Month: December 2023

USED – Sensationalize (Q&A)

Posted on by patrickdonders

The German guitar pop band USED, comprising the twin talents Marco and Dario, delivers ‘Sensationalize,’ a rich double CD boasting 18 tracks that traverse both electric and acoustic realms, each resonating with its own greatness. While echoes of Fountains of Wayne, Teenage Fanclub, and the finest of The Lemonheads may occasionally surface, they’re unnecessary; the moment the music begins, its world-class quality speaks volumes. To me, ‘Sensationalize’ stands as the coveted gem of 2023. Embark on a treasure hunt and discover its brilliance!

Marco and Dario explain.

Could you share the journey of bringing this record to life? How did all the pieces come together to create the final product?

During the pandemic, we were busy working on new songs in the studio.

Our first plan was to record new singles, but in our creative process, more and more songs appeared, and we finally felt the urge to release a new album.

In the process of recording, we nearly lost our files because of technical issues. So it felt really good in the end when we finally finished the album with a big relief and a smile on our faces.

Among the gigs you’ve performed, which one holds an indelible place in your memory and why does it stand out?

One of our early gigs was with an amazing audience at a club in Germany, and we jumped into the crowd.

It was the first and only time we did stage diving.

Another great moment was at a small venue when a woman started crying and was really touched by one of our songs.

Defining a song’s completion can be elusive. How do you determine when a composition has reached its final, ready-to-record form?

Writing a song can be really quick sometimes but can also take ages.

If we play the song live and feel comfortable with it, it’s usually ready to be recorded.

With every studio visit, we try not to repeat ourselves too much musically, but if it feels right, it is right.

Striking a balance between experimental artistry and commercial appeal is a challenge. How do you navigate this dynamic within your music?

We never record something just because it’s commercial.

We like good melodies and hooks but also music that is a bit more sophisticated.

Our aim is always to create songs that have artistic and commercial tendencies.

Lyrics often carry profound meaning. Are there particular lines you hope listeners will always remember from your songs? If so, what’s the significance?

Some of our songs have words that mean a bit more to us than other songs. For instance, the opening track “I don’t care” of our new record:

“Nervous looks, but I’ve got to keep moving.”

“Everybody keeps a secret deep inside.”

We don’t like telling people what to believe in when they listen to our lyrics. In other words, not telling people what’s right or wrong.

It really makes us happy if there is a line or a whole song that someone likes and can relate to.

Can you recall the last instance when you felt the immediate certainty of having penned a hit song?

We were hanging out with a friend in his flat, guitars in our hands.

Finally, we came up with a guitar lick, and a few minutes later, we had the la la melody.

We immediately looked at each other and said, “This is a good one.”

It ended up as the song “Eleven Days.”

Another time we felt it was when we wrote the chorus of “Even the Stars Die.”

“Baby, you’re so disco” and “Let me see you shine, another glass of wine” felt brilliant.

Nick Frater presents The Rebutles 1967​-​1970 (Q&A)

Posted on by patrickdonders

Nick Frater shared with Sweet Sweet Music blog, “I’m going through quite a productive songwriting period at the moment, and melodies seem to arrive thick and fast.” This creative burst has culminated in the creation of two exquisite albums, adding an extra sparkle to the musical landscape of 2024. November saw the release of ‘Bivouac,’ landing it in the Top 10 of The 50 Best Power Pop Albums of 2023. Now, right after Christmas, ‘Nick Frater presents The Rebutles 1967​-​1970‘ pays homage to The Rutles, often considered the ‘ultimate’ Beatles tribute. It’s quite a journey, isn’t it? Below, Frater delves into the mechanics and origins behind this musical endeavor.

A surprise release so late in the year. What’s the story?

“The Rebutles / 1967-1970” has been a little side project I’ve been working on this year, as a follow-up to my last ‘secret’ album, “Nick Frater presents The Rebutles: Ron, Dirk, Stig and Barry the Solo Years, Vol 1,” which I included as a CD in the first 200 Earworms LPs.

