DAVE COPE AND THE SASS – KILLER MODS FROM INNER SPACE
It appears that all those who have listened to Julee (released in 2022) are in agreement that Dave Cope and the Sass is a band deserving of more recognition. Their songs exhibit a remarkable quality, infused with a captivating blend of ’70s nostalgia and British Invasion vibes that define Cope’s distinctive sound.
With their new album, Killer Mods From Inner Space, they are expected to make a significant breakthrough, as everything that was already exceptional on Julee is further elevated on this latest release. The opening track, “Seemed Like A Good Idea At The Time,” not only features a catchy melody but also boasts a sing-along-worthy chorus. It’s undeniably infectious.
When it comes to lyrics, if you appreciate clever one-liners such as “I take drugs to keep from getting high” from the song “Butterfly Heart,” then you’ve stumbled upon your new favorite lyricist in Cope. He effortlessly incorporates this kind of thought-provoking wisdom into his repertoire.
The album takes unexpected turns as well, with “Start” presenting an unconventional ballad that encourages listeners to cherish their loved ones. The slightly kitschy performance is easily overlooked when considering the undeniable truth behind the message. Following “Start” is “Peeping Tom,” which provides a stark contrast by showcasing Cope’s ability to channel the early years of Nick Lowe rather than resembling a Ben Folds rendition of a Billy Joel song.
“More” exudes a delightful glam rock vibe, while “Season of Love” showcases Cope’s soft rock prowess through his tender head voice. The album’s variety in sound and vibe is a welcome addition, but what truly stands out is Cope’s consistent ability to craft excellent songs across this spectrum. It is highly recommended to promptly give Killer Mods From Inner Space a listen and appreciate Cope’s talent firsthand.
THE MIDNIGHT CALLERS – RATTLED HUMMING HEART
‘Without Ya’ may create the impression that Robin Zander handles the lead vocals, but that assumption is actually incorrect, of course. However, The Midnight Callers make no effort to conceal their influences, with Cheap Trick being one of them.
Their sophomore album, Rattled Humming Heart, serves as a heartfelt tribute to the Power Pop sound of the late ’70s and early ’80s. ‘Without Ya’ stands out as one of the many exuberant celebrations found on this remarkable record. Drawing inspiration from Power Pop’s heyday, where the boundaries between infectious pop, mellow AOR, lively New Wave, and raw rock remained delightfully blurred, The Midnight Callers embrace the same infectious energy and conviction.
This spirit is akin to the self-assuredness displayed, for instance, by Locksley on their masterpiece ‘Don’t Make Me Wait,’ or Rick Springfield when he unexpectedly enjoyed a series of major hits in the mid-’80s.
From the very first track, “New York Tramp,” to the final song, “Colors,” every moment is emotionally resonant. This album feels like the perfect mixtape to kickstart your summer vacation.
LLOYD COLE – ON PAIN
Back in 1984, I used my own pocket money to purchase ‘Rattlesnakes,’ the impressive debut album by Lloyd Cole and the Commotions. That initial encounter left me hungry for more, but as time went on, I somewhat lost touch with Cole’s musical journey. Nonetheless, I can’t recall a single holiday since then without a mixtape, self-burned CD, or Spotify playlist featuring the title track of ‘Rattlesnake’ and the timeless gem ‘Perfect Skin.’ The narrative-driven lyrics, the captivating jangle of the guitars, and the carefree melodies of those songs have remained utterly irresistible.
In recent years, I’ve been making up for lost time, eagerly delving into the wealth of records that followed his debut. And there have been quite a few. Collectively, they form an exceptionally rich body of work, with one standout example being his collaboration with The Negatives, which I find equally captivating as his first offering.
Just last week, Cole unveiled his latest creation, ‘On Pain.’ In recent years, he has made notable adjustments to his sound, shifting towards a greater incorporation of synthesizers over the familiar strums of the guitar. The lyrics have also become less verbose, embracing a more concise approach. My children drew comparisons to The National, while I found hints of David Sylvian or The Blue Nile. The overall effect is undeniably refreshing. Cole has always been an artist whose words and voice exude believability from the very first note, even though he adamantly advises against placing complete trust in him on the opening track. One of the standout songs, “The Idiot,” boasts a captivating atmospheric quality that immediately grabs attention. It’s possible that Cole has truly honed his new sound here, reaching its pinnacle.
C’MON C’MON – THE CRACK AND THE LIGHT
Belgian band C’MON C’MON creates enduring pop music that resonates in the same league as Teenage Fanclub, Nada Surf, and Toad the Wet Sprocket. Their exquisite blend of delicate melodies and pleasing vocals evokes a timeless quality. In their debut album, “The Crack and The Light,” the level of production is so impeccable that it’s difficult to fathom it as a first offering. The sheer excellence of the music is nothing short of awe-inspiring.
LANE STEINBERG – HEADSPACE
I listened to Headspace for the first time on my 40-mile commute to work in Haarlem, and by the time I arrived, I felt like I had gone on a world tour and made more friends than a popular Instagram influencer. Whether it’s the lively personalities or the vivid locales, Steinberg’s creations are bursting with richness and vibrancy.
The album’s sound has been characterized as a fusion of Burt Bacharach, Brian Wilson, XTC’s Andy Partridge, and Ben Folds, incorporating a laid-back, Sunday morning production style that gives the songs ample space to unfold.
Headspace is undoubtedly a pinnacle in Lane Steinberg’s career, a shining example of his exceptional talents and a testament to his ability to continue to produce remarkable music even in the later stages of his career.
Belgian band C’MON C’MON creates enduring pop music that resonates in the same league as Teenage Fanclub, Nada Surf, and Toad the Wet Sprocket. Their exquisite blend of delicate melodies and pleasing vocals evokes a timeless quality. In their debut album, “The Crack and The Light,” the level of production is so impeccable that it’s difficult to fathom it as a first offering. The sheer excellence of the music is nothing short of awe-inspiring. Jorrit Hermans, the lead singer and guitarist, sheds light on the creative process behind this remarkable achievement.
What was the moment you knew you were on to something?
When our producer Alex Newport told us he liked our first demos and could hear the finished result we could create together. The this became true when we heard back his first mix. That was a special moment. Second moment was when we approached legendary music manager Stephen Budd in London and he told us the record was really really good and wanted to work with us.
