interview

Unleashing Power Pop: Florida’s ‘Metal Detector’ Strikes the Perfect Chord

Posted on by patrickdonders

Billy Summer introduced himself to me by saying, “I think I’m Power Pop all the way through, but the metal and the soft rock keep me hostage.” On “Metal Detector,” the debut album of his band Florida, he proves himself right. Although the influence of metal is more evident in the album’s title than in its sound, I would categorize both the music and the artwork as “uber cool.” And as we all know, Power Pop is the coolest.

You can find ‘Away From The City’ showcased on the Best Power Pop of 2024 Spotify Playlist.

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

Musically, I’ve spent a lot of the past years playing in a 10-piece soul band on the weekends and the rest of the time writing gooey stuff to shop to TV and films. Both of those things bring me joy and satisfaction, but when the songs for this album started to come into my head, I knew I had to write them the way I was hearing them, which was two ripping guitars played spontaneously with some intersecting melody. The songs came out quickly and were recorded over two weekends. I ended up getting sick for a week after that, which allowed me some time to work on my lyrics, sequence the album, and play some solos. I purchased a 1994 green Flying V, which did most of the heavy lifting on this album. My experience playing with the big band, my love of soft rock and heavy metal, and my sense of the place I grew up in totally informed what came out on Metal Detector.

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

Sometimes while writing, I’ll hit on songs, or pieces of songs, that just urge me to write them, without judgment, without worrying about what others might think later. A lot of this record was like that. It felt like there was a theme coming through. It was an easy route to vent some long-kept frustrations through music. And it was incredibly fun, easy, and liquid. It just rolled out.

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

It’s easy to live in a bubble if you don’t solicit feedback. One of my most reliable muses has been toiling away in obscurity far away from any epicenter of cool music or culture. There really is no one here to judge you, and if they do, you don’t care because their opinions don’t matter. I don’t know if I’ve ever relied on outside perspectives to guide what I do, as I don’t expect others to like it the way I do. But to not share it seems counterintuitive to creating it. Even though I made it for me, I still have hope that it resonates in some way with a listener. I used to go to breakfast with my friend J and talk about making art for art’s sake, but then why put it out at all?

Success can take on different meanings as time goes on. When envisioning success for this new record, what does that picture look like now?

My expectations with public response are pretty low, actually. As much as I believe that the spirits will allow me to make more music, I equally believe that I can’t predict that my music will find “success” in any conventional way. Mainly, the success I find is a clear head to write again. Songs seem to torment me until I give them a life. Then they leave me alone and I hardly think of them again. It’s weird.

As an artist, the act of baring your emotions to the world is profound. Does this vulnerability come naturally to you, or is it a constant journey of finding comfort?

It’s totally uncomfortable. I want to be that person who really loves their work so much and goes around reciting their own poetry to anyone that will listen. I definitely know those people. I’m not one. I do find that playing guitar is something I can comfortably share with others in a live setting. I feel very at ease with that. With lyrics, I know the higher concept that I want to convey but get easily muddled by an unquiet mind. I write more music than I have words for, and so many of the same themes recur. And it’s not always from the heart. Sometimes it’s just an act. As life can be.

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

I’m an incompletist. There are two parts of a song consistently orbiting around my brain. And I’m guilty of calling it done when I should probably just be patient. Songs are journeys, and they end where they end. Some are short trips, some are fart rips. And sometimes they turn into better songs down the line. I love to record and we usually set it up and track stuff, listen back, and grow it from there.

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

I wrote a power ballad on this album that I thought would have been a hit in 1987. That felt great because I love the sound of 1987. Turns out it doesn’t totally translate in 2024, but when I was recording it, I could feel that it captured a higher concept than just the basic rock song that it was. It’s basic and simple, so it spoke right to me. I write and record a lot of different sounding songs, and they end up in one bucket or another. A good song can have more than one life, for sure.

With the resurgence of cassettes, imagine curating your inaugural mixtape. Which five songs would be must-adds and why?

If you condensed the current record into a ripping mixtape, you could do worse than this here.

Luxury Mane put out a cassette called Isn’t This Great, and I did a solo album on cassette called This Is Number One or something like that. I LOVE cassettes and miss my car with the cassette player so much. I’m into the idea if anyone out there wants to take this further. Here’s my pick for a ripper EP:

  1. Decap
  2. Lens Makes Ruin
  3. Drifted
  4. Sure Enough
  5. Away from the City

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

When there are people who can share the energy with you, it’s just different. It’s spontaneous and interactive, and the excitement comes from living in the moment, and the enjoyment is all about sharing that moment with a bunch of people.

While you can’t dictate how people interpret your music, are there specific elements you wish to highlight that set your songs apart?

It’s the sounds I heard growing up in Florida. It’s heavy metal and soft rock influenced. I listen to a lot of ambient and synth music, but I play a lot of soul and older RnB with a band I’ve been in for a million years. I get a lot of ideas while I’m playing with them. The band has 10 players, so there’s a lot to listen to besides myself. I love the Budos Band and the Menahan Street Band. I don’t really write that way, so I’m not sure where I’m going with all that. But I wish I wrote like Phil Lynott, Elvis Costello, and Eddie Van Halen. I just write and write. Melodies will just invade my space. I’m not sure if because they invaded my headspace that they come out different than someone else’s. But maybe.

In a hypothetical scenario where you could tour with two other bands, who would be your ideal companions and what synergies do you envision?

White Reaper because they have the most ripping dual guitars, and Mötley Crüe because we each want our own bus.

How would you describe the evolution of your sound in this new album compared to your previous works? Were there intentional shifts in style or themes?

