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Monday, 10 October 2022

Scruff Myers' Superhands - Scruff Myers’ Superhands

 

Over to East Anglia now and competition for Norwich's The Magic E's Another Power Trio, this time from Ipswich, but this threesome are no newcomers. Brothers John (Scruff) and Mel Ellis were Guitarist and Bass Player for The Adicts, whilst John Randall was Drummer in The B Goodes.

More recently, I've been more used to reviewing US Bands that sound British, this is quite the reverse. Scruff Myers' Superhands specialise in American Sleazy sounding Power Pop that is both wonderfully noisy, yet melodic. There is a real urgency to what they offer up and you can imagine them being some live act. 



15 years in the making due to their other musical commitments, this debut album divides into two camps. The majority is big sounding Pop Rock akin to the likes of The Replacements and Husker Du. Yet a few songs sound a little more Lo-Fi, almost Garage Rock. This isn't a criticism, both work equally well and the lower fi songs have a real earthy gritty joy yo them.

There is no doubt that Kissing For Granted is the stand out. It is anthemic and pushes all the right buttons, big chorus, massive riff and no coming up for air. Turning runs it really close though. Jessica Alba even has a Tom Petty like sneer.



Series has a vocal not a million miles away from Jeff Whalen at times and Wish is wonderfully Scuzzy Noise Pop. Nothing Without You is really down and dirty with the feedback fuzz reminiscent of the UK 80s scene. It is slightly slower and that works beautifully to take the band in a different direction. There's also a paint melting solo that is gripping.

The trio are also not averse to a Ballad, Want To Know is a short Quireboys-ish Acoustic Pop. There is even room for a great Country tinged affair in Down To You. You sense that the band are happiest playing bi up tempo riff rippers, but there is so much to like here that I hope we get more soon.



You can listen to and buy the album here.


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Sunday, 9 October 2022

Outtacontroller - Come Alive

 

I loved Outtacontroller's third album, Sure Thing, in 2020. When I reviewed it, I described it as Cheap Trick meets Chinn and Chapman. You cab read that review here. Thankfully, this is more of the same to some extent, but the Halifax, Nova Scotia quartet also go further without ever losing the hooks.

Kicking in with the title track, there is a real come and join us vibe, a call to arms if you like and that Cheap Trick late 70s heyday springs to mind. It has the potential to be on Power Pop compilations for decades. To be fair, most of the album is like that.



Hanging Over You has a real "The Records" riff that completely disarms you. It dominates the song with a chorus that Sweet would be proud of. Let Me Out is pure Glitter band in sound and those handclaps make it even more so.

Hit And Run leaves the UK 70s behind and becomes more US New Wave of the 80s. It doesn't sound like The Cars, but certainly fits into that period. I Wanna Be Bored goes further and ramps up the pace, Garage Rock style. 



Parts Unknown even edges into a popped up version of Goth. You can imagine Billy Duffy playing that Lead. But Time To Crash even trends the Pop Rock of Squeeze. Gets Me Every Time manages to get into the territory of The Motors.

Come Alive is a splendid Pop Rock, the type that many threaten but can't fulfil bar a few front loaded singles. Anyone of these 11 songs could be released as such which reveals a real consistency. Hooks, Choruses, riffs and Zander like vocals. Highly Recommended!



You can listen to and buy the album here.


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Saturday, 8 October 2022

I Don't Hear A Single Audio Extravaganza Volume 60 (A Blast From The Past)


The success of the IDHAS 10 Song Mix in the Mixcloud Global Charts amazes me at times. It is something rough and ready, done quickly by me with no technical pretensions. It is obviously helped by containing such great songs.

Whilst listening to the current 10 Song Mix, the mix finished and changed to this old IDHAS Audio Extravaganza. Thanks to Jim Moody's technical excellence, this was a much more professionally mixed affair as you will witness. Listening back to this, it really was one of the best mixes that we ever did. 

It is a cracking listen from start to finish. If you have a spare hour, this is well worth sitting back and enjoying. It also brings more attention to the wonderful albums involved. The link is the original link from when it was posted on 24 February 2019, so it doesn't qualify for any Mixcloud Charts. 

You can listen by clicking on the link at the end of this post.