When did you decide to start asking for opinions on the new songs?
It just came naturally that we shared demos with people we respected and admired and got their feedback on the songwriting. We took it from there and then it simply got out of hand and here we are…
The meaning of success has changed over the years. What would success look like for the new record?
If we can touch people’s hearts when they listen to the record, that is enough for us. We’re here to create something beautiful and that’s the only metric of success we allow ourselves to live and work by.
Is the best song you ever wrote on this one?
Definitely not. I think as a songwriter when you feel you’ve done your best song, well, then you’re done.
As an artist, you choose to show your emotions to the world. Is it always comfortable to do so?
No it is not, in fact it’s very awkward since we’re 3 quiet, soft-spoken, contemplative, shy guys who love making power pop music together while having a laugh and a joke. But our fans support us and that gives us the confidence to come forward with our work.
How do you decide when a song is finished and ready to be recorded?
When all 3 of us feel that it ticks the right emotions, has the proper feel, hook, melody and harmony to it and – most importantly – we we cannot leave out anything more, only then have we reached the conclusion of our songwriting process. While we do that, a song gets demoed and reworked maybe 10 or 15 times before we get to the final arrangement for pre-production. By now, I think we feel quite well when we have something that’s good enough and ready to record.
How do you balance experimentation with commercial appeal in your music?
Nice question. Simple answer: we do not. We never care about commercial arguments or consequences. We only write, sing and play the music we love to. This we aim to do as righteously as possible.
Playing music in front of a crowd. What’s all the fun about?
The fun to perform on stage is in being able to engage and connect with the audience and create your temporary bubble together with the people, knowing that it will fade away after the show.
You can’t control the way people ‘hear’ your music. But if you could make them aware of certain aspects, you think, set your songs apart. What would they be?
Surely the vocal harmonies and the hooks, especially in the middle-eights we write.
If you could tour the world with two other bands, who would you ask, and why?
These days, we’re particularly fond of Eyelids, and of course, opening shows for Teenage Fanclub or Nada Surf would be a privilege for CMON CMON.
What compliment you once received will you never forget?
An American radio DJ once introduced CMON CMON with, ’The rock’s pretty hard but maybe your mom likes it?’
Those magical moments when you’re working in the studio. Which moment was the most magical?
When Alex pushed me on the vocals night after night, lifting me up and pushing me to sing better and better and I could hear what he made me do and it was just magic. He worked me so hard and I was totally dead after those two weeks of singing but it was all worth it.
The record is done, the music is out. Is the best fun done now or is it just beginning?
The fun just starts over because we’re already writing the follow up album to “The Crack and The Light”. We just love working on songs and crafting them to perfection. Or at least, to our definition of what is a perfect pop song.
What’s up for the next couple of months?
Promoting the album, preparing to tour and writing, writing, writing.
Råttanson, the Swedish Garage/Power Pop band, recently released their 5-song EP, “Trebled Region,” after evolving from a solo project to a four-piece group. With roots in Flen, near Stockholm, their rock’n’roll sound carries a unique charm.
Henrik ‘Råttanson’ Aspeborg, filled with pride for their accomplishments, recently shared the story behind Råttanson’s EP with the Sweet Sweet Music blog.
How did this record come together?
You know, Råttanson started out as a solo project, but just before the COVID pandemic a trio was formed and played a couple of live gigs. While waiting for things to get back to normal we decided to add another member to get that classic four-piece configuration with two guitars, bass and drums. The solo project records were aimed at sounding like a band with four members anyway. In the fall 2022 we were finally able to get into the studio and cut five tracks over a weekend, songs that were written in 2020-2021. Trebled Region is the first release of Råttanson as a four-piece band, and we are very satisfied with the final outcome. I should add that all members originally are from the small town Flen about an hour’s drive from Stockholm, and there is something special about the rock’n’roll coming from that particular little burgh.
What was the moment you knew you were on to something?
We were all excited to do something together. The material was well-rehearsed but you never know if it’s going to work until you press the recording button. However, we had a real good time in the studio. Thanks to Jörgen “Jugglo” Wall the sessions were so much fun and relaxed. We nailed the songs and everything went very smoothly. The music was basically recorded “live” using very few overdubs. I think this captures the energy of the band. The sound is also crisp with crunchy guitars since we and all love treble. I mean, we thrive in the Trebled Region haha.
The meaning of success has changed over the years. What would success look like for the new record?
A success for us I guess would be to reach a wider audience, to be heard all over the world, to be added to playlists, get opportunities to release more records, to be able to get some more gigs. Would be cool to play live in for instance Spain, UK or the US. If we could do that it would be a huge success. Any profit above break-even would be considered a financial success.
Is the best song you ever wrote on this one?
How do you know? The EP contains five great songs that I’m really proud of, but I’m particularly fond of “Fighting the Good Fight”. It is kind of a simple and direct power pop song and it sounds classic in a way. It’s not easy to write those simple ones. As for now I think it is definitely one of the best songs I have written.
How do you decide when a song is finished and ready to be recorded?
New songs are tested by the band. If everyone is happy with how a tune sounds when we rehearse it then it is basically ready. Likely we give the arrangement a final touch before heading to the studio.
How do you balance experimentation with commercial appeal in your music?
I wouldn’t say that we experiment a lot and I don’t think we really have much of a commercial appeal. I wouldn’t mind if I’m wrong about the latter though. Now of course we do try things out but we pay respect to rock’n’roll tradition. That said, we are not about revival. We do our own thing blending different guitar-based genres.
Lyrics are too often taken for granted. What is the line of text or are the lines of text that you hope listeners will remember? And why?
I must say that I’m pleased with the title “My Head Is a Troubled Region”. It is worth some attention, isn’t it?
Cassettes are back. Which 5 five songs would make your first mixtape?
A few old faves we won’t get tired of.
I Can’t Pretend – THE BARRACUDAS
Baby It’s You – PHIL SEYMOUR
She Does It Right – DR FEELGOOD
Help You Ann – LYRES
Shake Some Action – FLAMIN’ GROOVIES
Suppose you were to introduce your music to new listeners through three songs. Which songs would those be and why?
“Go Where You Feel the Most Alive” – shows the wild in-the-face garage rock side of the band.