Definitely. This group of songs sits pretty far away from my previous work with Luxury Mane and even my solo stuff. Kyle, the drummer, and I had a band called The Semis some years ago that was similar to this. It almost feels like a continuation of that thread. And the song Decap off this album was a rework of a Semis song of the same name. I’ve always been a fan of harmony guitar solos, but this new record really brings that sound to the forefront without being hokey or ironic. Playing it live with Matt has been insanely rewarding. That guy is a monster on the guitar and just the coolest person, and he makes for a good sparring partner.

In the digital age, visual elements are intertwined with music. How did you approach the album’s visual aesthetics, such as album art and accompanying visuals? How do they complement the sonic experience you’ve crafted?

I started doing digital collage a couple of years ago and had every intention of making record covers out of those. But we have a friend, Mikey Thompson, who approached us about taking some shots for the band. They turned out really great in that they capture four poseurs in a muscle car that looks like they love rock ‘n’ roll, which is really what this album sounds like. He is a wizard with the camera, and he got some really nice shots using the natural light of evening in the warehouse district of St. Pete. It’s a vibe, so we ended up using that as the album cover.

The Hollywood Stars Shine Again with ‘Starstruck’: A Comeback Story

Posted on by patrickdonders

The Hollywood Stars are no longer just a legendary name from the past. After many years of silence, they released “Starstruck” last month, which was promptly voted the best Power Pop album of 2024 so far by Shindig. This accolade is well-deserved, as the eleven new songs are vibrant and high-quality, reflecting the class of a distinguished band.

George Keller, who joined as the lead guitarist in the spring of 2023, shared with the Sweet Sweet Music blog how “Starstruck” came to be.

You can find ‘Can’t Do It Right’ showcased on the Best Power Pop of 2024 Spotify Playlist.

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

It involved a bit of magic and a lot of hard work. I joined the band in early 2023, and at that point, about half of the material for our new ‘Starstruck’ album was in place. Everybody in the band gets a songwriting credit on ‘Starstruck.’ I worked on a track called “Walking With an Angel.” We recorded the album in two marathon sessions, the first in March 2023 and the second in November. We recorded at Kitten Robot Studios in Los Angeles, and the album was produced by the band, our manager Loren Molinare, and longtime L.A. producer/musician Paul Roessler. We’re all very pleased with how it turned out and the reception from press and radio has been great.

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

Yes, during the recording of “Shortage of Love.” The track was recorded live and we didn’t have an ending. We played what we thought might be the ending, and then Loren, who also played some guitar on the album, kept playing and we all followed his lead. The song ended up becoming this anthem-like extravaganza that none of us had envisioned.

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

It’s always good to check the outside “temperature.” 🙂

Success can take on different meanings as time goes on. When envisioning success for this new record, what does that picture look like now?

Our goal is to get as many features and reviews, and on as many radio playlists, as possible. So far, we’re accomplishing that goal. Of course, we would also like to play more shows.

Within this collection, do you feel that the best song you’ve ever written finds its home? If not, what distinguishes this record’s essence from your prior work?

Every new endeavor has its highs, and my song “Walking With an Angel” comes as close to perfection as possible, with a great vocal by Scott Phares and wonderful interplay between the drums and guitar as the song fades.

As an artist, the act of baring your emotions to the world is profound. Does this vulnerability come naturally to you, or is it a constant journey of finding comfort?

Naturally, and as a lead guitarist, I can be a bit of a showoff.

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

It’s in the thousands and spans many years. In June, we played an album release party at The Viper Room in Hollywood. The place was packed and there were many folks that we have known for decades in the audience. That show was very special and stands out to me right now.

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

You have to stop before the energy dissipates. Three takes should be the maximum in my opinion. If you can’t get it in three takes, then it’s time to move on.

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

There is a formula but you have to be careful and not become cliched. It’s difficult to define so you have to “trust your feelings.”

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

This question makes me think of our track “Shortage of Love,” which is both a title and a message to listeners.

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

Seeing the smiles on the audience’s faces and their bodies moving. It’s an immediate sign that the band is doing something right.

Among the compliments you’ve received, is there one that remains etched in your memory? If so, what made it particularly unforgettable?

Yes, a very well-known poet friend of mine said my performance was so captivating, he forgot he knew me.

Studio moments often hold a touch of magic. Could you recount an instance that stands out as the most enchanting during your creative process?

For ‘Starstruck,’ it was playing the lead guitar break to “Revenge” through a Marshall stack that was turned all the way up to the proverbial 11!

Where do you see yourself situated within the broader landscape of the music industry? How do you perceive your unique role and contribution?

The Hollywood Stars create energetic, melodic, and memorable tracks. The band name has been around since the early 1970s so a lot of people have fond memories of this group’s music over the years. In the band’s early days, they were hit by a succession of tough breaks that derailed their career momentum. At this point, decades later, I think that the attention, and having the chance to still be making great rock ‘n’ roll is a wonderful tonic for all of us, but most especially our three members from the 1970s: vocalist Scott Phares, drummer Terry Rae, and bassist Michael Rummans.

In the digital age, visual elements are intertwined with music. How did you approach the album’s visual aesthetics, such as album art and accompanying visuals? How do they complement the sonic experience you’ve crafted?

The cover photo was a happy accident and with a band called “The Hollywood Stars,” the name is synonymous with the film industry. Everything fits together nicely.

Rediscovering Mark Bacino: A Journey Through ‘Top of the World’

Posted on by patrickdonders

Rolling Stone once described the music of New York-based singer/songwriter Mark Bacino as “steeped in the sparkly, head-bobbing melodicism of classic mid-’60s pop.” He stays true to this style on ‘Top of the World,’ offering ten excellent songs that occasionally evoke a pleasant melancholy. Much has changed since the release of ‘Pop Job…the Long Player!,’ the Marc Bacino album I play most often. It’s time to catch up.

You can find ‘Kaylee Hughes’ showcased on the Best Power Pop of 2024 Spotify Playlist.

