The time has come, the Walrus said, to speak of many things. Of Shoes and Pips and Basement Tapes, and the best power pop records of the year. Forgive me if I repeat myself, but 2011 was a great year for pop music ALTHOUGH YOU WOULD NEVER KNOW IT FROM THE TRADITIONAL MEDIA!

The first six months saw the release of most of the best albums, while some of my favorites have already recorded next year’s contenders but won’t release them until ‘12. These heavy hitters include The Foreign Films, Explorers Club, and Bryan Scary.

One: Marco Joachim, “Hidden Symphonies.” “Hidden Symphonies” is a pop masterpiece that achieves a Sgt. Pepper-like grandeur through constant melodic and textural invention. “Gramercy Park” is as memorable as anything the Beatles achieved in later years. “Cellophane Sue” is an obvious goof on “Polythene Pam” and a solid hit in its own right. Marco is immeasurably aided by producer/guitarist Jon Gordon whose epic guitar is all over these tracks.

Two: Cirrone: “Uplands Park Road.” These Sicilian brothers (with Ferdinando Piccoli on drums) reinvent the modern pop song drawing on the Beatles, the Beach Boys, Big Star, the Byrds, Crosby, Stills and Nash, the Hollies, the Zombies and every other great power popper, but they have a unique sound built around three-part harmonies and Alessandro’s and Mirko’s thrilling guitar work. Don’t believe perfection is unobtainable. Listen to this record. (more…)

This has been one of the greatest years in the history of pop music, but you’d never know it if you rely on Rolling Stone, Spin, Billboard, Under the Radar, Mojo, Q, MTV, VH-1 or any of the traditional sources.

Outstanding new voices such as Marco Joachim, Cirrone or The Turnback would have had numerous singles in the top ten thirty years ago.

There are many reasons for the press’s lack of interest including economics, but there is a cultural reason, too. The establishment press long ago became suspicious of art for art’s sake. Beauty and good vibes are so bourgeoisie. It’s got to have an edge, an attitude or sucker punches about the failure of the capitalist system, the hypocrisy of religion, or the need to take public transport.

The movement reached its apotheosis in Spin’s infamous 1993 review of Jellyfish’s ‘Spilt Milk.’  The magazine’s reviewer dismissed the album as mindless ear candy, offering faint praise for one song, the vaguely classist ‘Russian Hill. ‘The reviewer thought it was about the haves versus the have-nots. Music shorn of socio-political content is ‘not relevant.’  It’s even worse if the band voices an opinion contrary to the kultursmog.

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As the music giants stagger further into the wilderness bereft of their traditional sales tools, they continue to churn out tired, American Idol-inspired pop and rap records scooped up by suburban white boys who have never heard the Beatles.  Aided by industry suckerfish such as Entertainment Weekly and Rolling Stone, they tout their latest officially sanctioned “edgy” release.  Here’s Eminem with another bowl of anger.  Must be hard to stay so angry with all that money.  Here’s Christina Aguilera—or is it Lady Gaga—with another incisive critique of hypocrisy.  Only country music is expanding, due  to, perhaps, country’s insistence on singing about things that matter.

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There is another world out there, young pop bands shunning the traditional channels and using the internet to sell their exquisitely crafted, gloriously melodic pop.  Twenty-ten was another banner year in which it was difficult to limit the top ten to only ten.  Nevertheless, here goes.

1. Oranjuly formed in 2009 joining lead singer and writer Brian E. King who had already been working on these songs for years.  Every year it seems a one-man band emerges to stun us.  In years past it’s been Roger Klug and Josh Fix.  This year it’s Oranjuly’s Brian E. King who says, “I played everything but drums and cello. I did play drums on South Carolina though!”  Now the band is a five piece so they can reproduce these astounding sounds in public.  This time the Jellyfish comparisons are apt.  King also has a knack for sunny Beach Boys-style harmonies which permeate the record.  If architecture is frozen music this is the Taj Mahal. (more…)

I saw Fools Face open for John Hiatt in Madison, WI in 1982. I had their two vinyl LPs, Tell America and Public Places on the Talk label. Fools Face did not disappoint, putting on a galvanizing fifty minute show.

They have now released a live record, Fools Face Live at Last (Talk, 2005) that is among the greatest rock recordings ever made. The recording is superb, the audience is electric, and the music itself is timeless fist-pumping power pop, song after song after song.