“Fighting the Good Fight” – an example of the power pop-style of Råttanson.
“How Many Days Till Summer” – punky surf pop inspired by the Ramones/the Barracudas/the Undertones/the Eastern Dark is also something we enjoy.
What place do you occupy in the music industry?
The Trebled Region.
The record is done, the music is out. Is the best fun done now or is it just beginning?
Being in the studio is fun, but we also love playing live. One thing for sure, I won’t miss spending so much time on promotion as you have to when you self-release your music. It feels like my head is a troubled region. Pretty soon I hope I can spend that time on writing future hits instead.
What’s up for the next couple of months?
We are entering the great era of Råttanson and we expect a lot of success, but we are also in a desperate need for a new rehearsal space.
I started writing the song after reading that in the 90s when Brian was in the studio recording, none of the other musicians in the band were allowed to smoke cigarettes in front of him. It was a precaution set so that he wouldn’t be tempted to fall back into old habits. I thought it was a sweet gesture, and the song takes the perspective of the band and general public, how much we all love and appreciate Brian.
You mentioned the song being a love letter to Brian Wilson. What was his role in your musical upbringing and development?
I am very grateful that I was given Pet Sounds on CD when I was 7 years old. I remember my first listen very clearly. The music found me at exactly the right time, and from there, I was hooked. Of course the early Beach Boys stuff is great, but what especially grabs me is the ‘65-‘69 era. I would rank Friends and Wild Honey as some of my favorite albums of all time. I listened to so much of that music that it is inherently in my musical DNA. It takes up a huge part of the real estate in my soul.
Any other love letters you would like to write?
Oh there are plenty. This song happened to arrive without me forcing it. I happened to read the story about Brian in the 90s the same week I happened to get a new acoustic guitar, and the song just appeared. I don’t think it took longer than 25 minutes to finish…my favorite ones usually arrive that way. But if I were to write any other love letters to my musical Mt. Rushmore…McCartney, Dylan, Petty, Neil. The list goes on haha
Mason Lowe’s upcoming album “Morning People” will be available on June 23rd, and you can pre-order it now. The album blends the sounds of glam rock, 60s girl groups, and grunge to create an open-hearted and sunny pop record that is full of hope and sentimentality. The influence of classic bands like Big Star, The Shangri-Las, and The Beach Boys can be heard throughout the album. Mason Lowe, a Seattle native who made a name for himself as a member of the power-pop band Bread & Butter, has created a truly beautiful album.
How did this record come together?
By necessity! I started this record in early 2020. My main band was on hiatus due to Covid. I had just gotten divorced and was totally overwhelmed at work – trying to safely operate a center for low-income and homeless older people during the pandemic. This was not a chill time!
But I fell into this really bright, positive musical groove. I would wrap up a brutal week of work and then find myself blissfully recording for hours on the weekends. It was the only thing that felt good in my life at that time. Writing and recording felt free – effortless. Looking back, I think I was escaping into the music, but I just love the results! There’s an ecstatic vibe in most of the songs
What was the moment you knew you were on to something?
First song! Really the first part of the first song. I came up with the bass line to “Hanging Around” while I was just goofing off with an acoustic guitar and it was like lighting a fuse. That bass part had energy and movement. And even though it was complex, it was easy to stack other parts on top of it.
That moment kicked off the whole record and I’m still riding that wave of inspiration. The second record is about halfway finished already!
The meaning of success has changed over the years. What would success look like for the new record?
That’s a really good question. I would love for this record to be a springboard for collaborations. If someone heard Morning People and thought, “I gotta get in touch with that weirdo and track some songs,” it would make me so happy.
My side business of recording other artists took a pretty serious hit during Covid. I’d love to get it back on track.
When was the last time you thought ‘I just wrote a hit!’?
A couple weeks ago? I feel that way all the time! I hope that every musician thinks that every one of their songs is a hit – at least at some point in the process. Otherwise, what are you doing? If you don’t think you are creating something wonderful, why are you even recording? I’m realist. I know those “It’s a smash hit!” moments are almost pure delusion – but I love ’em!
At some point in every song that I’ve recorded, there has been a moment where I was completely convinced, “This is the one. This is the song that changes everything. Goodbye day job. So long credit card debt…”
It doesn’t take long until the spell is broken, but those are some powerful delusions and they keep me going.
The record is done, the music is out. Is the best fun done now or is it just beginning?
I really love recording and I thought the fun was over when I wrapped up tracking and mixing. But now I’m not so sure! A bunch of friends have helped me form a band to play a couple release shows. I was nervous about this because I haven’t fronted a band in ages (I’m normally a drummer). But it’s going so well!
The band is a really cool mix of new and old pals. And they’re such great players. I love that the basement where I single handedly dragged this album into existence is a scene of collaboration. It’s giving me hope that these songs might actually see some life outside my swampy little basement studio!
The Rallies have unleashed their ultimate album upon the world. No ifs, ands, or buts about it! “It Must Be” is a power-packed explosion of everything that makes Power Pop irresistible: infectious melodies, hooks that stick like glue, lyrics that hit the spot, and an unwavering air of confidence. In an interview with the Sweet Sweet Music blog, Steve Davis spills the beans on how this gem came to be.
How did this record come together?
I guess in retrospect the COVID pandemic had some part to play it in. The band didn’t get together for well over a year during that time, and I pretty much didn’t even really pick up my guitar. But after some time when I did, the songs just started coming out and the thought of making a record seemed possible. You could maybe say that taking some time off from music got the creative juices flowing.
As an artist, you choose to show your emotions to the world. Is it always comfortable to do so?
I’ve always tried to write songs that have a positive vibe, that feel true and honest, and possibly are something others can relate to and connect with from their own experiences. This album’s songs though for me were influenced somewhat more by what was going on at the time, the pandemic and some personal emotional loss. So in that sense writing these songs was a bit therapeutic for me, and playing them for others helps in that therapy.
Lyrics are too often taken for granted. What is the line of text or are the lines of text that you hope listeners will remember? And why?