01 The Dictators - Who Will Save Rock and Roll
02 Dot Dash - Unfair Weather
03 Will Wander - Small Adventurer
04 Yorick Van Norden - More Than Words
05 Babyscream - Roundabouts
06 Cassettes - The One
07 Bel Heir - Hush
08 Kimberley Rew And Lee Cave-Berry - All The Colours
09 The Trend - Tune Me In
10 Anton Barbeau - I Been To Bromley
11 Guided By Voices - Step Of The Wave
12 David Woodard - I Used To Be Cool
13 The Vapour Trails - The Inner Truth
14 R Stevie Moore - Pop Music
15 Jay Bird And Haley Bee - All Along
16 Dee Rangers - I’m Your Fool
17 The Boys With The Perpetual Nervousness - Nervous Man
18 Attic Lights - Never By Myself
19 The Lucky Setback - Cut Me To The Quick
20 The Maureens - 4 AM



IDHAS Volume 60 Mixcloud Link


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Rob Moss and Skin-Tight Skin - Now With More Rockets

 

One of the advantages of the 31 Reviews in 31 Days is that I can stretch genres that little bit more, I constantly say that my home listening tastes are not necessarily always the same as I Don't Hear A Single. I've mention Psych and Prog as examples, but the odd time that includes Big Rock.

I was brought up on Classic Rock and turn it up to 11 stuff, but as I moved on, I played less and less as a much wider sphere grabbed my attention. However I have always been a sucker for such albums when they are particular well done and this is great,

Rob Moss was a member of both Artificial Peace and Government Issue in the Eighties, but this is a million miles away from Hardcore Punk. Now With More Rockets is Loud And Proud. A massive production just rocks the living daylights out of you. 



There are lots of comparison points, but I hear mainly Alice Cooper. Having said that the album gets a little Goth Rock at times and I certainly hear bits of Iggy. Moss has rounded up a splendid selection og Guest Lead Guitarists such as Sal Baglio, Gil Leigh, Bob Batch and Joey Cola and it shows.

The one problem with albums like this is that songs can get bloated as Guests try to dazzle you with their spanking of the plank. There's not a bit of that here as the 11 songs come in at just over 31 minutes, it really is do your bit and move on to the next song.



I'm On A Rocket Ship (Heading My Way Back Home) combines Hair Metal Glam and UK 70s Glam Rock with handclaps, a big Lead solo and fine Sax Break. There's even a fade out and in false ending. Rock 'n' Roll Ralphs is rocked up Power Pop and Richard Jewell is great popped up Metal.

Red Beans And Gasoline even ghosts House Of The Rising Sun and Rip Van Winkle 85 is great College Rock bordering Rhythm And Blues. For such a loud affair, the melody is surprisingly high and the choruses hook you completely. Now With More Rockets is an Absolute Blast!



You can listen to and buy the album here. 


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Friday, 7 October 2022

Greg Pope - Rise Of The Mythical Creatures

 

People looking at the title and cover of the new Greg Pope album would be forgiven for thinking this is a Prog album, not a bit of it. Regular IDHAS followers will know how much we admire the man. He never ever releases an ordinary album. You can read past album reviews on here and you will get a flavour.

Pope specialises in Pop Rock of the highest quality, but just calling it Pop Rock does no justice to how splendid his albums are. Inventive is an over used word, but it is more than applicable here. He seems to have a sound that is his own, highly melodic, chorus heavy, but uniquely him.



The heart of these songs is great Guitar Pop that others may do just as well. But it is the twists and turns, unexpected changes of direction, unusual angles, surprise outbursts, big harmonies, yet there is still that gentle melodic voice keeping it all in check.

However, Pope can be straight ahead great. Internet Radio DJ's should be rushing to play something as straight as Sorry I Wrote This Song and the closer, Traditions is a real 70s "come and join us" sing along pop gem.



I could've gone for one of those two songs for the current IDHAS 10 Song Mix, but I wanted something that explained Pope more aptly. Words No One Can Say is that song. Incredibly catchy and melodic, a big chorus which is very different to verse, big harmonies, then a Guitar wig out.

Smile, Nod And Slowly Back Away is insane. How do you fit so much into less than 3 minutes. Essentially Glam Rock with a Guitar solo that becomes Queen like. It feels like there's three or four songs in one. It is a wonderful creation.



Valley High is timid in comparison, but just as effective. With a Monkees like chorus, it is catch all and what a killer riff. Backwards Through A Door has a cracking little Jangle about it, yet Savior Of The Local Rock Scene is more of a Rock Out and still changes into something else completely half way through.

All 10 songs are worth their inclusion and give some indication of the breadth of Pope's ability. I'm not one for saying every new album by an artist is their best yet and Greg Pope certainly sets the bar high, but this is certainly up there. Absolutely magnificent!