I have seen the Rolling Stones, McCartney and Wings, Queen, Led Zeppelin, Jimi Hendrix and Santana to name a few, and I have sought live recordings of all of them. Live At Last ranks with the very best, apart from the reasons stated above, precisely because they are a relatively unknown band from the heartland. The record’s unexpected nature only enhances its greatness.  (more…)

Where else should Elvis be hanging out but at the Fort Collins Senior Center?  I saw Bubba Ho Tep?  This was the same Elvis whom my wife Ann dated before I met her and who sang at our wedding.  His name is George Gray and he is widely known as “The Greeley Elvis.” 

The large party room with stage at the Senior Center was filled to capacity by the time Elvis appeared.  He brought a ten-piece band including five back-up singers wearing black suits and ties and one black dress.  Elvis wore a dazzling white preacher’s suit with a crimson cravat.  The first half was devoted to Gospel, beginning with a stunning a capella “Swing Low Sweet Chariot,” and proceeding through a remarkable set of songs including “Walking With the Spirits, “The Battle of Jericho” (which employed a heavy doo-wop style,) “Rock My Soul,” and an a capella “Johnny Saw a Big Number” that stunned.

This is much more than homage.  George Gray has a huge emotive tenor that evokes Elvis with ease.  Gray and the band worship the King and his music and it shows in every note.  Bass vocalist Charlie Spillman, from Fort Collins, anchored the chorus with freight train authority.  The first half ended with “Amazing Grace” and “How Great Thou Art.”  (more…)

The world may have entered a gigantic metaphorical sphincter but there is progress in at least one field.  Power pop has never been better.  We are living in one of the great musical flowerings of history and it shows no sign of abating.  I had a real problem picking just ten records for my top ten, so I kept on going.  Just a little bit.  We’ve still got a ways to go so I might have to update this list. 

The qualitative differences among the top five are nugatory.  One could easily choose any of them as the record of the year. 

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#1: The Shazam – Meteor

These big-hearted stadium rockers have been building toward this titanic yawp of iconic anthems for years.

“So Awesome” opens the record with a twenty-one guitar salute to the joy of living, lead guitar as hard and elegant as the Golden Gate Bridge.  “Don’t Look Down” is a power ballad with every lick carved in stone.  You could climb the notes like a staircase.  Hans Rotenberry’s vocals are winsome and masterful, going from cooed aside to anthemic bellow in a heartbeat.  “Disco at the Fairground” is the best Move song the Move never recorded.  Alternating sinister, earth-chewing minor chords with drunken sailor music hall choruses it crunches euphorically.  Zappa would approve. (more…)

“Barack Obama will require you to work. He is going to demand that you shed your cynicism. That you put down your divisions. That you come out of your isolation, that you move out of your comfort zones. That you push yourselves to be better. And that you engage. Barack will never allow you to go back to your lives as usual, uninvolved, uninformed.” –Michelle Obama

There is a right not specifically spelled out in the Bill of Rights but implicit in every restriction on the federal government: the right to be left alone.  Our nation was founded by individuals seeking relief from overbearing governments and religions.  Rugged individualism isn’t merely a conceit of John Wayne movies.  It has been and will continue to be a way of life for Americans who believe this nation was founded on the rights of the individual.  Not the rights of government. (more…)

Nashville’s The Shazam have been around since 1993, delighting audiences with anthemic, hook-laden rock in the spirit of their two poles, The Who and The Move.  They moved beyond those obvious influences on ‘03’s stunning Tomorrow the World, a blast of rawk big enough to fill the Grand Canyon. 

The Shazam are part of the underground independent pop scene, the guys who gather for the Charlottesville Power Pop Festival, International Pop Overthrow, or SXSW.  Shazam have been with Not Lame since 1999’s masterful Godspeed the Shazam.  Meteor is the first disc Not Lame has produced in three years, not counting their annual International Pop Overthrow compilations. Meteor is a titanic yawp of hard rock anthems alternating with hooks so sweet they take your breath away.  Hans Rotenberry, who wrote and sings the songs, has carved a unique and immediately identifiable style from hard rock dynamics crossed with his sweet, supple voice.  (more…)

Twenty-four year-old Susan La Muse has god-like powers. Actually, her powers surpass those of God since she can reconstitute dead people from scraps of debris and restore them to full health and cognizance. She waves her arms and AIDS disappears from Africa. Every internal combustion engine changes to electric (although the question of what is generating this electricity is never answered.)  She makes disparaging remarks about being a “white girl” while celebrating every other race. And she solves most of her problems through sex. 