If the listener still hears the lyrics in their head after the song is over then my work is done. As far as interpretation I actually prefer to hear what others think and feel about the lyrics. I also like writing lyrics that are a bit ambiguous, and then can be interpreted in many different ways. If lyrics are adaptable then they can also take on new meaning based upon one’s own life experiences. For instance the song ‘No Other Road’ is an example of that, where the song took on an entirely new meaning for me after an emotional personal loss.
What compliment you once received will you never forget?
Connecting with others through music is a very cool thing. I know from personal experience that music can move you, lift you up and make you feel better. So it’s really special to hear that your own music’s reaching others in that way and giving them that same positive feeling.
I do remember a couple live shows where afterwards people came up to the stage and expressed their genuine emotional connection to the music. It was quite moving to hear that our music can have that kind of a heartfelt impact on people.
Those magical moments when you’re working in the studio. Which moment was the most magical?
For this album we tried out several new things; a new studio, a new producer, a new way of recording the band together, and finally bringing in other musicians to play on some of the songs. These musician’s contributions to the recordings were kind of magical for me. I had no expectations, no idea what it was going to sound like, and in the studio it was the first time that I heard it. One of my favorite quotes is by Tom Petty and it goes along with this question, “Music is probably the only real magic I have encountered in my life. There’s not some trick involved with it. It’s pure and it’s real. It moves, it heals, it communicates and does all these incredible things.“
Collecting Power Pop songs with a girl’s name in the title started as a joke, but as the Spotify playlist began to take shape, it soon became ‘serious’ because it could become such a nice anthology of the genre.
When ChatGPT suggested ‘These Girl Names Are More Than Just Lyrics: A Deep Dive into Power Pop’s Ode to Women’ as the title for the playlist, I wanted to look for the stories behind the songs with a girl name in the title.
Well, if I may say, I went ahead and did just that. Besides a beautiful ANTHOLOGY, we now also have a wonderful compilation of anecdotes, straight from the creators themselves, all about those catchy Power Pop tunes that happen to feature a girl’s name in their titles.
To the incredible individuals who have contributed and shared their stories with us, I offer my sincerest thanks. Your willingness to share your experiences has enriched the project beyond measure, and I am deeply grateful for your contributions.
Jeff Whalen: “I wanted to write a girl’s name song and the hardest part about writing a girl’s name song is finding the right name. So many good girl’s names are already taken—Elvira, Angie, Jenny, Eileen, Allison, Beth, Billie Jean, Puddin’ n’ Tane, etc.
And real-people’s names can be tricky, too. I know so many people with names—just about everybody I know has at least one or two—and it’s tricky to use any of those names without causing weird interpersonal reverberations.
I tried a bunch of names before finally landing on Jendy, which I “came up” with when my girlfriend told me she was going to have coffee with her friend Jendy. I hadn’t met Jendy before, so I thought it’d be OK to use her name without a lot of weird interpersonal reverberations. It sounded good in the track and now I can’t imagine the song called anything else.
I eventually did meet the real Jendy and she seemed vaguely pleased.”
Star Collector – Have You Seen Suzie?
Vic Wayne: “Suzie (well, Susannah, actually) was a real girl that I went to elementary school with. I wrote “Have You Seen Suzie?”) after looking back on those days, realizing how brutal kids can be. It’s on our 2nd Star Collector album, ‘Black-Eyed Soul’.
Susannah wasn’t what kids would’ve called “attractive” back then, and I’d like to say “they” but, in fact, have to say “we” were quite heartless to her. We were 10 years old and, unfortunately, kids do shitty things. We would play a game of dodgeball but rename it ‘Susannah Ball’ and try to avoid her ‘germs’.
It’s even embarrassing and a bit painful to write these things down as I sit here, honestly. I can’t imagine how her mental health must’ve suffered but, as the song says, “kids’ll be kids and it’s so cruel”.
One day, I think it was when we all entered Grade 6, poof… she was just gone. Her family must’ve moved but no one seemed to know where, when, or why. I like to believe it wasn’t because of the abuse, but…
Years later, I wanted to write a song as an admission of guilt and an apology; a catharsis through songwriting, I suppose. I always hoped she’d hear it but, who knows? If you’re out there in the internet ether, Susannah Lankenau, this is my written apology for my part, and on behalf of all those other damn kids. “Have you seen Suzie’s not in school?”
The Spongetones – Maryanne
Steve Stoeckel: “The Spongetones were playing at a local nightclub, and during the break I was talking to Mary, a fan who often came out to see us. Mary was very talkative, and as she noticed I didn’t have to contribute much to the conversation, she said “I know I talk a lot, but I have a lot to say before I die.”
A light went off in my head. I went home that night, wrote the whole song, changing the name to “Maryanne” for the rhyme to “She tries to get in as many words as she possibly can.”
It became one of our most popular songs.”
Cool Blue Halo – Too Much Kathleen
Barry F Walsh: “The origin story for “Too Much Kathleen” is pretty true to the lyrics. I used to frequent a cafe in Halifax, Nova Scotia called Cafe Amadeus (no longer there), and had a major crush on a barista there.
One day, after a few cups of coffee, I put pen to paper and the vocal melody, chords, etc. emerged in a flash. I brought the song to the band that week and with their magic touches it was ready to roll in time for making “Kangaroo.”
I never learned what the barista’s real name was, but I’ve heard through the grapevine that a friend of the band relayed the story to her — about a song that was, at the time, getting a healthy amount of radio play, and that was inspired by her. Perhaps fittingly, she had never heard the song and had no idea what the person was talking about.”
That’s the original lyric, from that day in the cafe.
The Sun Sawed in 1/2 – Janet Green
Timothy Carl Rose: “While I was writing the songs for the Mind Flip album, I was also watching a daytime soap opera called “All My Children.” The main character, Erica Kane (played by the luminous Susan Lucci) had recently met a new woman in town who turned out to be her long-lost sister, Janet Greene. When she came into town, all the men fell for her and she won over the children as well, but the women were disdainful.
I had wanted to write a song as a Nazz pastiche, so I asked our guitarist, Ken Kase to drop by and fill in on drums while we arranged it. Our drummer, Steve Bunck, thought it would be fun to include some time signature playfulness that brought to mind, “Open My Eyes” as well. So we spent a long time crafting this track as a band to musically underline the message of a siren rolling into town.