I thought releasing it on an unsuspecting world on Boxing Day was the perfect poetic nod to Magical Mystery Tour, which was first shown on Boxing Day 1967. What I’ve learned through doing this is that Boxing Day isn’t really a thing in the USA! I received several messages from friends and fans in the States asking what the hell I was talking about, in the various hints and clues I was putting out in the run-up.

I’ve read a lot of positive reactions. Do you have an explanation for this so soon after the release?

I’ve been quite taken aback by how well “The Rebutles /1967-1970” has been received! I guess people still love, as I do, the idea behind The Rutles. As a HUGE Beatles fan and Rutles fan, creating the songs for my original tribute (is that a thing?) was a lot of fun to do, and I hope that translates into a fun listen. For years, I’ve been wanting to try something very, very ’60s psychedelia, and this was the perfect excuse. Getting great feedback from some of my favorite bands has been wonderful.

I’m so curious about how the concept came about and how far you think you can go if you want to continue it?

As with most great ideas, The Rebutles started off as a joke with friends in the pub—the idea of what The Rutles would have done in their solo careers. The idea stuck with me, and I started writing the first album. It turned out that my musical friends were VERY into the idea and helped to turn it into a reality. Having started at the end of the story of The Rutles/Rebutles, the only place to go was backward and do a prequel. Although things start to get a bit meta; like that bit in Back to the Future where the characters on different timelines mustn’t ever meet! Never let conceptual sense get in the way of a good song.

Did you consciously start writing songs in this specific style for this project or does something like this arise organically?

I’m going through quite a productive songwriting period at the moment, and melodies seem to arrive thick and fast. So writing The Rebutles came more from ideas for song titles. “Loose Tea In Disguise” came early on, and the song pretty much wrote itself. That said, I think there are still some moments that pull the heartstrings in just the right way, like “Come Get Your Tea.” I think it has a nice bittersweet feel; it’s a favorite for me.

You wrote to me a while back, jokingly or not, that the best record of 2023 had yet to be released. You knew you had something good on your hands, didn’t you?

From the enthusiasm of the musicians who helped me record the songs, I had an idea that The Rebutles might be an enjoyable listen. It was always going to be an odd move to release two concept albums a month apart, and right at the end of the year, but hopefully, between Bivouac and The Rebutles, listeners have found something to enjoy. There are lots of things in the pipeline for 2024, including a new ‘normal’ album. It’s well underway and called “Oh Contraire!” (you read it here first!), so it might get released in time for the best of 2024 lists.

The 50 Best Power Pop Albums of 2023

Posted on by patrickdonders

Image by Sabeth Elberse Studio

The year-end summary you’re about to dive into was a collaborative effort involving numerous talented artists and passionate enthusiasts within the vibrant Power Pop community.

Sweet Sweet Music blog rallied everyone to share their top 5 favorite albums, resulting in an overwhelming influx of submissions. From this wealth of contributions, the following list was crafted.

2023 proved to be an exceptional year for Power Pop, witnessing a surge of artists delivering their finest creations in the span of the last 12 months. The sheer diversity of titles mentioned across entries speaks volumes about the genre’s vitality.

Within this overview, you’ll find albums that consistently stood out as favorites among the community.

Thank you to everyone who has submitted their Top 5!

Get ready to immerse yourself once again in the musical tapestry of 2023, exploring the finest offerings curated by the passionate Power Pop community.

