Cartwright should cover. Be sure to catch their nod to We Five's “You Were On My Mind" on the outro. The Phoenix groups had something for the minor key, perhaps due to the major local influence of Phil & the Frantics and "It's Only Her” by the Present Daze is no exception. Hope to hear more of their sounds on The Wild Thymes' Reflections collection. 

“Need Your Love” by the Soul Survivors (not the Philly group) brings one of the closest approximations to ? and the Mysterians that I have ever heard.  It's a gloriously  ramshackle affair that appeared on Delta, an Albuquerque-based record label that also released the Striders. The Soul Survivors hailed from San Jon, New Mexico, which is along Route 66 and near the Texas border. The Imposters’ “When You Say” sounds like the Gants’ Sid Herring backed by the Beau Brummels, while the Palmers, from La Mesa, CA, bring us an intrepid surf-folk-rocker with “Once Again.” Trickling down with its murky and cool Chocolate Watchband sound is the Imperials Limited from Atlanta with “She Said It So Sweet.”  

The comp saves for best for last. When I saw the track listing my heart lifted because I never heard the super rare and super local (to me) 45 from Tinsel Mecca, although I wrote about them in 2017. “Things That Do Exist” is perhaps a response to “I Believe in Things" by Floyd & Jerry with the Counterpoints.  To these ears this "Donovan-esque" diddy borders on novelty.  However, clear the decks and stand back as the grand finale is about to happen. With “Life's In Vain” and its enthralling “Mother's Little Helper/Paint it Black raga-ish drone," Tinsel Mecca succeeded in making timeless and melodic art out of frustration and agony. Aesthetically, it leans way more into 1966 than its late-1968 recording & release date.  It’s a one of a kind standout from the flatlands of Chandler, AZ. 

Credit the compilers for their sequencing instincts along with their expertise to include double-siders from the strongest bands. Overall recognition is due to Mike Markesich for sharing these rarities from his deep well and Freddy Fortune for presenting these records in their best possible sound with his audio restoration. Tom Nikosey provides the design with a great "Howard Johnson's" orange & light blue color scheme. A booklet with requisite label scans and liner notes round out the package. Recommended for those who dig Pebbles, Highs in the Mid-Sixties, Teenage Shutdown, Fuzz, Flaykes, & Shakes and the Original Artyfacts of Nuggets.

Yea-Ming and the Rumours-Residue

Four albums into their consistent run, Yea-Ming & the Rumours have released their most provocative and pop-forward album yet with Residue. It's no secret that we all hear and experience music differently. It's all part of what makes the artistic world go round. We come to our favorite musicians and groups with certain expectations and on different levels of degrees. Whether it's a major stadium act adorned by millions by or a cult musician who seems tied down by work obligations, it's what keeps us anticipating new albums and searching the internet for show and/or tour announcements. Additionally, we have our preferred phases of our favorites and embrace their "return to form"-whatever subjective form that is.

Sidetracks

Stepping back from what makes listeners feel comfortable, allows musicians space for growth, development and surprise. Being multi-faceted, flexible, and versatile are still part of the criteria used to assess artists. While the Ramones perfected their formula early on and pretty much remained the same before eventually aging out, Blondie took a different trajectory. What if Blondie just stayed in their Lower East Side lane and never merged to bring seemingly disparate elements together for some of the most remarkable pop music of the 20th century? Both bands eventually became legendary, influential and iconic (i.e., t-shirts) which testifies we cannot make very valid or accurate assessments amidst the activity. Time and distance are required for comparison, contrast and reassessment.

Yea-Ming Chen, Photo by Corey Poluk

I came into Residue with an initial reaction regarding the denser production values and I left with the realization that Yea-Ming and the Rumours are making their own way, while striking a balance between the adventurism of Blondie and the straightforwardness of the Ramones. For instance, "Sweet Opiate," a slinky and shimmering dance pop song with a Cardigans/St. Etienne slant, makes clear sense in the context of a group diversifying their sound and expanding their range, while “Uncommon Dreaming” works for those who prefer them tapping into their innate strengths of twangy folk-rock-pop.

Things truly kicked in for me on "Waist" with its resonating line: “Oh, it’s been quite a year” and then a big smile broke over my face when I heard the dashing "Cold." It might be the best song of 2026! It reminded me of a Fastbacks number played by the Feelies! A joyous rush is felt in one vibrant sunburst of a song (albeit with stormy lyrics). Just as this punchy song gets up to full speed, it detours for one of the most charming organ solos ever.

“Cold” is also the transition point that sets the scene for the rest of the album. The second half of the record casts a melancholic, subtle and understated atmosphere, yet the songs retain an innate sense of catchiness and hope through the Darklands. Additionally, these finely-crafted songs are built with high structural integrity as this is arguably the most accomplished version of the Rumours. For instance, the sparkling and spiraling lap steel solo on “Uncommon Dreaming” could be Eóin Galvin’s finest recorded moment.  

