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

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.

Jordan Jones talks about his new album “And I, You.”

Unlike some artists who prefer to maintain a consistent sound throughout their careers, Jordan Jones is not bound by such constraints. His recent release, “And I, You,” on Lolipop Records, deviates significantly from its self-titled predecessor.

This captivating newcomer presents a richly orchestrated pop sound, drawing clear influences from the meticulous songwriting styles of Brian Wilson and Burt Bacharach. However, Jones transforms these influences into a contemporary sound, creating a modern album that can be readily likened to the acclaimed works of artists such as Michael Rault or Jonathan Rado.


You can discover ‘Love Song of J’ featured on the Best Power Pop of 2024 Spotify Playlist.


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

The only competitive bone in my body comes out when writing music. Mike Collins (Drugdealer) and I basically lived together through the pandemic and while he was writing his new record, I was writing mine so we would go back and forth sometimes until 6 or 7 A.M. discussing ideas and notes and chords and changes to make each other’s songs come together. When he would bring me his latest idea, it was usually (and obviously) really fucking good so I couldn’t wait to leave the room or pull his iPhone speaker away from my ear and run to my piano to write something as good if not better. His opinions were and still are important to me. Nobody else’s though.

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

People playing the record at any type of social gathering. If somebody can listen to “Promise You Forever” and realize that they aren’t alone and that things pass. When the label needs to press a lot more copies. These things are a success to me at the moment.

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?

“Love Song of J” is probably the best song that I’ve written up to this point. This record creates a nice atmosphere for it so yeah I guess you can call it a home. Maybe an apartment.

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?

I’ve never even noticed it. I don’t use my vulnerability in creating music. I usually save that for times when my music can be useful once it’s completed. I’ve always felt extremely comfortable making and performing music. The comfort I’m on a journey for is accepting praise. That I will never handle naturally.

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

When you just can’t see out the windshield of it any longer. You can keep going but it’s too dangerous and ultimately detrimental and you’ll just need to start backtracking to clean it up because you’ve over complicated things.

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

The first time I heard the playback of the “Love Song of J” demo (which back then was just called “F Song”) I knew I had done something really special, at least special to me. Then I showed that demo to some very important people to me and the response was overwhelming. They validated my feelings, I needed that. At that point I really wasn’t concerned if the public latched onto it or made it a “hit” because I was already satisfied.

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

My dream is to tour with Spiritualized. It would just work.

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

One of the musicians I hired for my record release show last weekend just complimented me on how professional I was as a band leader. That was really striking and pleasing.

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

First are all the moments I would hum or play individual notes on the piano for the string part I had envisioned to Emily (cellist) and Laena (violin & viola) and they perform it and watch it work perfectly. As someone who doesn’t read or write music, that direct communication from your brain’s idea coming to life and with such immediacy, made me physically numb. Second was watching Molly Lewis (whistle) perform while recording “Love or Lose”.

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

Scoring film and producing records is something I would really like to do.

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?

I really hope I never I never reach any type of pinnacle in music.

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

Finding management or some sort of representation. Booking really special shows. I’m also going into the studio to start on the 3rd record later this month.

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?

Having my good friend Andrew Peters shoot the album photos was crucial. I believe his talent will be a really important part of drawing people in with that beautiful cover photo. Christopher Deloach’s gorgeous portrait painting for the “Listen” digital single art was a complete success too. I believe when you hear “And I, You” and see all this sensitive and slightly mysterious art, you’ll further understand the mood of the record. I’m really lucky to have these artists in my life.

PACIFIC RADIO – Pretty, but killing me

‘Pretty, but killing me’ is one of my favorite records of last year. Released in December, so still as fresh as fresh can be. Pacific Radio combines all there is to like: Power Pop, Garage – and Indy rock. Catchy as hell, all songs. I mean ALL SONGS.

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PACIFIC RADIO IS:

 

Joe Robinson:  Guitar and Lead Vocal
Joe Stiteler:  Bass
Kyle Biane:  Guitar
Hyke Shirinian:  Drums

 

What was the biggest fun during the making of the last album?
JR: The first day we recorded at Conway Studios it felt real.  Tracking in a place with that unique vibe and history really reinforces the fact that it isn’t amateur anymore.

 

JS:  We recorded three songs in Austin in the middle of March and SXSW, that had to be the most fun.

 

KB:  I think the biggest fun for me is tweaking the arrangements. We typically play the songs live for quite a while before we take them to the studio. When we finally get to record them it is fun to invent new things to make them come alive on the album.

 

HS:  Tough question for me.. The recording process is always a blast. Though so is touring it!

 

 

At what point, during writing, rehearsing, recording, did you knew you were on to something special?
JR:  I got Pro Tools and started “idea recording” songs. People kind of flipped out. That sparked the confidence I needed. They continued to get better and better as the band put their footprints on them, and here we are.

 

JS:  When we showed up to Conway Studios and started tracking drums.  It’s a special place and we were honored to be there.

 

KB:  When JR played me a demo of the song “Katie” I remember thinking we were onto something.

 

HS:  The whole process just feels special.  The way it has all come together, you know?

 

The music industry has changed a lot (or so they say). What did it bring you? And what not?

JR:  It has brought anxiety. It hasn’t brought a Lamborghini.

 

JS:  We’re adapting to the new process of cyber interaction.  A long way from the times of handing out flyers in person or spray painting our logo onto a sidewalk.

 

KB:  I think it always has been a non-traditional industry, and with the internet’s role becoming such a large factor, the “changes in the music business” are just coming faster and faster. I don’t think that we have missed or gained anything, I can say however, we go into work everyday not knowing what to expect. And that can be kind of exciting.
She tells you she will decide on a 5-song-mixtape if there is going to be a second date. Which 5 would you put on?

JR:  “Skyway” The Replacements
      “Rave On” M. Ward
      “I Only Want You” Eagles of Death Metal
      “Peg” Steely Dan
      “Roadrunner” Modern Lovers

 

JS:  “Every Breath You Take” The Police
      “Tyler” The Toadies
      “Keep On Loving You” REO Speedwagon
      “Walk” Pantera
      “This Love” Pantera

 

KB:  “Across the Sea” Weezer
      “Overcaffeinated” Yellowbirddd
      “I Only Have Eyes for You” The Flamingos
      “Caroline No” The Beach Boys
      “Debra” Beck

 

The meaning of ‘success’ has changed over the years. When will the new record be a success?

JR:  Pacific Radio is a “success”, but there is plenty of room in my bank account for more “success”

 

JS:  Success is the journey, not the destination.

 

HS:  To me… It already is. It was a huge endeavor and we’re all proud of it


KB:  I am with Hyke, this whole adventure is a blast, and we are constantly setting new high water marks for ourselves. I am just glad we get to keep doing it.

 

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