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

The journey of bringing “Top of the World” to life was a long one. As with all my records before, a process filled with a combination of joy, hard work and heartache. Although this one took an especially long time to make and was crafted in fits and starts. Family and work responsibilities played a part in slowing the process, as did, of course, the Covid crisis. I’m always a bit of a perfectionist when it comes to making these things as well, so that never helps move things along. Also, the nature of how the album was recorded probably added to the lengthiness of the process. This go-around I worked with two different co-producers (Ron Zabrocki & Jay Sherman-Godfrey) in their studios as well as my own. We also did a lot of remote collaborations with many talented musicians, far and wide, via a lot of files floating around the interwebs. It all added up to being a bit of a complex production process, but in the end we got it done and ultimately all that stuff melts away when the record makes its way into the world, takes on its own life and folks begin to enjoy it. And really that’s the way it should be.

Within this collection, do you feel that the best song you’ve ever written finds its home? If not, what distinguishes this record’s essence from your prior work?

I always like to think the latest tunes I’ve written are my best but it’s really impossible for me to judge. And, ultimately, I’m not sure it’s my place to do so anyway. It’s always been kind of the same with every album I’ve made; you craft a record, a collection of songs, release it and those songs are really no longer yours, they belong to everyone that listens. Each person will have their own personal favorites and not-so favorites and each song will mean something slightly different to every listener. Some folks have kindly said that “Top of the World” holds my best songwriting to date. I’m flattered, but again, there’s really no way for me to judge, I’m too close to it all. I suppose if I had to choose one song that I’m most proud of from this new collection, I’d probably pick the tune “Shaky Hand.” Weird title and probably a weird little song, but I feel like I struck a good balance, lyrically speaking, on that one between the hyper-personal and the universal.

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

Truth be told, I’m probably not a very laid back person, but in terms of songwriting I would describe myself as such. I really don’t sweat or force the process. I try to let the songs form as naturally as possible and come when they want to come. That may mean that a song idea might sit around, geminating, for years or it may mean that a tune may materialize in half an hour. It’s hard to say exactly when a composition is complete but somehow I just know and I tend to trust that feeling. A combination of experience and instinct, I guess.

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

I can’t say I’ve ever really worried too much about striking that balance – probably much to my financial detriment – but I’ve always been a big music fan first and foremost, so as such, when creating music I’ve always operated from the position that if I like the music I’m making, someone out there will probably enjoy it as well. My musical tastes are not that odd or left-of-center. I also think that chasing the commercial dragon is a slippery slope. As a songwriter, at the end of the day, you can only really be you and it’s best to remain as such. It’s ultimately what makes your work unique and special anyway. You can try and shoehorn your creations into some sort of “commercial” box but I think that end-result just always comes across as forced or inauthentic. In my opinion, Taylor Swift writes commercially successful songs not because she’s trying to, but because her personal brand of songwriting just happens to currently align with the zeitgeist.

Success can take on different meanings as time goes on. When envisioning success for this new record, what does that picture look like now?

I think when I was a younger artist around the time of my first commercial release (“Pop Job,” 1998) I was most definitely looking to swing for the fences in terms of success and my definition of that word at the time. The world and the music business was very different then. The goals for me and many of my contemporaries in that moment were to get a indie label record deal and a manager, which, in turn, would lead to a major label deal which was supposed to lead to fame, fortune and a life of musical happiness. I was lucky enough to achieve some of the aforementioned, but I still felt like “success,” as I defined it at the time, eluded me. A few years beyond that, I think my idea of success morphed into the thought that if I could just do nothing but make music, not necessarily my own, and pay the bills, that would be my new definition of success. After launching a freelance music production business that basically allowed me to make music for a living, I soon realized that the grass is not always greener. Everything comes with a price. These days, with some age and some experience under the belt, I realize success is – and it might sound corny – really about being happy and healthy and having people around you that you love. I very much enjoy having the opportunity and privilege to make my art and offer it to folks out in the world to enjoy, that’s a real gift, and of course I’d like the music to reach as many people as possible, but that’s kind of secondary in terms of my definition of “success” these days.

Lo Fi Ho Hum: Power Pop Brilliance in 19 Minutes

Posted on by patrickdonders

Jacob Godbey contacted me, saying, “My name is Jacob, and I’m in a power pop band called Lo Fi Ho Hum.” This succinct introduction mirrors the compactness of their debut album, aptly titled ‘Garage Pop.’ The album features just 7 songs and lasts only 19 minutes. It’s not just short—it’s concise, direct, and wonderfully good.

You can find ‘Never Been In Love’ showcased on the Best Power Pop of 2024 Spotify Playlist.

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

Garage Pop came to life under some very negative circumstances, which is unfortunate because I’m constantly trying to buck the “artists have to be tortured to make good songs” trend. Despite my best efforts, these songs wrote themselves through the isolation of living alone and working from home during a pandemic. I also went through a plethora of relationships, some good and some bad. Many of these are chronicled on the lead single, “Never Been In Love,” as well as the final track, “Maybe.”

Basically, I moved across the U.S. to begin a relationship but chose not to stay there and ended up living at my parents’ house. As luck would have it, my father was just putting the finishing touches on a new garage, so I got to record an album in it before it got filled with vehicles.

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

A bandmate from a prior project expressed how much he loved some of these songs in their demo form, so when I found myself essentially at “rock bottom” and living in my childhood hometown, I knew pretty quickly what needed to be done for my mental health. My grandpa kicked in some recording equipment, one of my father’s friends let me borrow a guitar amp, and the rest was recorded through pure gumption.

Success can take on different meanings as time goes on. When envisioning success for this new record, what does that picture look like now?

My definition of success has definitely morphed over my life. I used to perform sketch and improv comedy and had my sights set on SNL or movies someday. I also grew up fantasizing about becoming as omnipresent as bands like Good Charlotte and Blink-182. Success to me now is creating sustainability. I’d love to foster a community of creatives who push each other to greatness and can pay their mortgage with those results, if not their car payment as well.