After we recorded the song, we thought about mailing a copy to ABC (American Broadcasting Company) to see if they would include it on the soap opera, but we forgot to do it because we were busy with Keith Olsen at Sound City and touring Europe and the States. It stands as one of many songs The Sun has written about women, including: Annabelle’s Book of Hours, Mary Celeste, Mary Todd, Grace and Annie Emptyhead.”
Marc Jonson – Jackie
Marc Jonson: “Many girls have names that evoke a certain attitude. What’s in a name … Everything is in a name! A name can brighten up the room. It is the title of the book about that person. In my song Jackie I am longing to know this girl because she is so unique and seemingly fantastic. The way she moves … her hair style … her energy!
The first time you look at this girl you can’t believe what you feel. It all happens at a first glance. You ask yourself is that really what I see happening over there? You must meet her and let her know you recognize her specialness. The Jackknife reference… sharp and a little dangerous … it belongs to her name was well. A female Jack of all trades … Jackie, short for Jacqueline … it’s less formal like Bobby instead of Bob … it’s how you refer to a close family member … “my sister Jackie” it’s more enduring … you like Jacqueline but love Jackie … she’s got sunglasses on … a new haircut … she loves life … she lives her life to the full … her name rings out from the mouth …
They called Frank Sinatra “Frankie” in his early break out days … I mean how does Frank Avalon hit you … it has to be Frankie … Jackie has to be fun too … she is fun … fun to talk to … fun to be with and fun to steal a kiss from if you can.
She’s explosive … the kids in the lyric aren’t lighting off arial bombs for nothing … they are for Jackie!”
George Usher – Alexandra
George Usher : ‘I wrote ‘Alexandra’ with my old friend, James Mastro (the Bongos, Health & Happiness Show, Ian Hunter’s Rant Band), who also produced the track for my “Miracle School” album. I asked him about it, but both of our memories are a little vague, at this point. I know we both contributed to the words and music and were determined to make the song, the woman, the whole recording big, bold and boom! beautiful. And among other things, we tossed about Alexandria and the 7 wonders of the world, ha ha! But, we can’t pinpoint the exact moment the name “Alexandra” popped into the melody.”
Nick Frater – Dancing With a Gertrude
Nick Frater: “I actually wrote ‘Dancing With a Gertrude’ about a man named Gary! My father-in-law is called Gary, and while visiting a museum a few years ago, the lady selling tickets saw his name and shrieked “you’re extinct!’” It turned out that she was living in England to learn the language, and had just read a newspaper article which said that no children had been called Gary that year.
This got my songwriting brain interested and so I started researching baby names on the brink of extinction: Gertrude, Pam, Ethel, Vera, Clive, Gary…the list is quite long, which lends itself well to being the source for lyrics. I’m really pleased with how the lyrics turned out for Dancing With a Gertrude, especially slipping in a few names with a cultural resonance to pivot around, like Diana, or ‘Vera, Chuck and Dave’.
So far in life, I’ve never danced with a Gertrude, but I’ll try to if I ever meet one!”
Lolas – Me And Barbara Stanwyck (2006)
Tim Boykin: “Barbara Stanwyck as “Sugarpuss” O’Shea in the 1941 film Ball of Fire is what I think of. The movie really works, and the way she turns Gary Cooper’s world upside down is dazzling and hilarious. When I wrote the song, Stanwyck’s character, the ball of fire, came crashing into my song and made herself the center of attention. Who was I to refuse?”.
Ken Sharp: “I wrote “Karen Love Me” as a not uncommon story of unrequited love, boy wanting girl, boy getting lucky to date a girl out of his league but never turning into the grand romance I had hoped for. There’s a tinge of melancholy to the song that still connects with me emotionally, and also a bit of a spiritual vibe with the lyrics to the verses. I was happy to be able to fully flesh out the song on my reimagining of my debut album, “1301 Highland Avenue” adding more instrumentation and key background vocal hooks. To this day, “Karen Love Me” is a still a big favorite of mine and more proof that not always getting the girl can lead to a good song.”
Sunshine Boys – Caroline Yes
Dag Juhlin: “Our song plays off the title of the Beach Boys’ classic Caroline, No (obviously), but turns that song’s melancholy inside out in a heated state of desire and double entendre, summoning a fiery longing that’s coy but direct. In our song, he’s been focused only on her since the moment he woke up and he’s racing a great distance to be with her; she’s dancing around in eager anticipation as a breeze blows the curtains and flowers bloom; their love is out of control, but they’re holding tightly to each other, no matter what happens, no matter where the tidal wave throws them. Each verse poses questions (Am I thinking of you? Can you feel me? Will we cling tightly to each other?), which are always answered: Caroline, yes.
Musically, we are all conjuring Revolver in our own way, and offsetting the jangling pop riffs with major seventh chords and sweeping key changes. It’s a scorcher to play live.”
The Merrymakers – April’s Fool
David Myhr: “Back in the ’90s, in the early days of The Merrymakers, I had a melody lying around for a couple of years that I couldn’t seem to get out of my head. My bandmate Anders used to say when we were drinking beer, “-We need to do something with that one someday.” He helped me realize it had something special. But when we got the chance to work with our big hero Andy Sturmer from our favorite band Jellyfish, that melody was almost last on the list of songs we had sent to him in a rough demo. It was unfinished, no chorus, and no lyrics for that matter. Before Virgin Records brought Andy over to Sweden to produce our second album, Bubblegun, we went to see him at his home in Oakland, California. We were obviously super nervous about the whole thing, but he made us feel relaxed. He started to comment on our songs and pointed out which ones were his favorites. He especially mentioned Anders’ song “Adore,” but also this melody at the very end. We said it was unfinished since it didn’t have a chorus. Then he picked up a guitar and said, “-Maybe it could go something like this…” and started to sing this wonderful soaring chorus melody. I remember thinking, “Wow – we’re co-writing with our hero!” So suddenly it became one of our prioritized songs, and Andy said he was going to produce it.
Once the recording started in EMI Studios in Stockholm, it went very well. Andy really took command of the production, maybe more than he did on any other song on the album, including suggesting the ABBA-esque intro. Although I had to figure out the actual notes on the piano myself, he was just showing roughly how he wanted it by playing “in the air,” so to speak. It started to sound more and more fascinating, and it became obvious that we needed a great lyric to marry to the melody. I had no ideas myself, except a nonsense first line that began with “Maybe I didn’t tell her…” In a state of panic, I called up Eagle-Eye Cherry, whom I had had dinner with recently. He was a friend of a friend. This was before he became famous with his worldwide hit “Save Tonight,” but he said he “didn’t get a brainstorm.” So we had to solve it ourselves.