01 The Whiffs – Scratch ’n’ Sniff
02 The Lemon Twigs – Everything Harmony
03 Uni Boys – Buy This Now
04 The New Pornographers – Continue as Guest
05 Liquid Mike – S/T
06 The Pretty Flowers – A Company Sleeve
07 Guided by Voices – Welshpool Frillies
08 The Rallies – It Must Be Love
09 Nick Frater – Bivouac
10 Buddie – Agitator
11 Hurry – Don’t Look Back
12 The Midnight Callers – Rattled Humming Heart
13 Chris Church – Radio Transient
14 Rinehearts – Full Bloom
15 Thomas Walsh – The Rest is History
16 Somerdale – Let’s Get Started
17 The Ronson Hangup – Centaurus
18 Ryan Allen – The Last Rock Band
19 Tamar Berk – Tiny Injuries
20 Kurt Baker – Rock and Roll Club
21 Mike Viola – Paul McCarthy
22 Marvelous 3 – IV
23 The Foreign Films – Magic Shadows
24 Scott Gagner – Reverse
25 The Pozers – Something Pop
26 Cut Worms – s/t
27 KC Bowman – Crushes of Context
28 Eyelids – A Colossal Waste of Light
29 Diners – Domino
30 The Summertimes – s/t
31 Star Collector – Attack, Sustain, Decay…Repeat
32 The Lunar Laugh – In The Black
33 Local Drags – Mess of Everything
34 CMON CMON – The Crack and the Light
35 Half Catholic – Art In Heaven
36 Dolph Chaney – Mug
37 Geoff Palmer – An Otherwise Negative Situation
38 Marc Jonson & Ramírez Exposure – Turning On The Century Vol.2
39 Odds – Crash The Time Machine
40 Freezing Hands – Empty The Tank
41 Novelty Island – Wallsend Weekend Television
42 P. Hux – As Good As Advertised
43 The James Clark Institute – Under The Lampshade
44 Richard Turgeon – Life of the Party
45 Reno Bo – Never Night Time On The Sun
46 Ed Ryan – A Big Life
47 Arthur Alexander – …Steppin’ Out
48 Meyerman – Happy To See You
49 Vanity Mirror – Puff
50 Sand Brothers – Too Much Sky
50 Ian M. Bailey – We Live In Strange Times
50 The Evening Sons – Tracks
50 Tom Curless & the 46% – Speaking in Code
50 The Make Three – You, Me & The Make Three
50 Paul McCann – Alter Ego
50 The Anderson Council – The Devil, The Tower, The Star, The Moon
50 Semisonic – Little Bit of Sun
50 Steve Marino – Too Late to Start Again

Be sure to catch all your favorite songs on the ‘The Best Power Pop of 2023‘ Spotify playlist.

Last year, I shared all the individual lists. This year, I asked if everyone preferred to vote anonymously, and many chose this option. Therefore, I’ve decided not to include individual entries this year.

However, I’m happy to disclose my personal Top 5. The albums that received the most airplay at Sweet Sweet Music blog HQ over the past year include Gaz Coombes – ‘Turn The Car Around,’ Superchunk – ‘Singles, B-sides & Strays 2007–2023’, Buddie – ‘Agitator,’ The New Pornographers – ‘Continue as Guest,’ and The Pretty Flowers – ‘A Company Sleeve.’

Keep yourself safe, stay in good health, spread kindness, and I’ll catch you next year!

Peter Donovan – This Better Be Good (Q&A)

Posted on by patrickdonders

On a Sunday afternoon, I relish flipping through ‘old’ music magazines, seeking out hidden musical gems. In a 2022 issue of Shindig!, I stumbled upon an article discussing “This Better Be Good” by Peter Donovan—a discovery I had previously missed. Since then, immersing myself in its fusion of power-pop and Americana, accompanied by compelling narratives, has been a delight. Unearthing eleven exceptional songs within that album made for the most fulfilling Sunday afternoon spent in a while.

Could you share the journey of bringing this record to life? How did all the pieces come together to create the final product?

During the summer of 2020, amidst a pandemic-induced writer’s block, I sought inspiration from the Beatles. I challenged myself to learn and play a new Beatles song every day. Sharing these covers online kept me musically active and connected with friends throughout the isolation period. This practice also reignited my songwriting spark, culminating in the collection of songs for ‘This Better Be Good.’

Once the lockdown was lifted, I was eager to get into the studio. We recorded the album live over three days at Strange Earth Studios in Seattle. Our goal was to capture the spontaneous energy and camaraderie of a band together, something we had sorely missed.

Albums often involve collaboration with various musicians and producers. Could you shed light on how these collaborations contributed to shaping the album’s identity?