Straight sex, gay, bi, group, it doesn’t matter to the sexually omnivorous Susan whose libido knows no bounds. In her most asinine encounter, which becomes key to “world peace,” Susan pulls a train of skinhead Nazis who quickly see the light, accept their “bi-curious” strains and copulate with her and one another. Thereafter, anyone who views her sex tape becomes one with the world and all living things. And “Kumbaya” was heard in the land.   (more…)

Few shows illustrate how low the state of popular music has fallen than “American Idol.”  While AI regularly finds singers of talent, the songs they feature are mostly chestnuts.  The show also encourages the type of singing that is more at home on Broadway than in small smoky clubs.  The judges put an inordinate amount of focus on vocal pyrotechnics encouraging contestants to test the outer limits of their ranges.  The most exciting news to come out of the most recent season is the possibility that Adam Lambert might join Queen, replacing the ill-considered Paul Rogers.

I would love to see Adam Lambert join Queen.  I already know all the songs.  And that’s a problem.  Singer/songwriters have been moving off-grid since the nineties.  With the demise of the major music conglomerates, innovative talent understands it’s up to them to record and release their own material.  The internet makes this possible.  No one knows the extent of the effect downloading has had on the music industry, but if we are to judge from the reaction, it has been devastating.  The Recording Institute Association of America has brought suits against parents whose children illegally download songs. (more…)

When I mentioned to friends I was reading Atlas Shrugged their response was uniform: “Oh that. I read it in college but now I have moved on to adult subjects.”  These were liberal friends, you understand, and I couldn’t help but wonder why they would want to discourage me from reading a literary classic that is selling better now than at any time in its history.  In fact, it has recently moved up to become Amazon’s 37th best-selling novel.  Last week it was 44.  By the time you read this it will have moved higher.

The reason becomes immediately apparent upon reading.  It might have been written yesterday.  Rand’s description of a socialist state taken over by “looters,” people who cannot create or produce but who seize power under the rubric of “fairness” is so spot-on accurate of today’s administration it’s scary.  At over one thousand pages long, Atlas Shrugged is not a weekend read and made me question whether my fun-loving liberal friends actually read it, or read the Cliff’s Notes version which is also selling at unprecedented levels. (more…)

The disconnect between beauty and popularity in music has never been greater.  Where once America sang the Beatles or Motown (“The Sound of Young America”), today the music industry is severely fragmented.  Gangsta rap.  Speed metal.  Trip-hop.  The major recording companies whine about declining profits even as they pay Mariah Carey $18 million not to record.

Unanimity of public opinion over popular song has passed.  Music, which used to unite, now divides.  Eminem and Ludacris would have been unthinkable thirty years ago.  We live in an antinomian age where it’s hip to defy conventional wisdom long after every vestige of conventional wisdom lies in tatters.  Where Keats’ Grecian Urn once proclaimed, “Beauty is truth, truth beauty,” today’s antinomian consumer proclaims, “Whatever,” in a voice oozing ennui. (more…)

Spain Rodriguez is among the giants of underground cartooning, right behind R. Crumb, Gilbert Shelton, and Robert Williams. He has never made a secret of his socialist leanings. His first creation was Trashman, “a hero of the working classes and champion of the radical left causes.” Go to spainrodriguez.com and you are greeted by, “Fight the oppressor!”

Spain doing Che Guevara’s biography is a marriage made in Worker’s Paradise. As a narrative, Spain makes Che’s story gripping through his unique graphic style honed on Great Leap poster design, cycle mags, and Steve Canyon. Visually, Che is a pulp masterpiece offering page after page of Spain’s evocative, neo-noir art. His scenes of Havana and Caribbean ocean towns are just detailed enough to evoke a sense of place. (more…)

Part One:

In 2006, I had a minor low pressure area in my brain and conceived a P.R. campaign directed against Islamo-fascism which I posted on Nate Tabor’s “The Conservative Voice.”  The results were swift and devastating.  Like any other branch of the entertainment industry, liberalism is the default position of most comic book creators and fans.

Liberalism has a long and honorable history in comics, nowhere more apparent than in the groundbreaking Green Lantern/Green Arrow comics by Denny O’Neil and Neal Adams which dealt with drug addiction, the trial of the Chicago Seven, corporate pollution and overpopulation. In “Death Be My Destiny,” O’Neil posited a planet called Maltus where over-population was out of control. Denny was channeling the Reverend Thomas Malthus, a nineteenth-century Brit who predicted a Paul Erlich-like doom. In “The Population Bomb” Erlich predicted: “In the 1970s and 1980s . . . hundreds of millions of people are going to starve to death in spite of any crash programs embarked upon now.” (more…)