The McCharmlys

The Santa Ana combo with the Eastside (L.A.) soul are on the verge of an exciting new phase. The band builds a strong musical foundation for Angie to deliver her captivating vocals tinged with heartbreak and filled with hope. Her versatile voice could actually fill in for Zendaya in the proposed Ronnie Spector A24 biopic. The band might also get huge if the Ronnie Spector biopic moves the needle like Timothée Chalamet in A Complete Unknown or Los Lobos covering Ritchie Valens on the La Bamba soundtrack. Whatever may come to pass, it would not be a surprise if they break through sometime to an even larger audience with “Tu Serás Mi Baby,” which is their rendition of “Be My Baby” en Español. 

 

Angie Monroy (guitar, lead vocals), Cole Maxwell (drums, vocals)
Yari Bolanos (bass, vocals)

Memories of El Monte (Ramona Ave)
Their self-titled 2023 debut album is packed with concise and compact songs bristling with surging Merseybeat meets Thee Midniters energy. “Crying,” likely inspired by Roy Orbison, is moved along by a marching cadence on the drums. New drummer Cole Maxwell seems like he could be one of Deke Dickerson's Whippersnappers with his looks and finesse on a minimalist drum kit. By the time of the chorus and background harmonies, the quintet has brought back the sounds and spirit of East LA’s Golden Age, the Wall of Sound and the Beach Boys ‘65! The swooning verses of “Die” recall “Union City Blue” by Blondie, while the chorus bears an obvious nod to the Beatles’ “Do You Want to Know a Secret.”

Three Guitar Attack

“Luv” dashes out of the speakers in fine fashion as the guitars ripple and ring with the reverb dialed high on their Vox amps. Further, they strike that sweeping Southwestern sound previously explored by Buddy Holly and the Bobby Fuller Four. The triple-threat guitars of Angie Monroy (rhythm-Silvertone), David Valenzuela (lead-Fender Strat), Eddie Gutierrez (12-string Guild) frequently intertwine and set off some sparks throughout the album. Eddie Guitierrez’s jazz-like command of his 12-string comes to the fore in their live performances. His fills are apropos to the moment and sometimes even go into Preflyte Roger McGuinn direction! The album hits a straightaway with the uptempo “VHS” that races alongside Blaire Alise & The Bombshells and the Shangri-Las before heading home to “Drown” out the sorrows. The slinky “Strange Honey” seems to take its cues from the old neon noir standards like “Jezebel” and “Temptation” with the Everly Brothers version coming first to mind. The joyous “Love Me Too” should be a candidate for sync licensing with its Tracey Ullman-ish Joie de vivre. 2024’s “Always Be (My Baby)” is a dreamy triplets galore ballad that bears a resemblance to “Angel Baby” by Rosie and the Originals and is topped off by lovely Beach Boys vocal harmonies. 

Endeavor to Persevere (in a post-Amy Winehouse world)

The McCharmlys have recently tapped even deeper into the essential soul sounds that continue to endure in the always shifting Southern California air. These further explorations have yielded a sound that is even more ethereal and spacious-yet closer to the intangible source. A significant upgrade in their sonics can be heard in their summer 2024 recordings that took place in Riverside’s Penrose Studios and produced by Anthony Masino (of Thee Sacred Souls, the Emkays, the Charities). Their 2025 single reflects their new sophisticated, yet edgy approach. “You’ll Be Fine” evokes the Zombies and the Remains as well as projecting a wide-screen forlorn quality of Del Shannon. The flip “Break My Heart” echoes those East Side Story volumes with deep soulful vocals and rising harmonies that they also pull off in live performances! In addition, Angie's lead vocals channel Chrissie Hynde as they express conviction and perseverance. These recent recordings demonstrate their command of dynamics along with offering additional complexity and depth.