Again, Andy was our hero in many respects. As a songwriter, singer, drummer. Everything, really. But not least, his lyrics. We were amazed by the artistic level of the lyrics on both Jellyfish albums. So we hinted to him during the sessions that any help was more than welcome. And as I recall it, one day he came to the studio with this concept of singing about months in the chorus, “She packed in January, she left in February, it took ’til March to realize, that I’d been April’s Fool.” So brilliant! And so Andy to come up with a twist like that. So that was why we used the girl’s name April. It worked with the months! After that, we all helped out to flesh out the lyrics. I think both Peter and Anders contributed, but I can’t remember to what extent. I guess I only contributed with the initial “Maybe” ha ha! I suppose it was kept because it sounded good. Anyhow, in the end, it was a joint effort and a song we are proud of to this day. I remember Andy saying at the farewell dinner in Stockholm, “I’d be proud to have that song on my solo album.” Unfortunately, twenty-six years have passed, and he still hasn’t released a solo album. But hearing him say that made us feel really proud of what we had achieved.”
The Anderson Council – Meghan Allison
Peter Horvath: “My ex-wife Meghan was having a time of it in her office job; higher ups taking credit for work that she had done, just a general crummy atmosphere… I thought it would be funny to write something darkly comedic about it, where she ended up being the person to assassinate her whole office in retaliation, and still come back home to regular life, like discussing our dinner choices…
In case you’d like the lyrics:
Meghan Allison sits at her desk she’s clutching her chest oh no just what is paining her Little anxious from being the one and getting things done while everyone watches her
She’s the kind of girl Who filters out the world Never taking sides Swallowing her pride, until
Meghan Allison walks down the hall she’s ten feet tall in boots made for the purpose of Kicking down doors of those in power she’s the girl of the hour and everyone’s watching her
She’s the kind of girl who’ll take on the whole world Powerful and sure no symptom she’s the cure
And I’m so glad she likes me otherwise she’d hurt me I’m so glad she likes me otherwise she’d kill me
Meghan Allison came home from work and said “everyone there is dead, what would you like for dinner?”
Chris Church – Pollyanna’s Going Dark
Chris Church: “A Pollyanna is an irrepressibly optimistic person, and I thought it would be fun to play with the notion that this girl Pollyanna has grown tired of living up to the expectations that the meaning of her name implies. I wrote this character as being in the middle of reaching and then smiling through her emotional proclamation to a guy, or to any guy who’s interested, that even though it’s difficult for her to change, she’s pledging to stop being an agreeable little pushover once and for all. “There’s no redeemer like a dreamer reborn”.”
Sorrows – Christabelle
Arthur Alexander: “Christabelle” is not just a song, but a real person. We met at a Sorrows show and I hopelessly fell in love with the girl. The song was actually already written by then, but I still had no lyrics for it… till I realized that the first three notes of the opening hook melody line lined up perfectly with three syllables I needed… yes, you guessed it!.. “Chris-ta-belle”!
We had a good run, and while it didn’t end well, the song lives on.
On my “One Bar Left” solo album you will find the sequel – “Shot In The Heart”. An epic number that saved me thousands of dollars on psychotherapist bills!
And since we’re talking girl-name songs… On that same album you will also find “Mary Lou Mary Lou”. Christabelle’s successor, in real life and song. She’s been my rock all these years and is still rocking my world today.
And then, on Sorrows’ “Love Too Late… the real album”, you also have “Rita”! Another real-life-turns-into-a-song! But for that it would only be right to reach out to Joey Cola since that was his “story”!
The Forces – Anne
Joshua Boon: “It sounds like I intended to write a song for a person named Anne who was going through a tough time and needed a boost of positivity to help her unlock her true potential. And that my goal was to create something that would inspire her to enjoy life to the fullest. However, the truth is that Anne does not exist. Sorry, she was simply a character in my imagination.
Nevertheless, I still wanted to create an uplifting song that would resonate with everyone, regardless of their name or personal circumstances. I chose the name Anne because it is short, powerful, and relatable. My hope is that the song will be a source of encouragement for anyone who listens to it, and remind them to live life to the fullest. Cheesy? Maybe. But also sincere.”
The Successful Failures – Cara (I Can Take Your Pain Away)
Mick Chorba: “I wrote a song about “Cara” because it fit into the plot line of the concept album “James Cotton Mather” by my band The Successful Failures. In the story the main character is working as a lumberjack in Western Maine (where he ends up while fleeing from other problems in his life). James’s foreman, Jack Monroe, dies in a terrible logging accident. Monroe’s fiancé Cara is distraught…James goes to Cara to help her deal with the loss and by doing so he helps his own healing. So hence the title of the tune: Cara (I Can Take Your Pain Away)”.
The Resonars – Marina
Matt Rendon: “In the late 90s I had a mad crush on a girl called Marina who worked in a record store here in Tucson. The frustration of not being able to be myself around her led to the song.”
Throwback Suburbia – Caroline
Mike Collins: “I wish I had a better back story as to why I chose the name Caroline. It really came down to needing a three syllable name to work with the melody and phrasing of the hook. Plus, I always thought the name Caroline was classic and even melodic in its nature. Neil Diamond might’ve felt the same way.
Ha! I did have a crush on a gal named Caroline many, many years ago. She was the girlfriend of the bus driver for a tour I was on back in the 90’s. So maybe her name subliminally crept into my mind when I was writing the song. An overdue homage to her, maybe. I always liked the imagery of the song and think it came together well. The song is featured on the very last album Throwback Suburbia did called Shot Glass Souvenir.”
The John Sally Ride – Run Away Renee
John Dunbar: “It’s apparent that I also have a fascination with songs containing women’s names in the title. It’s usually a hint that there will be a story to be found in the song, which is another song structure that interests me.