Failing financial success, it would really mean a lot to me to look out into a crowd and see people singing my words back to me. I’ve never had that yet, and I just know I’m going to cry if it ever happens!

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

In the song “Boundaries,” there’s a line at the end that reads:

Now when I see a friend crumbling/ I scream, “You deserve better than that!”

That’s an important one to me because that song is about being emotionally abused in a relationship. I had SO many friends warn me while I was in it, but I really didn’t listen to any of them. So it’s a shout-out to them but also to everyone. Grab your friends by the shoulders and scream “You deserve better than that!”

If there’s a passage I could choose that encapsulates the album’s entire vibe, it would be the following from “Never Been In Love:”

There was one/ wanted me to tie her to my bed/ but I’m such a pacifist/ that I’ve never been in love

Yes, it’s a true story, yes, it is intended to be funny, and yes, it is tongue-in-cheek. If you can’t relate to that, then Lo Fi Ho Hum might not be for you!

While you can’t dictate how people interpret your music, are there specific elements you wish to highlight that set your songs apart?

If I could befriend every single one of our fans, I would. This music is a call to end loneliness and I think it works best if you know something about me, the person writing the songs and singing. That’s what sets our songs apart. They are entirely honest lyrically and musically. I love pop music, but I also love punk and new wave, and I think that shines through.

Where do you see yourself situated within the broader landscape of the music industry? How do you perceive your unique role and contribution?

I wouldn’t say I’ve ever participated in the music industry, but I hope this release changes that. I’ve always been a consumer, but these songs are already gaining me some entirely unexpected recognition amongst peers, so I’d like to continue that!

I really am obsessed with the creative process and I’d love to help other musicians and creatives find their best work. I’ve been lucky to have friends pull greatness out of me, and I’d love to pay it forward!

With this fresh collection of songs, how do you envision connecting with both your existing fanbase and new listeners? Are there specific emotions or messages you hope they’ll resonate with?

I really hope anyone who listens resonates with the themes of reluctant adulthood, male loneliness, but also not settling. In a world where we have so little control over the situations around us, it is important to take care of yourself and those you care for. Hopefully, that is communicated in the lyrics here! And if you come to a Lo Fi Ho Hum show, you will be taken care of. All are welcome and we like to foster a sense of safety not just for the fans, but also for ourselves.

Dan Miraldi’s ‘Ulysses’: A Captivating Chapter in His Power-Pop Trilogy

Posted on by patrickdonders

Recognizing quality can be straightforward, and Dan Miraldi’s new release, ‘Ulysses‘, is a perfect example. You’ll quickly notice its excellence. With ten tracks that leave you wanting more after just half an hour, it’s a compelling listen. Fortunately, ‘Ulysses’ is the second installment in a garage rock power-pop trilogy that Miraldi is crafting, or so it seems. He delves into this project with Sweet Sweet Music blog, explaining how it all comes together.

You can find ‘Almost Sounds Sincere’ showcased on the Best Power Pop of 2024 Spotify Playlist.

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

I spent most of 2022 focusing on the release of my seventh album, Radio Friendly Darling, so recording for Ulysses did not really commence until January of 2023. A few months prior, I had moved to a new apartment and finally had my home recording setup in place. I had four songs fully written as my starting point. I knew that the title track was supposed to open the record. I also had two song fragments that I managed to complete once production began. Then, as often happens when I am recording, new ones start to come to me and I wrote four additional songs that ended up on the album. I wrote a good number of other songs that will likely be saved for an album next year as well, but I thought these ten songs for Ulysses made for a satisfying listening experience.

Where do you see yourself situated within the broader landscape of the music industry? How do you perceive your unique role and contribution?

I recognize that I am a niche artist. I think my music is accessible and likable, but I have no commercial expectations. The music industry is an abyss. There is no meritocracy. I love rock and roll. I make the records I want to make. My first album came out fifteen years ago. I feel like I have been very consistent at releasing quality music. I have toured and gotten to play shows with some of the big kids, but my greatest musical blessings have been the support of some independent DJs in the Cleveland area as well as SiriusXM. I can get really existential, but for the sake of this interview, I will focus on the positive. I am proud of the records I have made and grateful to anyone who finds their way to my music.

How would you describe the evolution of your sound in this new album compared to your previous works? Were there intentional shifts in style or themes?

This will be a long answer unfortunately. I feel like my career and sound can be broken down into three phases with transitional records in between. My first three albums and four EPs are phase one. I was developing my sound trying to pull my retro rock and roll influences with garage rock revival and elements of punk. I was on the road, traveling in a van with my band, really trying to make things happen. Eventually, it was not turning out commercially the way I was hoping and I had to rethink my career and business model. My third album, Chaos Destruction & Dancing, is a transitional record. It was made when I knew I was moving from my hometown of Cleveland to try new things in NYC. It did not come out until a year after I moved to New York.

In phase two, you get to New York-era records – Love Under Fire and then the big one for me Alphabet City 2 AM. I had a period of creative doubt when I first moved here. I wondered if I had already written my best songs, but then I found my voice and confidence. The new city and the friends I was making inspired me. I wrote so many songs, that it provided material that has found its way on to multiple albums. In this second phase, I also made the acoustic Mood Music records and the proto-punk 15 Minutes of Fury which were important, because I was getting comfortable recording myself at home just as the pandemic hit and throughout it.