That West Coast Eastside Sound
Arguably better than the Regrettes, different than the Detroit Cobras, the band inherently understands that the rock must always roll. While embraced by the larger retro-soul movement (led by bands like the Altons, the Emkays, Thee Sinseers, Thee Sacred Souls, Thee Heart Tones, the Mellows, Thee Marloes) as well as the rockabilly, garage and surf scenes, they have also ventured out bravely on their own with their distinctive sound and approach. Their present trajectory is similar to Southwestern regional bands like Sunny & the Sunliners that continue to be held in high regard to this day. If they continue their current direction as heard on the recent singles, their second album is going to be pretty special.

The Highmarts-World Tour: Greatest Hits + Dodgy Demo

A rush of excitement and anticipation came over me when I first saw this release. I have been following the Highmarts via their singles and now Soundflat Records (of Germany & Japan) has stirred things up during this most wearing stretch of summer with World Tour.  According to the Tokyo Weekender, the Highmarts are the future of the Tokyo garage scene. The current version of the band includes Atsushi Hagimoto (Bass/Vocals Support), Minako Ishikawa (Drums/Vocals Support) and guitarist and singer Suzu, who remains the founding member of the band. Past line-ups included Karin, who currently drums for the indie-pop wonders Hazy Sour Cherry. The album cover is notable for featuring a new band logo with a Zenith “Z” splitting their name. (Zenith was a major American consumer electronics brand before being bought by LG in 1999.) Actually, the album's graphic design directly mimics the Gizmos' World Tour 7" released in 1978. Also of note is the very cool '90s Buddy Holly sweatshirt worn by drummer Minako Ishikawa in the band photo.

Notice the Golden Cups lettering

Greatest Singles I recall seeing their first single “I Want You Bad” prominently featured at Time Bomb Records in Osaka in 2019.  The single, produced by Sally Kubota, also includes a cover of the Gestures’ “Run, Run, Run.” Fittingly, the scampering “I Want You Bad” begins the World Tour album. This album title was directly inspired by the trio’s recent touring of France. It’s heartening to know that the Japanese groups are once again whirling around on overseas tours. The first side of World Tour consists mainly of their originals, which previously appeared as singles. Also included are some live versions of their singles like “Hey Boy” and a few Japanese Group Sounds (GS) and American covers. They definitely bring out the brightness in the old standard “CC Rider/Jenny Jenny.”

         

With its CCR-ish intro and Beatlesque closing chord, “Hold Me” is a first-half highlight. This single, originally issued by Mexico City's Chez Nobody Records, demonstrates their current ability to project dynamics and dimensions by ramping up backing vocals, while tracking their ongoing direction. I'm guessing their current approach has also been sparked by their perceived influences-ranging from U.S. ‘60s legends the Shangri-Las, the Ronettes, the Luv’d Ones as well as ‘90s underdogs like the Prissteens to even the eyelined garage sound of 15 years ago whipped up by the Raveonettes and the Detroit Cobras. In turn, it seems like Highmarts are inspiring current Japanese trios such as the Questions (Okinawa).

Dodgy Demo The second half of the record is the complete Dodgy Demo which was originally released as a limited merch table cassette. They take “Test Drive” by Takeshi Terauchi and Bunnys out into Davie Allan & the Arrows fuzzy mirage territory. A song titled “That Summer Feeling" was one of the first things I noticed when previewing the track listing. Could it be the yearning Jonanthan Richman song? It's not the Jonathan Richman song, but an atmospheric, distorted and swirling original by Suzu and sung in Japanese. Lovely melodies and harmonies shine through the sheets of sound-resonating somewhere between Slumber Party, Red Kross and the Amps. I also hear faint echoes of "Voodoo Doll" by the Queers in the melody. Up Next The catchy “I’m So Sorry” could be their signature song as it’s a clear standout. The Highmarts are incorporating a much stronger power-pop element (a la the Baby Shakes) which solidifies, diversifies and enhances their sound. This style truly suits them. “It’s All Over Now” dramatically unfolds next.  Fittingly it’s a spirited theme song to an imaginary movie that conceptually exists only as a poster design concept from Rockin’ Jelly Bean. These most recent finely tuned recordings indicate they are punching through to the next level. Overall, World Tour presents the adventures of the Highmarts searching and finding their own original sound. It also might be the garage rock record of the summer.