Collaborating is my favorite part of making music, and this album certainly wouldn’t be what it is without all my wonderful friends.

Our producer, Bradley Laina, was the mastermind behind the scenes, crafting the album’s organic sound. William Mapp’s drumming infused a thoughtful groove, propelling the narratives in the songs. Dune Butler on bass and synthesizers added a lively pulse and texture. Charles Wicklander’s work with pianos and organs created an atmospheric mood and ambiance. Finally, Cole Schuster’s unique flair really shines, whether it’s through a heartbreaking solo or a catchy riff; his guitar work is the thread that ties the album together.

If tasked with introducing your music through three songs, which ones would you choose and what story do they collectively convey to new listeners?

Three songs that come to mind from this record —

“This Better Be Good” — I told a friend of mine that I was thinking about recording my first solo record, and her response was – “This Better Be Good” – which I thought would be a perfect title. This song sets the stage for what listeners can expect – a mix of power-pop and Americana with a good story.

“Sweet Trouble” — Inspired by Randy Newman and Conor Oberst, this track delves into the complexities of a budding romance and the messiness of human connections, a recurring theme throughout the record.

“Phone Call From A Ghost” — My favorite track on the album, inspired by a book of scary stories from my childhood. The song explores themes of memory, regret, and the unexpected ways the past can resurface. I particularly admire Bradley’s production and the band’s performance, which gives the song an eerie nostalgia.

I think these three tracks represent my overarching goal for the album — to create memorable songs and tell compelling stories.

Among the gigs you’ve performed, which one holds an indelible place in your memory and why does it stand out?

This past October, I opened for Dan Bern at the Tractor Tavern in Seattle, WA. Aside from the Tractor being my absolute favorite place to play, Dan Bern has greatly impacted my musical journey, from awed listener to performer.

When I was first learning guitar, songwriting felt like a distant dream. Writing lyrics, in particular, seemed like a dark art. But things changed when a friend gave me her copy of Dan Bern’s first record. It was a revelation. The words were simple and conversational, but the stories were rich with depth, honesty, and humor. Hearing that record was the first time I thought, “I could do that.” (or I should try, at least).

The energy of the crowd, the familiar backdrop of the venue, and sharing the stage with a songwriter who had been such a significant influence and whom I had long admired made the night unforgettable.


Looking ahead to the next couple of months, what exciting plans or projects are on the horizon for you?

I have a couple of exciting things on the horizon. I’m finishing up my second record, “Community Theatre,” which will be coming out sometime in 2024. The album is a collection of vignettes that reflect a small town’s inhabitants’ dreams, desires, and dramas. For this project, the goal was to explore a more intricate musical direction, and we built lush soundscapes around the band’s live performances, with Bradley again at the helm as producer. 

I also wrote three original songs for the upcoming film Red Right Hand, starring Orlando Bloom and Andie McDowell, due next year. Crafting songs for this project, which span various genres, from Appalachian roots music to 1970s gospel, was an enjoyable challenge.

The Grip Weeds – Under The Influence of Christmas (Q&A)

Posted on by patrickdonders

Veterans from New Jersey’s power pop scene, The Grip Weeds, are making waves in the festive music sphere with their latest album. Featuring a collection of 12 Christmas tracks, the band infuses their signature style into each song. The album warranted a reissue, and it has indeed received one.

Frontman Kurt Reil shared with Sweet Sweet Music blog the origins and creative process behind this captivating holiday album.

Could you share the journey of bringing this record to life? How did all the pieces come together to create the final product?