 

The album takes on an additional hushed atmosphere a la Cindy on “Birds Fly Home.” Cyclical themes of personal & artistic authenticity contend with contradiction, compromise, the pull of the past, multiple standards and expectations as Yea-Ming musically pauses to gather her thoughts over the course of the second side. After this acknowledgement of cognitive dissonance, reconciliation and transformation can begin again with the human and humble admission of “Mistakes” made. This austere closer, featuring Yea-Ming’s ornate fingerpicking, also evokes Dear Nora’s moving cover of Dylan’s “Girl from the North County.”

As many young bands around the globe now emulate the ‘80s & ‘90s heyday of indie-pop and crash pop, Yea-Ming and the Rumours maintain their unmistakable, yet welcoming sounds. Operating from a perspective of possibility, Yea-Ming demonstrates the remarkable ability to further evolve and refine as she incorporates additional life experiences, lessons and musical approaches, while also retaining the youthful sense of wonder and undeniable melodies that attracted listeners in the first place. With Residue, Yea-Ming has taken another courageous turn and listeners can go along with her quest for understanding.  For me, it took a little longer this time around due to my own production preferences, but I’m thankful for the reckoning as there is really no other group out there like this in the world. 

L to R: Eóin Galvin: lead guitar, lap steel, Yea-Ming Chen: vocals, guitar, organ, Rob Good: bass
Luke Robbins: drums. Photo by Corey Poluk

Addendum, I added their cover of “Pale Blues Eyes” as a bonus track on the CD-R version I made following the path of the Feelies when they concluded Only Life with “What Goes On."

The Numbers-My Beautiful Distance

It’s the Numbers’ second album of heartfelt and bittersweet jangle twang in less than a year. Seemingly out of the blue, Bomp!/Turnaround Records released their Mad Day Out last July and now Kool Kat Musik has surprised us with My Beautiful Distance here in June. Their compositions are sturdy and rugged vehicles that transport their built-in melodies, while their harmonies take them over the San Gabriel mountain tops. The songs frequently take the rural route, going further into the heartland and racking up more country miles this time around.

“Like Being Alone” continues the tradition of connecting the vintage sound & ethos of Central California to the racetrack sprawl of Los Angeles. The song barrels through on Terry Tutor’s piano playing. “Watch It Go” features sundown harmonies ramping up Buffalo Springfield’s Sunset Strip to America’s Ventura Highway. One wonders if “Watch It Go” is about a sunset or a lament for the backsliding of our society or both. To top things off, Greg Krueger provides a captivating slide guitar solo. Elvis-infused vocals circa “Suspicious Minds” and the larger than life ethos of Waylon Jennings cross paths on “I Remember Everything.” The Numbers’ current sound is also evocative of the brief phase in the mid to late ‘80s when AOR radio, in some markets, started playing select bolo-tied roots rock acts like Lone Justice and the Long Ryders, Michael Penn was briefly a critical and commercial success, Gene Clark would appear at McCabe’s and the Palomino and Peter Case continued on the outskirts as a troubadour he is and was before the Nerves and Plimsouls.  

“Love and Doubt” is the return of the indelible and perfect pop song.  It turns up like the 1 or 2 ultra-catchy "mix tape worthy" gems heard prospecting through a videotaped episode of 120 Minutes-the day after setting the timer on the VCR. Its lilting chorus brings to mind “Heavenly Pop Hit” by the Chills, "Pure" by the Lightning Seeds or the Bluetones’ “Slight Return.” The middle stretch of the album attests to their skilled musicianship with Beach Boys harmonies coming to shore on “Giving up the Ghost” and an exemplary slide guitar solo on “A World That Won’t Turn to Me.” They are not afraid to express some bitterness on the Roy Orbison-esque title track of “My Beautiful Distance.” The melodramatic ballad presents a protagonist remaining steadfast, hopeful and determined to make it through the school of hard knocks. “What Happened?” sounds like Del Shannon backed by the Smithereens sippin’ on Country Time Lemonade with their twangy guitars seemingly tuned down a half step. “Why Should I Care” is evocative of the Hollies, namely their classic “I Can’t Let Go,” while "Incidentally" (The Least I Can Do) echoes the ‘65 Byrds with its command of chordal harmonies and a majestic 12-string solo.

Their lyrics seem open to interpretation, but in combination with the music the Numbers are able to aptly express the swirling emotional undercurrents amidst the turbulence and trials of life. One of the album’s major themes is handling the disappointing and disjointed aspects of life along with temporarily transcending its quotidian aspects with harmonious music. There is something comforting in the familiar and consistent sound of the Numbers in these trying times and they do it remarkably well. In the course of two albums here in the mid-20s, they have carved out their own distinctive sound intertwining jangle and twang. All of this should not come as a surprise given their foundatonal debut Anthology '64-'67 was so immediate in 1983 and continues to hold up so well today. 

Uni Boys-S/T

The third album is the charm for the Los Angeles band originally from Aliso Viejo. Whether you call this power pop, new wave like Tempe, Arizona artist Oliverio Balcells or just rock ‘n’ roll, they check all the boxes with their latest. Their guitars gleam and their vocals soar on their self-titled album with melody at the forefront, hooks galore and overlapping Pacific Coast harmonies.