Coming out of the pandemic, I feel like this is phase three. I did not plan it this way, but I think I am making a garage rock power-pop trilogy. Radio Friendly Darling was part one. I was trying to make something upbeat and comforting as we all had been through a lot during covid. Now with Ulysses, I feel like it rocks a little harder, but it is still fun. Songs I did not get to during Radio Friendly Darling, provided the starting points for Ulysses. While making Ulysses, I wrote a bunch of new songs. I could have technically made a double album, but did not want to go that route. It is tough to get people’s attention long enough to listen to one new song, let alone a whole record. So I set those other songs aside and hope to finish another collection for next year. I am excited to share Ulysses and excited to know that I have another potential album up my sleeve. I am not delusional. I recognize that I have limitations in reaching an audience in these days of algorithms and the oversaturation of tens of thousands of songs being released daily to streaming services. Most people will never hear about it, but that is not what drives me. If I may be so bold, if people like garage rock and power-pop, I am making something special for them. I am going to throw down the gauntlet with this next record. It’s written and probably 75% recorded.

With the resurgence of cassettes, imagine curating your inaugural mixtape. Which five songs would be must-adds and why?

I am all about the deep cuts.

The Records “I Don’t Remember Your Name.” If you find a copy of the album Crashes by the Records, buy it. It is not available on CD or streaming, but it is great power-pop from the late 70s early 80s. “I Don’t Remember Your Name” has a great Revolver-esque guitar riff, but it has great lyrics about being at a party wanting to go home and not remembering the names of the guests you’ve been introduced to throughout the evening. I identify with it.

Kurt Baker “Anchors Up.” Kurt is a cool guy and I am only beginning to dig into his rich discography. I really enjoyed 2023’s Rock N Roll Club and “Anchors Up” is a highlight. I saw him play it live and it was killer.

Nathan Hedges “Times Are Changing.” Nathan played guitar on two of the Ulysses tracks and is one of my best buds. However, I am including him because he is talented and underrated. He put out his own EP last year in the Americana-rock genre. It’s excellent and “Times Are Changing” is a rockin’ highlight.

The Knack “Can I Borrow A Kiss.” The Knack’s “My Sharona” has my favorite guitar solo in all of rock and roll, but like I said, I like the deep cuts, so I am instead adding “Can I Borrow A Kiss” to the mixtape with the hope that you listen to Knack records beyond their debut. “Can I Borrow a Kiss” is perfect power pop. The song is thoughtfully romantic, but still an infectious listening experience.

Stephen Stills “Singin’ Call.” Stills is my favorite guitarist. I also love his voice. It’s a vulnerable song to be listened to late at night. Kids these days don’t know enough about Stephen Stills. Between 1967 to about 1975, he was on fire as a writer, producer, arrangement and instrumentalist. There are many songs I could point you to, but this has been my go-to over the last couple of years.

Envision recruiting three singers to provide harmony vocals on your next record. Who would you invite, and what qualities do they possess that resonate with you?

I listen to a lot of older rock music, but my favorite singer under the age of 70 is Grace Potter. She is one of the best rock and roll singers out there. I once played a festival she headlined and we shared a golf cart ride together, but I did not have the nerve to ask her to sing harmony.

Graham Nash is one of the greatest harmony singers ever. In his eighties, he is still great. Songs for Beginners is one of the most underrated albums of the 1970s. To sing with Graham would be monumental. I met him when I was 16 and he was very gracious. A few years ago, I reached out to his manager to see if Graham wanted to do a writing session together. The manager politely responded that Graham very solidly booked for the foreseeable future. Maybe I should follow up?

Paul McCartney, because the Beatles are the best and Paul’s work ethic has always inspired me. Assuming I could manage to talk in his presence, singing with him would be an honor. I do not have a Paul story, but I once opened for his son James. It was cool.

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

I celebrated the album’s release by performing at the International Pop Overthrow festival in Copenhagen a few weeks ago. I plan on doing more shows likely in the New York City area this summer and fall, both solo acoustic and full band. I will also be returning to my hometown of Cleveland for a reunion show of Dan Miraldi & the Albino Winos, my old touring outfit in September. We have not performed together in five years, but that will be fun.

I will also be continuing to record. I have that power-pop record I mentioned earlier as well as a folky collection that I am still developing into a potential EP.

In the digital age, visual elements are intertwined with music. How did you approach the album’s visual aesthetics, such as album art and accompanying visuals? How do they complement the sonic experience you’ve crafted?

The album art was one of the last things that came into place. I record at home and like to make the lighting vibey when recording. I lower the lights and have this “nebula projector” that puts celestial patterns on the ceiling. I was messing around with the projector. I pointed it at myself and then took a selfie. I thought it looked cool and used it for the cover. It was spontaneous, but once it happened, I knew it was right.

The other visuals are coming in the form of videos. My wife, Meaghan, works in film and directed a music video for “Unfollow Me” while we were honeymooning in Barcelona. She is in the process of editing the footage. It is looking cool. The music video is very tongue-in-cheek with the visuals matching the lyrical commentary on social media and how people present themselves. We hope to have it out in the coming weeks.

the dt’s: Capturing the Magic of Live Performance with ‘Live at Lakehouse Studios’

Posted on by patrickdonders

‘the dt’s’ is a Power Pop band hailing from New Jersey. Fronted by David Cacciatore and Tom Losito, the group crafts straightforward, irresistibly catchy pop tunes that are perfect for live performances. Fittingly, their latest EP, Live at Lakehouse Studios, captures the energy of their live shows, as the title suggests.

You can find ‘Tina’ showcased on the Best Power Pop of 2024 Spotify Playlist.

How do you balance experimentation with commercial appeal in your music?

We love to experiment in the studio, whether that involves exploring new recording techniques or instrumentation that can add flair to a song. We appreciate songs that are concise and structured with plenty of hooks and melodies, but also those that leave the listener wanting more. Balancing experimentation with memorable melodies is a challenge that we enjoy tackling.

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?

Some lines of text that we hope our listeners will remember are the last lines of our single, “Refresh”: “Don’t hit that refresh, ’cause I know I’ll regret seeing what you’ve been up to, seeing the things that you do.” Throughout the song, the narrator wants to “hit that refresh” to see what this person they used to know has been up to. However, in the end, the narrator realizes that this habit of checking up on this person is unhealthy and ultimately decides not to “hit that refresh.” It’s a song that comes full circle for the narrator, showing growth, which we love!