In the mid-2000s, I penned my inaugural Christmas song, “Christmas, Bring Us.” Its completion spanned several holiday seasons as I crafted it gradually, never rushing, but working on it sporadically during Christmastime. Eventually, it was primed for release, emerging as a single that gained recognition as the “Coolest Song In The World” on Little Steven’s Underground Garage (SiriusXM satellite radio). Each Christmas, my wife Kristin (our guitarist/flutist/singer) and I embark on a road trip to visit family, accompanied by a playlist featuring our favorites, including tunes I recorded at House Of Vibes studio with various bands. In 2007, after wrapping up production on “Christmas With The Smithereens,” a part of my playlist, and stumbling upon an aged live recording of The Grip Weeds performing Christmas numbers during our formative years, an idea sparked. Listening to this compilation on Christmas, Kristin and I brainstormed songs for a full-length Grip Weeds Christmas album. However, it took several years to clear our recording schedule (we were crafting our double album Strange Change Machine) and devise more original songs, which demanded time to compose. Crafting an album involves myriad factors—song selection, recording methods, album title, artwork, each with its unique narrative. Yet, perhaps the most pivotal decision was featuring guest artists. Nonetheless, every album project unfolds as it’s made, with the cumulative impact of myriad small decisions in each song shaping the entirety.

Was there a particular moment or experience that struck you, signaling that you were onto something special with this project?

We embarked on this album with a strong concept, a blueprint, and a tight schedule. Basic tracks were laid down in a couple of days, and from the outset, I sensed something extraordinary brewing in each song. When Pat Dinizio and Jim Babjak of The Smithereens joined for guitar and vocals on “2000 Miles,” I felt a special aura surrounding the project. Little did I anticipate the increased poignancy this song would hold after Pat’s passing. Many tracks on this album have gained deeper significance with each passing year.

The decision to seek opinions on your new songs is intriguing. When did you realize that external perspectives could contribute to your creative process?

Bringing in guest artists significantly shaped “Under The Influence Of Christmas” and made the process enjoyable. We made this decision right from the start. Each artist poured their essence into their tracks, offering suggestions to enhance the recordings further. Mark Lindsay not only contributed a stellar lead vocal to “Santa Make Me Good” but also provided input on the backing vocals. After Pat Dinizio laid down his vocal for “2000 Miles,” he suggested fading the track instead of a cold ending, fortifying our version with the lingering ‘it must be Christmastime’ vocals.

Defining a song’s completion can be elusive. How do you determine when a composition has reached its final, ready-to-record form?

As a songwriter, I sense when the elements defining the song—the melody, lyrics, and structure—align. It begins with conceptualizing a song during a run, transmuting it into reality on acoustic guitar. Once achieved, it’s about refining everything. Even after cutting the basic track, we might fine-tune lyrics and song structure. As a producer, I sometimes feel confident, but during recording, an overly long intro or an unnecessary verse might surface. I prefer bringing a friend into the studio to gauge their reaction. Their engagement or diversion indicates a song’s strength or areas needing work. I also heed my bandmates and label head (JEM Records’ Marty Scott). If dissatisfaction lingers, I delve into what’s amiss. It’s akin to a brain trust: unanimity signifies getting it right.

Striking a balance between experimental artistry and commercial appeal is a challenge. How do you navigate this dynamic within your music?

Our debut record, House Of Vibes, charted a sonic course for growth. It embraced a spectrum of songs—hard rock, power pop, folk rock, featuring harmonies, emphatic vocals, flute, jangly guitars, and distortion. Over successive albums, we explored, experimented, refining our production (always self-produced). Surprisingly, various tracks found their way onto radio, playlists, and became fan favorites. We seldom predict which tracks will resonate when created; DJs and promoters have surprised us. With each new album, we remain true to our core while incorporating fan-connecting songs, fostering inspired music rooted in fresh sounds and concepts—a path to grow as songwriters and musicians.

Performing music before an audience holds a unique allure. What aspects of this experience contribute to the excitement and enjoyment for you?

It’s immediate feedback. The energy exchange during a live show fuels us—when a song resonates well, the crowd’s reaction elevates our performance with heightened intensity. Most don’t realize the symbiotic relationship between the audience and performer. We recorded a live album in the 2010s, comparing the rehearsal and live versions of a song revealed how profoundly the audience influenced the recording’s energy and vibe. Sometimes, it’d be great to have an audience in the studio while recording new songs, if they had the patience to endure it!