You can listen to and buy the album here.


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Thursday, 6 October 2022

Push Puppets - Allegory Grey

 

If there was a centre spot or focal point of where I Don't Hear A Single sits before it splits off, Push Puppets would be somewhere close by. Wherever IDHAS wanders, it always returns to the default of Pop Rock and albums in that genre always get the biggest follower interest.

The quartet from Palatine Illinois offer up an album of sheer melodic goodness. Beautifully played, with a variety to applaud, but never losing sight of the fact that sounding great is one thing, but the songs have to match that quality.



Both the songs and the arrangements stand out. Beautifully played by the group as a unit, every last drop of melody is wrung out of them. The choruses are top notch, but the verses may be even better, unusual twists and turns in the vocal delivery and Erich Specht also has a fine set of pipes.

So matching all these pluses to material with a wide variety of styles can be tricky, but Push Puppets more than manage it and what variety! Your Secret's Safe is great New Wave Guitar Pop with a slight party feel, yet Lightning In A Dress matches a Paul Simon like verse to a Tragically Hip type chorus.



Staring At The Sun is laid back West Coast Rock with a killer bass line. October Surprise is the epic ballad. Center Of The Storm could be Glenn Tilbrook doing Country Rock and Obvious matches a lounge verse with a killer Crowded House type chorus.

The match of great verses to unexpected choruses is extended to two best songs on the album. There's No One Else Like Lynette is an absolute earworm and Sometimes The Buds Never Flower may be the best Pop Rock song that I've heard all year. The latter's hook is unusually in the verse. Highly Recommended!



You can listen to and buy the album here.


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Bryan Estepa - Adeline (The Early Years)

 

Bryan Estepa is someone who has long been admired by us. In previous reviews, I've remarked on his ability to master both Guitar Pop and Alt Country. well here is another adventure that will be new to people. Before recording under his own name, his solo recordings were under the name Adeline.

Seven of the eight recordings are from that 2000 - 2004 period, primarily recorded at Glebe Studios in May 2003. The talent is obviously there. Even though these recordings have been remastered, the big production associated with Estepa isn't present, but the rawness adds something different and just as satisfying.



Again both sides of the man are present. The Americana of Never Be The Same, a weeping beauty of a song, contrasts with the wonderfully up and at 'em Pop Rock of Slip Slowly. The latter is a great lost crackerjack that deserves to be listened to again and again.

Getting On, recorded in 2001, is a fine Acoustic, almost campfire, joy, whilst Better Days is almost in Glen Campbell territory. Start Again is wonderful with its Organ run accompanying a hypnotic jangle and slight Country Twang.



The real stand out is the closer, Saved. Recorded with some of the musicians of the time in 2021. It is a song from 2004 that was never recorded. Not only does it benefit from updated recording techniques, it also shows the rockier side of Estepa.

It develops from a looser, almost Stones feel, to a big Pop Rock affair that raids the instrument cupboard and includes a ripping Guitar Solo. The song is as good as any that Estepa has written and performed and there can be no greater compliment.



You can listen to and buy the album here.


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Wednesday, 5 October 2022

I Tried Spotify For A Month And....................................

 


Regular observers will have noted my Anti Spotify feelings and I've also been made more than aware of what supporters think of it. Personally I listened on my other half's account the odd time and wasn't impressed with the sound quality. I was essentially aghast at what the artists were paid and living in a village with a poor internet connection in no way suits streaming,  But I don't want to expand on those thoughts as I have said enough in the past.

I also understand the physical media supporters' points of view. People of a certain age have collected music for many years and so they want the latest album to be on a similar format, but sadly those are a dying breed and so everything cannot be released physically due to sales numbers. I have a massive collection but it is dominated by older stuff, but I also can tell you many stories of artists or labels that did limited runs on the promise of people who said they were interested and too many have garages full of unsold copies. 

I never sold my Vinyl, but I rarely play it. I have most of those releases on CD now. In the Nineties and early Noughties, Mail Order was a saviour and so too the better Internet companies that followed them, but the cost of US Postage and now Brexit have made buying from abroad impossible. Labels such as Big Stir have found a way around it, but they are very much in a minority. It costs around 17 dollars to post a 10 dollar CD from the States. What we also have to realise is that Music has usually been driven by youth and today's youth would largely baulk at having to listen to music from a disc.