We also try not to overthink lyrics and prefer having a stream of consciousness for what we are feeling in the moment. We always find ourselves looking to rhyme or finding certain phonetics that make a chorus pop, as the melody is most important to us. We love clever lyricists and wordsmiths like Nick Lowe, Jason Isbell, and John Prine!

Playing music in front of a crowd. What’s all the fun about?

We love playing live and we try to leave everything on stage when we are in front of people, whether it is a big show or a small, intimate one. Many times, people mention to us that it looks like we are having the times of our lives on stage. And truthfully, we are! Putting on a show with crowd involvement, good vibes, and full-throttle energy is what we are all about and what we look forward to the most.

If you could tour the world with two other bands, who would you ask, and why?

We would love to tour with The Lemon Twigs, Silvertwin, The Brook and The Bluff, or Inhaler (yes, we know that is more than 2!). All of these bands are writing incredible songs and we feel our sound would mix very nicely with them. We’ve been admiring their work and content over the last few years!

What compliment you once received will you never forget?

One of our favorite compliments is when people mention that our voices blend nicely together or they love our harmonies. There was one time we were playing an acoustic duo show in South Orange, and a group of choir students from Seton Hall University complimented our vocals and asked if we sang professionally. Neither one of us went to school for music, and we both have limited formal training. So, to hear that from students who are being formally trained in their voices meant a lot to us. Harmonies are something we put a lot of emphasis on and put a lot of practice into, so when people compliment us on that, we are always grateful.

If you could pick three singers to sing harmony vocals on your next record, who would you ask?

Tom: For me, I would have to pick Sir Paul McCartney and Don/Phil Everly.

Dave: Hozier, Noah Kahan, Jon Bon Jovi (Jersey!!).

What’s up for the next couple of months?

In the next couple of months, we have a ton of shows lined up both as a duo and with our full band. We have a great show lined up at the Crossroads in Garwood, NJ on July 18th. The bill will feature a ton of talented friends including Kelli Bruno, Gina Royale, and The Extensions!

We also have a new single coming out on July 5th! We recorded this song a while back with our good friend Joey Papa, and are anxious to finally release it. We think it can become a summer playlist staple! Additionally, we will be focusing on rehearsing some new songs with our band so we can prepare to head back into the studio. Similar to our latest EP, The dt’s Live at Lakehouse Studios, we are excited to get back to the studio to record our new songs and capture the energy of our band!

Mark Ward’s ‘LET ‘ER RIP’: A Power Pop Gem Set to Shine

Posted on by patrickdonders

“LET ‘ER RIP,” the new album by Mark Ward, will be released on June 14. This record is packed with incredibly catchy, classic Power Pop songs. It shines, sounds fantastic, and has even garnered praise from Paul Collins.

Sweet Sweet Music blog sits down with Mark Ward.

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

Having recently relocated from Alaska to Washington State, I left my long-term band, Last Train, behind, along with my valued creative outlet. We had a pretty good run with four albums of edgy Alt-Americana rock and some international airplay. However, arriving in Washington during a pandemic, I found I was really on my own musically. As a guitar player, my songs are admittedly guitar-centric. With that, I can cover most instrumentation and vocals, but I was without a drummer, and my drummer friends in Alaska were busy with their lives. A buddy of mine and fellow collaborator, Chad Reynvaan, suggested I contact Dylan Mandel to play drums. Though he’s in Pennsylvania, we immediately hit it off and started tracking drums remotely. He’s a total pro and, frankly, I could not have finished this project without him.

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

Over the years, my songwriting has taken on a much more serious tone, especially with everything that’s going on in the world today. But serious songs can take a toll on both the performer and the listener. While I think it’s important to speak your mind and give voice to a sense of reason, it is equally important to just have some fun. While there are a few serious songs on the record, in this election year, I decided to take a hard departure from that and just write some fun pop songs that don’t necessarily have to mean anything, because that’s also okay. I set out to finish a song I had written a guitar line for some 40 years ago with that sound in mind, and the song “I’ve Been Around” just fell onto the page. It was so refreshing that I decided to write another, and another, and pretty soon I had a pile of power pop songs, because why not? The trick then became how to sequence the album so it didn’t feel disjointed. I think it works, and the album at least leaves you with a sense of hope.

Success can take on different meanings as time goes on. When envisioning success for this new record, what does that picture look like now?

Great question. I’m not a full-time musician and can’t easily play out as I don’t have a band where I live anymore. I’m not really interested in touring as I have a pretty busy, fulfilling life that music is only a part of. In this day and age, there is really no money to be made in the music business unless you’re a mega pop star. So I guess success for me is having my music appreciated, respected, and enjoyed by people who want to hear music that is not force-fed to them by an algorithm. As we used to say in my previous band, if we can sell enough CDs to cover the cost of making the album, it’s a no net loss and therefore a success.

As an artist, the act of baring your emotions to the world is profound. Does this vulnerability come naturally to you, or is it a constant journey of finding comfort?

It comes naturally to me, I suppose. I have always felt lyrics deeply in others’ music and my own. In fact, when you are working on a meaningful song and a line pops into your head that immediately brings you to tears, you know it’s the right line. This happens to me often. The trouble is, it can often be difficult to perform a song like that live. If the lyrics mean something to you and you are feeling the lyrics too much, you can quite literally choke up, which makes it impossible to sing. It’s a fine line, not going too far over the edge.

How would you describe the evolution of your sound in this new album compared to your previous works? Were there intentional shifts in style or themes?