Run Away Renee was the first song written for The Other Women. Who doesn’t love The Left Banke’s Walk Away Renee? The song came on once when I was with a group of music snob friends. I pointed out that the singer was laying a heavy guilt trip on poor Renee. He keeps telling her he won’t follow her back home, I think she better look over her shoulder, he might be lurking in the shadows to see where she’s going. And the line “you’re not to blame”, isn’t that a classic passive aggressive thing to say?
Pointing this out to my friends, I mentioned that Renee should run, not walk, away. So the title of the song was born. The lyrics are based on a few people I know in very unhealthy relationships. The line “Your Ex was a disaster, but this one is worse”, shows you that Renee has a tendency to fall for the wrong person.
If it was just one song on an album, it might be seen as too gimmicky. I thought it would be wise to record a whole album of songs using women’s name usually associated with well known songs.
Maybe I can write a sequel one day called Run Into My Arms Renee, where she finally meets Mr. Right.”
Ransom and the Subset – Sara Kandi
RanDair S.Porter: “I saw a placard on the counter with the name Sara Kandi at a bank while cashing a check. While there are dozens of notable songs with the girls name ‘Sara’, this name was Sara Kandi (pronounced Candy). I immediately told myself that is a song title. Attached to the name was a young, understated yet professional teller. Simple and sweet. Only thing missing was a daisy behind her ear.”
While she worked at the neighborhood bank I would see her occasionally at the grocery store. Nothing was ever said, but the song developed in my head every time I saw her. The young teller with the perfect pop song name.
Olive Way – Angelina (Portifina-Rose)
Andrew Gaskin: “I wrote Angelina (Portifina-Rose) right after I woke up from having a really crazy nap dream last spring. One of those dreams where it’s an epic adventure meets Charlie Kauffman movie type of thing. There were alligators, love triangles, and many things not fit for print. When I woke up I had almost the entire song and just had to sing it into my phone. I think the lyrics specifically are about wanting “the real thing” with someone but being blinded by an ideal of how you want them to be and ultimately never being satisfied. I think it’s one of those songs that makes no sense while making perfect sense at the same time.”
The Favorats – Wayna
Heg Flo: “When I was 14 or 15 I started playing guitar and the film Wayne‘s World came out. I watched that film 5 times in the movies. Wayna is actually Wayne Campbell from Wayne‘s World !! I thought how cool a female version girlfriend of Wayne would be, a girl who‘s into metal and could play guitar and is nuts on the one hand and thoughtful on the other!
Wayna is a female Wayne!!”
Jim Trainor – Claire
Claire (lyrics by Dave Becker): “In Claire, the narrator is smitten and vaguely frantic about a woman who is just out of reach. Not a femme fatale, but someone generally inscrutable.”
TSAR – Kathy Fong Is The Bomb
Jeff Whalen: “I was sitting in the Tsar apartment with our lead guitarist Dan. We were goofing around with guitars and listening to the album The Slider by T. Rex and I was struck by how simple the chord progressions on that album are. They’re the most basic things you can imagine, but they’re put forth so confidently, so triumphantly, so without shame, that it sounds masterful. You don’t doubt a thing about it.
I was playing the chord progression from “Metal Guru” and I said to Dan, “How does he get away with this? He stole this chord progression from like a million songs!” Dan said something like, “Why don’t we steal it, too?” I had written the title “Kathy Fong Is the Bomb” on a Post-It note, because it had popped into my head at this temp job I was working, and I put it to the “Metal Guru” chord progression over and over and over until I had a chorus that seemed like its own thing. The lyrics pretty much wrote themselves. One of the funnier songs to write.”.
Richard Turgeon: “Anyone in a band knew this girl. The one that was part fan, manager, mother hen. This song is a tribute to that girl, being 23, growing up, and growing apart.”
Vegas With Randolph – Marisa
John: “During the VWR “Above The Blue” recording sessions I was cleaning my bedroom on a Saturday morning with the light of a new day brightening the room. I turned on the TV for company and the movie Wild Hogs was on. I hadn’t seen it before, but knew of it, and right there, staring out of the screen, was one of the most winsome smiles in cinematic history — the face of Marisa Tomei. She sucked me in and she shined as she portrayed a classic “girl next door” role, which I like to think comes naturally to her.
Watching the story unfold I thought how easy it would be to fall in love with Marisa as Maggie just as Dudley (William Macy) was doing on screen. I supposed that she generated the same sentiments in others and while a real relationship could never truly be realized with all her fans -still – the fantasy of falling in love with her was a real thought. When fantasies turn into infatuation and then progress into a light-hearted obsession – well – that’s not a bad idea for a song.
So my mind started turning and I started writing the song Marisa while I finished the movie, and with an added bridge written with Eric, and some added guitar muscle, Vegas With Randolph released it on “Above The Blue” in 2011.
Whether one is in love, thinks one is in love, or whether the love is returned, it may make, as the song argues, no difference – the mind is the most powerful aphrodisiac of all.
Bill Lloyd – Lisa Anne
Bill Lloyd: “Lisa Anne was a name I used but wasn’t a real person in my life. Some of the sentiments in the song were real. I was in my twenties and experiencing young love with different girlfriends so when a break up happens, that’s the kind of lyric you get . The chords and melody originally had an entirely different set of lyrics which I grew to dislike so Lisa Anne was the “re-write”.”
Absolute Gift – Carol
Robin Foxon: “In 2003 I was trying to get songs included for my then band. The lead guitarist had posted ‘Carrie Ann’ by the Hollies as his feature song on his MySpace that week so I knew I wanted something as catchy and instant.
I remember going to my first song, Buddy Holly’s Peggy Sue and changing the chord order around and it was instant. A girl’s name just fitted the vowels and it wrote itself within minutes. I played it for Graham after lockdown and we formed our band over it, with him adding a twangy solo. So many great Power Pop songs with girl’s names that I couldn’t resist doing it, even though it means I always get asked, ‘Who’s Carol?’ “
Ex Norwegian – O Simone
Roger Houdaille: “I don’t know if I really have much of a story with “O Simone” – I think it’s funny that I have Michelle singing it as it gives it a twist, but it’s not really about a girl I know.”
The Popdogs – Kissin’ Alicia (2013)
Jim Styring: “I remember we’d been listening to a lot of Blondie at the time, so the song was definitely influenced by that sound. First time we’d added keyboards, too. I had some lyric ideas already written that just fit perfectly. A lot of people have since said it’s their favorite track from that album”.