The younger audience are largely uninterested in albums now, preferring playlists or individual songs. They certainly have little interest in charts or Music on TV. There is also so much more competing for their money. Games Machines, online subscriptions for TV and Film etc. It still amazes me that people will pay £25 a month for Sky and watch old repeat channels, a thing they used to complain about in earlier TV years. The internet has been a fantastic thing for meeting fellow music fans and finding music, but you still have to no where to look or follow.

So I decided to try Spotify for a month and test those reasons for, Firstly, I can understand why consumers like it. They can listen to anything they want to free of charge. This may be with Adverts, but many can tolerate that. For those who want the advanced features and no adverts they can subscribe for a tenner a month. But why should music be free or so cheap? If you will pay £50 or £60 for the latest Game, why would you not be willing be a much lesser amount for an album or a song. No one can doubt the convenience of Spotify, but why should an artist receive so little payment and if they should, why are other trades not doing similar and losing money?

Spotify also suffers from something the whole internet does. You have to know what you are looking for to find it. A search engine cannot allow you to discover much new. So if you are looking for Bryan Adams, you will have ease, if you are looking for any new artist, tough!. For years, there have been If you like this, you may like that, but the recommendations have always been really random to the point of ridiculousness. Spotify seems the worst, pointing to other artists seems really weird with choices that have nothing in common with what you have listened to. 

After a month's use, I became deeply suspicious of the Spotify algorithms, They seemed to point me in a direction that they want me to go, not what I actually thought that the road would lead me to. You could search by genre, but my experience of genre recommendations is not good. The number of albums that I get sent that are described as Punk or Indie Pop or whatever that sound nothing like that. AOR described as Prog and Indie Guitar Pop and Power Pop described as Punk Pop are my personal examples.. 

There are playlists compiled by people, but again how do you find these people? Surely a more useful pointer would be to have links to playlists that also contain the song. I know this is too exhaustive for many artists, but to kick off new Indie artists it would be ideal. I know something like Bandcamp is a streaming site, but it only allows a small amount of listens before requesting payment and so is ideal for revealing the album itself and giving the listener the chance of hearing more back catalogue. All Spotify really does is channel the money to a corporation or at best a major label.

There is also the argument that Spotify is like a Radio Station, but you still have to know what you are looking for. How many people go on and buy the album after hearing songs they like or indeed the song? Most just add it to this to their weekly/monthly playlist. We also used to complain about the sound quality of AM Radio, well what about Spotify? It makes great productions sound like they have been recorded in the toilet next to the studio. 

My biggest concern though is how people listen. Users will listen to a song for 15 - 30 seconds and then move on, making a decision about the artist's career forever. One short listen defines a lifetime's work. Having said that I know a few reviewers who listen for similar periods. So music just becomes disposable. There is too much choice to make anything matter other than finding a song that hooks you straight away. No more long intros, no more faded up lead ins. I imagine many listen to Boston's More Than A Feeling. How many would discover it now if it was new with that gradual lead in? 

Spotify seems to make music background, passive even. No other art is treated like this. Then there are the decline in downloads. When digital kicked in, there was the problem of Piracy, there still is to a lesser extent. Physical Sales were dropping, but downloads could be sold, streaming has killed the download market, particularly with faster internet connections. Downloads were not ideal, but they still built a library, a collection and the artist was paid a reduced amount for their album. That has also largely been removed from the income potential. 

A couple of final personal thoughts. We have become a Headphone society so try listening to a streaming site on your I phone with no headphones, it is Radio Luxembourg 1967. Is this what we have become, listening to music on a phone? Music should be heard in the open. How Soulless does it feel on Spotify, it isn't something to take pleasure in. The appearance is like a black hole of doom. It isn't something that is making music pleasurable, more a chore. I understand why people use and like Spotify, it just isn't for me or the artist. Likes do not pay recording costs or bills. I do direct people to Bandcamp if possible in reviews by embedding three songs. That is simply to allow potential purchasers to buy the album.

How I listen to music :

I very rarely stream, a combination of not having a great internet connection, ditto 4G and the sheer lack of enjoyment in it. Plus my hearing is going. I review largely from downloads due to the poor internet connection and that allows me to listen anywhere, including PC and Macbook. I also am on my second Ipod and have been for 13 or so years, maybe more. It is a really convenient way to listen to downloads of full albums. I have a great Hi Fi System that gets switched on far too infrequently, but is still streets ahead of any other listening method. Bar the odd update that has lasted me for the last 30 years or so. The Amp got smashed in a house move in 2006 and so I replaced it with a second hand purchase of the same amp and that is still going strong. 

I buy CDs for my own use.


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