My previous efforts have been tailored to the bands I was in, being mostly Americana, Alt-Country, Cow-Punk, or because there’s a pretty distinct sound of music coming from Alaska, a genre I called “Alaskana.” But my writing has always tended on the more pop side of things. Since my college years, playing in a New Wave band and loving bands like Paul Collins, The Nerves, The Beat, The Heats, 20/20, The Knack, etc., I’ve always had a power pop bent to my writing. With this album, I just decided to go all in for the majority of the songs.

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

My philosophy on making a record is that you just can’t (or shouldn’t) do everything yourself. You need other expertise, ears, and sometimes ideas to make a song worthy of listening to. Dylan Mandel’s drumming gave a cohesive sound to the record. Even though he used three different kits and multiple snares, his drumming is spot on for the sound I was after. I’ve collaborated with my Alaskan buddy Chad Reynvaan, who runs Wattage Studios in Anchorage, on a number of things over the years. He’s been a great resource to bounce things off of as well as add the occasional synthesizer or backup vocal, which he did on this record. The well-respected Anchorage musician and producer, James Glaves, added some tasty keyboard and piano to a couple of songs. The finale of the record includes a list of friends who lent their voices quite literally to the choir on the song “Hope.” The last line still gives me chills. At the recommendation of Paul Collins, I used Justin Perkins at Mystery Room Mastering for the finishing touch. He’s amazing, and I think his efforts provided the final polish the record needed.

From Techies to Tunes: The (Un)likely Journey of Baseball Bat

Posted on by patrickdonders

Baseball Bat, a power pop band from Nashville, has recently released two strong, catchy songs, building anticipation for their upcoming EP set to drop in mid-June.

In an interview with Sweet Sweet Music blog, Brian Fuzzell explains that these songs have a long history.

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

The four of us worked together and became friends at a Nashville technology company. One day, Jerry came in with the idea that he wanted to form a band called Baseball Bat. He had the name before he had a band. So, the four of us got together to try to play some Weezer songs, but we never did. Instead, we wrote some of our own songs—the first was our own type of theme song, called “Baseball Bat.” Years later, we finally played one or two of those old Weezer songs.

But it took a lot to make these songs come to life as recordings. Over the last 12 years, we’ve recorded most of them twice in separate sessions, and both times, we ended up trashing the recordings. We also kind of, sort of, passively broke up for about six years. But like Voltron, we re-formed two years ago with the goal to give this another shot and truly make some recordings we’re proud of. Fortunately, Jeremy Ferguson agreed to produce, mix, and engineer the sessions. He really captured the sound and energy we’d always hoped for. Another amazing thing that happened is our old friend and former coworker, Brian Murphree, got involved and mastered the recordings. He’s become an incredible mastering engineer with his business, Soundporter Audio Mastering, so it felt great to keep things in the family to finish the project.

With the resurgence of cassettes, imagine curating your inaugural mixtape. Which five songs would be must-adds and why?

Harry Nilsson “Gotta Get Up,” The Posies “Daily Mutilation,” The Replacements “Bastards of Young,” Weezer “El Scorcho,” Tom Petty “Honey Bee.” We love these songs, and they get to the heart of what the four of us collectively love about rock music.

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

“Let Down,” “Brain Dead,” and “Baseball Bat” (the song) are probably the best introduction to what this Baseball Bat thing is all about. Those three represent our blend of slacker garage-y quirkiness very well.

Where do you see yourself situated within the broader landscape of the music industry? How do you perceive your unique role and contribution?

We have absolutely no role in the music industry at all. Ha! Baseball Bat is more like an art project, existing only for the purpose of friends having some laughs and creating together. Our unique contribution to listeners is to provide the soundtrack to make memories, make babies, have some laughs, and repeat.

In the digital age, visual elements are intertwined with music. How did you approach the album’s visual aesthetics, such as album art and accompanying visuals? How do they complement the sonic experience you’ve crafted?

We keep it pretty simple. Baseball Bat is a garage band at the end of the day, and we like taking a straight-ahead approach to our music and visuals. We try not to overthink, much like the punk and garage rock we grew up on, but that doesn’t mean we want to be boring. Our “logo” came from duct tape letters, and most of our imagery is playful, simple, and fun.

We are inspired by the ones that blew our minds with simple, relatable, not-trying-too-hard releases from bands like Superchunk, Pavement, Tom Petty, The Toadies, and Green Day. Our EP cover for “It’s A Let Down” is an actual photograph from our bass player’s house in East Nashville when his basement flooded and all his vintage toys went everywhere. The natural chaos of that image felt just right for the cover and namesake.

These songs are 10-12 years old, and no matter how good we record them, it’s still just us behind them—a bunch of middle-aged dudes from Nashville, TN playing with heart. It kind of is a letdown, so we lean into it and hope that not taking ourselves too seriously is the key ingredient to make an unassuming set of songs that just wanted to get out into the world sound just right, despite the world not asking for them.

What’s coming up?

THURSDAY, JUNE 6: Cassette release show at The 5 Spot, Nashville, TN

6-8 pm early happy hour rock show with The Robe (Soccer Mommy & Features drummer Rollum Haas side project). We’ll sell the limited edition cassette exclusively at this release show – only 50 copies pressed on assorted colors!

FRIDAY, JUNE 7: Worldwide digital release

Digital and streaming release to all major outlets, including Bandcamp.

Rob Carroll – just about had it!!!

Posted on by patrickdonders

Rob Carroll has recently produced an incredible tune that truly resonates with me, evoking strong echoes of “That Thing You Do!” It exudes the same vibrant energy and freshness. Both tracks are undeniably catchy, embedding themselves in your mind for days on end. Prepare to be enchanted and unable to shake it off – you’ll simply adore it.

You can discover ‘just about had it!!!’ featured on the Best Power Pop of 2024 Spotify Playlist.

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

So this song “just about had it!!!” is the first release from my new EP. I have been sitting on 50-100 songs I’ve written over the last few years and finally decided to start putting as many as possible out into the world. I wrote these songs myself, as well as played all of the instruments and recorded and mixed everything. It is a very satisfying process to do all the work myself, but it is time consuming and hard to remain objective.