On June 30, Big Stir Records is set to launch “Best Of Friends,” sparkle*jets u.k.’s highly anticipated album, marking the band’s triumphant return after a gap of more than two decades. This remarkable release pays homage to the vibrant LA music scene that redefined the very essence of Power Pop during the turn of the century.
Michael Simmons explains how “Best Of Friends” came about.
SSM: How is it possible that your band, after a 20-year hiatus, manages to sound so cohesive and tight on your new album?
Michael Simmons: Quantization. Seriously though, we never really stopped playing, and we know how to make records.
SSM: How did the idea of using the ‘theme’ of covering bands from the LA pop scene at the turn of the century come about for the album ‘Best of Friends‘?
Mike: We actually had this idea back in 2000 or whenever, after we made the compilation ‘I sparkle*jets u.k.’ which had our new musician friends covering our songs. We thought it would be fun to answer back with songs we loved from the scene.
(Note from Big Stir Records: Vintage copies of the I sparkle*jets u.k. CD will be going out with all orders of the new album Best Of Friends placed directly from the label, either at www.bigstirrecords.com or via our Bandcamp site, so fans can hear both sides of this 20-plus year concept together!)
SSM: With a plethora of songs to choose from, how did you decide which ones to include on the album?
Mike: I still had a tentative list of songs on my computer from our initial idea. We added a couple that we felt just had to be there, and yes, there are many that could have or should have been included. We figured if this does well, we will take suggestions on a 2nd volume.
SSM: Big Stir Records recently celebrated its six-year anniversary by signing six new bands, including yours. Have you found a wonderful home with the label?
Mike: We have always been DIY and hands-on as far as getting the recorded product to exist. The areas where we have trouble are promo and distribution. Aside from Christina & Rex being totally wonderful, positive, and infinitely supportive, they have those two areas well covered. It’s a perfect fit that’s already showing results. We are all very excited about this project and other things in the pipeline!
SSM: Is this the first interview where the band name has not been mentioned at all?
Mike: Probably. Long story short, we had our first album about to go to the plant back in 1997 or 1998, and the band name was sparkle*jets. Then we saw that a band out of Fresno was using the name Sparkle Jet. Not wanting to change our name and our artwork yet again, we came up with the snarky idea to add ‘u.k.’ to it, kinda like Squeeze, Wham, and the Charlatans all had to do when making records in the US. It was a bit of a joke, but it worked. It also stands out as a type-able logo, but had we known we would be so hard to search for on streaming services 20 years later, we might have called ourselves something cool like Coldplay.
S.W. Lauden, writer and co-editor of power pop essay collections such as ‘Go All The Way’ and ‘Go Further,’ undertook the task of curating a collection of stories that would encompass the essence of guitar pop. Influenced by various genres like power pop, indie rock, indie pop, jangle, and rock and roll, the aim was to spotlight music from the 2000s.
However, it’s best to hear Lauden’s own words to truly grasp the concept behind Remember The Lightning—A Guitar Pop Journal.
Thanks for having me back at Sweet Sweet Music Blog!
I previously co-edited two power pop essay collections with Paul Myers for Rare Bird Books, Go All The Way and Go Further. Curating those two books (and writing my own essays on Fountains of Wayne and 20/20) was a lot of fun. But the publishing process—from pitching the concept to lining up the contributors, editing the essays, choosing artwork, etc.—can take 12-18 months. Since I’ve been writing about modern artists lately, I wanted to do something a little more immediate.
Volume 1 of the guitar pop journal ends up combining the immediacy of my free Substack newsletter, Remember The Lightning, with the literary approach of the two previous essay collections. From the start, the intent was to focus on guitar pop (my catchall phrase for power pop, indie rock, indie pop, jangle…and plain old rock and roll) from the 2000s. My approach was to have music writers focus on bands and albums from the last 20 years, or current musicians writing about their influences from any era. I wasn’t sure if that would make sense when I first started contacting contributors, but luckily they all got it and absolutely knocked it out of the park.
Vol 1 was already making its way onto Amazon order lists right after the announcement. Tell me, how gobsmacked were you?
That was pretty amazing to see! Thanks to everybody for your support so far.
I think that initial response really speaks to the incredible contributors we have in Volume 1, including talented musicians like James Goodson (Dazy), Mo Troper, Mike Randle (Baby Lemonade/Love) and Rob Nesbitt (The Suite Sixteen); and excellent music writers like Annie Zaleski, David Laing, Paul Myers, Mary E. Donnelly and John M. Borack. And I was thrilled to write the cover story about The Whiffs, especially once I saw it paired with Brian Walsby’s exclusive cover art.
Is it a goal in itself to reach an audience larger than the very closed Power Pop community with this release?
I definitely think that there are more fans of this kind of music out there than we might be aware of in our own little corners of the music universe. One thing I’ve noticed is a large divide between fans of classic guitar pop from the ’70s/’80s/’90s and modern musicians who are releasing some amazing new music in the 2000s. It would be fantastic if this little project helped connect a few more of them. As I’ve said many times before, I think of music scenes as ecosystems that rely equally on musicians and fans, fueled by the writers/reviewers/DJs/etc. who help spread the word.
Is Vol 2 already in the works?
I’m currently working on another oral history project right now (similar to the Popsicko project in scope)—it’s shaping up to be really cool, but not quite ready to be announced yet. Once the next draft of that book is done, I’ll be turning my attention to Remember The Lightning: A Guitar Pop Journal, Volume 2. Although I have to admit that putting the next volume together feels a little daunting since many of my favorite music writers and musicians were in Volume 1. We’ll see…I’ve already got a few contributors in mind, and an idea for the cover artist/story. Either way, Volume 2 won’t see the light of day before September/October.
If you had the chance to pen a long-form article about any artist or Power Pop album, who or what would be lucky enough to make the cut?
Man, that’s a tough question. I have so many story ideas and angles I would love to explore if I had more time. But the two that come to mind right now are an oral history/book about The Nerves, or something in-depth about Fountains Of Wayne. It’s amazing how often I hear The Nerves namechecked by modern musicians. And my love for Fountains Of Wayne is certainly no secret. Or maybe something about Descendents…or The Muffs!
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