Atsushi Hagimoto (Bass), Minako Ishikawa (Drums) and Suzu (Guitar, Vocals)

Jenny O.-New Truth

Jenny O. seems pretty well versed in her overall knowledge of pop. Not only has she covered “Can’t Seem to Make You Mine” by the Seeds, she even appeared on a 2005 tribute to Gennett Records with a cover of Hoagy Carmichael’s "Stardust." Jenny was also the only unsigned artist to appear on the Rave On Buddy Holly tribute with her rendition of “I’m Gonna Love You Too.” On the live front, she has toured with Rodriguez and the Proclaimers. Besides her own releases, she has furnished backing vocals for many acts that are not my thing at all (e.g., Father John Misty, Jonathan Wilson). The singer-songwriter surely seems all over the place and has already lived more than a few lifetimes, while outlasting several temporal scenes. In fact, she has already knocked around Nashville and Los Angeles and actually has an extensive background on the East Coast playing double bass and studying jazz. Currently, she seems to have fully absorbed the Pacific Coast Time ethos of Southern California. She comes across as a full-fledged Californian who has maybe read her fair share of Eve Babitz and Joan Didion. Wherever she may be, she has evolved as the circumstances and challenges change.

On her third full-length album she makes her mark by following some well established trails, while also blazing some of her own. The lavish echo enveloping “God Knows Why” delivers the song to the same zip code where Matthew Smith, Denise James and Slumber Party all reside. The lyrics unfold to evoke the yearning and questioning of Brian Wilson. Overall, the closest comparison to her sound might be Isobel Campbell and her 2020 release There Is No Other. Meanwhile, the verses of “Color Love” seem inspired by the Classic IV’s "Stormy"-especially that indelible and swanky opening “You were the sunshine, baby. Whenever you smiled. But I call you stormy today." This oldies influence makes sense as she has previous experience singing in '60s cover bands.

“What About that Day” holds up a mirror to her harmonies-allowing them to stretch off into infinity like a science center display.  Some of the more idiosyncratic aspects of her previous approaches and efforts have been smoothed out, while also guarding against being overly proficient and losing some of the charm in the process. She has long played around the edges of overlapping genres (indie, Americana, singer-songwriter), but as side 1 plays on, it starts to slip into being a little too atmospheric, shimmering and languid for its own good. Things take a turn towards the better as side 2 explores the more rustic routes with strummy guitars and harmonies coming to the fore. “Even If I Tried” is a glorious display of perfect mid-tempo pop and with its ringing guitars reminiscent of the Primitives and latter Lush. Over the years she has played in a grab bag of styles, good enough to get sync licensing for series like Riverdale and her music in car commercials, but never quite finding her breakthrough song. This could be a candidate to be her signature song, even if the overall élan belies an underlying melancholy.

 

The album continues its stride with little sparkling gems like “Small Talk” that recall Someday-era Susanna Hoffs. The Southwestern sundown sounds of “Hard to Say” contains some moments of oversaturated dissonance-reflecting being out-of-tune with oneself, but determined to overcome. Lastly, the uplifting “Seek Peace” ends the album on a truly peaceful note like how the Beach Boys’ Friends album begins (i.e., “Meant for You.”). Recently, I noticed many of my favorite acts like the Long Ryders and the Woggles, who no longer tour Arizona, have been playing in the ramshackle Mojave Desert enclave of Pioneertown, CA. at Pappy + Harriet’s. Jenny O. would be the perfect singer-songwriter to catch- if one just happens to be out there.

photo by Melissa Moore, CC BY 4.0,
https://commons.wikimedia.org/w/index.php?curid=31576931