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

As much as I love pop music and hope to reach as many people as possible with my music, I rarely write with external perspectives in mind. I take into consideration things that might make a song more streamlined (length, chords, density, etc) but rarely write from a place where others are guiding the decisions. That being said, I definitely rely on friends and peers for feedback and take their critiques to heart. I may not always agree, or even follow their advice, but I always listen to it. Wearing all of these hats can make you lose objectivity. Even if I feel their idea is not right for the current song, there have been many instances where I’ve implemented their advice and ideas into new songs I write.

Success can take on different meanings as time goes on. When envisioning success for this new record, what does that picture look like now?

I’m a professional musician full-time. I already make a living from music and in many ways have found certain forms of success. For that reason, the meaning of success for my original music comes in the form of its completion. Having a finished product that I am proud of is what I look forward to most when creating. If streams and followers are gained along the way that’s amazing, but reaching the finish line each time (in a better, more efficient way) is what I strive for.

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

The ready-to-record stage is actually the easy part for me. When I write I typically try to get “the bones” of a song out first. This means at least a verse and chorus with a melody. If I can get a bridge by this stage as well, that’s awesome. The music tends to be easier and quicker for me, so I will often hunker down and force out some form of lyrics at this point as well. Lyrics have gotten easier over time, but I need to have them in place. If I don’t, the song will sit in my voice memos and often be forgotten. Having lyrics, melody and form for a song complete will ensure that I know that song is ready and find the time to record it. Once I start recording, that’s typically where the infinity of decisions can bog me down. I tend to move fast, but if I’m not careful the arrangement stage can really slow me down.

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

It’s funny because, as a listener, I really don’t care about lyrics. They can’t be egregiously bad, but most of the time I’m not listening to them. As a writer however, I do tend to obsess over my words, meter, rhymes, etc. I want to be proud of what I’m writing, but I also want listeners to be moved as well. It would be nice if listeners enjoyed my lyrics, or thought they were well written, but what is more important to me is that they can relate to the ideas and emotions. If they can make a connection to my music through the words then I’ve done my job.

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

Being a performer for a living, I get many chances to connect with audiences and thrive off of this feeling every week. It’s even more amazing when you are playing for an audience of people that are interested specifically in you and your music. So often music is relegated to a background role at bars, restaurants and parties. When you get the chance to lock in with a crowd and perform your own music… there is really nothing quite like that.

While you can’t dictate how people interpret your music, are there specific elements you wish to highlight that set your songs apart?

I love awesome harmony, pop music and good songwriting. If people associate those things with my music I’d be incredibly happy.

With the record completed and the music released, do you believe the pinnacle of enjoyment has been reached, or is this just the beginning of an exciting phase?

As I mentioned before, it is definitely the culmination of a lot of hard work. To be able to look back on a finished release is a great feeling. It’s also the start of two different phases. One is trying to build a connection between your audience and this new batch of music. The other is building momentum and energy to start this whole process again from the ground up. Every time you go to record it feels like the first time. Sure, you’ve learned so many things and have gotten better and faster but staring at the blank project session I always seem to think, “can i do this again? Do I still have the ability?” It’s always intimidating but there’s no better feeling than pushing through that and creating more music.

Kate Clover – The Apocalypse Dream

Posted on by patrickdonders

Kate Clover’s highly anticipated album, “The Apocalypse Dream,” is slated for release on April 5th, 2024. With the hauntingly beautiful and powerful single “Damage Control” already making waves, this record promises to captivate listeners.

Kate Clover shared how she discovered her artistic voice while crafting her second album, enabling her to create music that resonates deeply with her vision, free from the constraints of external opinions.

You can discover ‘Damage Control’ featured on the Best Power Pop of 2024 Spotify Playlist.

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

The moment I stopped caring what other people thought and was myself. I had to find myself a bit while starting this project. I didn’t know yet ,so I through myself out into the world to see what I was made of. I found my voice.

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

I write for myself, I feel that’s how you have to work if you’re making honest art. You can’t chose what people like about you or what resonates. It just happens. I like to eliminate that control and let people I trust or who’s taste I regard tell me what they like. By that point, it’s good to hear the feedback. Success, outwardly in the music business is a popularity contest decided by other people. So why not start from the beginning. Before anything is out.

Success can take on different meanings as time goes on. When envisioning success for this new record, what does that picture look like now?

I like this question because people project their own expectations onto artists a lot. Success to me, is waking up and loving what you do. Being able to play music and create songs that resonate with others. I’m not doing this to be graded, make money (although a nice perk) or fulfill my ego. It’s something that feels natural and I want to be able to share it with others. Truly, connecting to other people is success to me.

As an artist, the act of baring your emotions to the world is profound. Does this vulnerability come naturally to you, or is it a constant journey of finding comfort?

You’d think that would be the case but I’ve found that it’s the easiest way to bare your soul. You can say how you are feeling in anyway you’d like. A poetic phrase could have a deeper meaning to you that no one else would understand. Of course feeling vulnerable can be uncomfortable but you got to stand behind it if it’s honest. I trust that. You have to at a certain point because if your self conscious you’re not being an artist. Art is communicating what’s unspoken. So if you feel it, say it. Express it. That’s the point to me. If you’re being honest you shouldn’t be afraid.

Imagine you could collaborate with three co-writers of your choice for new songs. Who would you select, and what qualities or dynamics draw you to them?

Ric Ocasek, he was a master at writing pop songs. I loved the arrangements of his work as well. Minimal yet melodic. Too bad he has passed, it would’ve been great to hear more music from him.

Pete Shelly, again what a songwriter. He could write hooks in the most angular of chord progressions.

Ray Davies, he can write any type of song masterfully.

4th one, Joe Strummer. Oh man, for so many reasons hahaha.