Valley Bar in Phoenix, AZ-April 20, 2026
L to R: Reza, Noah, Michael

Noah and Reza trade off lead vocal duties and both are apt at writing infectious upbeat numbers and tales of romantic heartbreak. Additional magic happens when the duo blend their highly complementary voices in harmony.  The rhythm section provides the strong foundation as well as shifting the tempos. Artie’s drumming is the band’s not-so-secret weapon. Overall his style is reminiscent of the late Jack Reynolds of the Last and Scott Miller of Agent Orange as his surf-beat playing serves the songs. Equally important, he carries and advances their sound to propel the songs forward as well as offering some remarkable flashes. On bass, Michael strikes the balance between dependability and dashing with his versatility, while also adding some wonderful harmony vocals. Michael is also a songwriter & guitar player where timeless influences (doo wop, Beach Boys, Lou Reed) shine through his sounds.   

The record gets off to a speedy start with “Victim Of Myself,” Reza’s composition of getting out of one’s own way.  They find the sweet spot between power pop and pop punk along lines of the Shame Idols, the Hum Hums, and the Parasites. With its catchy title-chorus “I Don't Wanna Dream Anymore,” Noah’s dashing declartion could be the album’s strongest candidate for sync licensing. It’s like a reflection of the Taxi Boys in 20/20’s mirrored sunglasses. "You'll Curse His Name Again” is the album’s most unabashed Beatles-esque tune not far stylistically removed from the Poppees. Next, Reza’s atmospheric ballad, "Abra," has a majestical Chris Bell quality that melts into some Beach Boys harmonies. This paean is for the romantically inclined, the lovers, the dreamers… A chiming organ adorns “Maybe I'm Wrong” and leads Noah’s skip-along into the paisley lands of the Three O’ Clock suspended under a twilight canopy and billowy harmonies furnished by the Lemon Twigs brothers. This ebullient Bruce & Terry-tinged pop number flows into Reza’s “Want You Back.” Be sure to catch the outro that plays homage to the single version of the Last’s “She Don’t Know Why I’m Here.”  

During their live show, I noticed that Noah’s voice sometimes evokes the quivery style of Chris Stamey and it comes to the forefront on the dB’s-ish “You're So (Phisticated).” Reza’s gliding vocals and the Flamin’ Groovies-ish intro and outro makes his composition “Look On The Bright Side” both a live and recorded standout. My jaw dropped when I heard “Genevieve” as I wondered, is that a quote of “Silhouettes” by Herman's Hermits by way of the Rays?!? Noah’s vocals take on a real Joe King quality when the Queers ride the bubblegum surf waves. “Sin Your Life Away” unfolds with Reza's impressive arrangement burnished by those bittersweet Big Star filigrees. With the dramatics of the Raspberries and the straight-ahead clarity of the BMX Bandits and Honeyrider, Noah's “Without A Broken Heart.” lands the proper album on a pop-tastic strong note. Be sure to hear the two bonus tracks that were recorded in Billy Tibbals’ garage. “Can’t Do It” contains an ultra-catchy refrain that will sneak up to you when you are going about your day, while “Our Last Kiss” follows in the baroque pop tradition of Emitt Rhodes and the Left Banke with its ornate instrumentation and string section.   

Songs made to endure
While continuing to adhere to the power pop aesthetic, Uni Boys proceed further into Century 21 as they have refined and expanded their melodic sound to reach an even wider audience. They have already received the Billie Joe Armstrong stamp of approval and caught the attention of those who came of musical age circa ‘79/’80. The band with the infectious hooks and the striking Southern Californian looks have fully realized the sound that many listeners were wishing for and achieved the rare feat where every song could be released as a single. This is currently the top album I have heard in this very competitive year and also consider it among the best power pop albums since 1979.  

Valley Bar in Phoenix, AZ, April 20, 2026
L to R: Reza, Noah, Michael

Tempe, AZ Nov. 2023

Tempe, AZ Nov. 2023

Reza scoring a Yellow Balloon single
at the Dana Point Record Show
Photo by Chris Owen (MUSK, Killer's Kiss)

Michael checking up on "Lies" by the Knickerbockers
at the Dana Point Record Show
Photo by Chris Owen (MUSK, Killer's Kiss)

 

Valley Bar-Phoenix, AZ-April 20, 2026
L to R: Rez, Noah, Artie

The Spellbinders-The Magic of The Spellbinders

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.

The Pen Friend Club-Songularity

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.

平川雄一 Yuichi Hirakawa (guitar), そい Soi (keyboards) , 西岡利恵 Rie Nishioka (bass), Niina (lead singer), 大谷英紗子 Asako Otani (sax),中川ユミ Yumi Nakagawa (glockenspiel), 
祥雲貴行 Takayuki Sakumo (drums), リカ Ricca (acoustic guitar)
photo by 鈴木祐子 Yuko Suzuki 

Music City-Welcome to Music City

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.

The Fantastic Plastic Machine Soundtrack-Harry Betts

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 recording can 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 the horns and xylophone fills 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.