My brain is still mush from all that Christmas food, so you're not going to get anything coherent from me for the next few days (well, not until next year at least).
Until my brain starts working again, I'll see out the year by playing you a couple of tracks, one each from the two brothers that make up my favourite active band of the 21st century, Field Music.
The brothers are Peter and David Brewis, and in 2008 they took a break from Field Music duties to release solo projects. Peter did one thing, David did another, and I think both are splendid.
In all this Christmas holiday festivity period I completely forgot about this week's Educating Peter. Oops.
I'll try to make this post a quick one, because I'm still in Christmas mode and not thinking much about the computer, or the blog, or putting posts on the blog etc. etc. It also doesn't help that I'm still full of Christmas food. All those mince pies, gingerbread, and Christmas pudding, among other things, have turned my brain my brain to mush. (Christmas!)
Right. What do we have this week?
This week, regular supplier of 80's ditties Michael (Hi, Michael!) is having a break while I tackle a song suggested by Steve.
The song is "What About Love", it's by American band 'Til Tuesday, and it's from 1986. [Shudder]
Up until Steve handed over this song, my knowledge of 'Til Tuesday extended to exactly one song: "Voices Carry". I like that song very, very much.
("Voices Carry" is probably my second-favourite song about domestic violence, after Suzanne Vega's "Luka". And I might have to rephrase the statement that I have "favourite" songs about domestic violence. It's like talking about having favourite serial killers, which is not a topic I'd recommend talking about in polite company.)
On to the song so I can finish this post and go back to not thinking.
0:00-0:04 – This song starts with both a positive and a negative. Negative: this song starts with an insipid drum machine. Positive: the drum machine lasts four seconds. (Which makes me wonder why they bothered putting it in the song in the first place. Maybe the band were making A Statement about something or other – something that's eluding me because my brain is mush.)
0:04 – A cavernous snare drum that lets me know we're listening to a song recorded in the 1980s.
0:04-0:23 – An instrumental intro that I don't mind. I like the guitar part. But it does contain what I think are weird vocals at regular intervals (0:06-0:08, 0:10-0:12, 0:15-0:17, 0:20-0:22 etc.). They're singing something like "Bup, boo booooo". I say it's someone singing, but I'm not even sure it's a human voice because it sounds like something a synthesizer could probably do. Whatever it is, I find it weird.
0:23-1:00 – The first verse. Quick observations:
• It's jazzy (thanks to some minor seventh chords)
• I don't like the vocal mannerisms of singer Aimee Mann.
• When Aimee sings "...so put out all the fires" (from 0:42-0:45), she sounds like Chrissie Hynde.
1:00-1:20 – The first chorus. When Aimee elongates the word "love" so that it resembles "lu-hu-hu-huv" (1:02-1:04), she sounds like Chrissie Hynde again.
1:11 – The chorus's hook. It's a falsetto octave-leap note, and that sucks people in every time. (Who can resist an octave-leaping falsetto octave?)
I wasn't planning on writing this much about the song. I was hoping to have a quick listen, mumble something, and then go do something else.
1:20-2:00 – The second verse. More of the same. Except there's a guitar in the left channel from 1:41-1:48 that sounds to me like an ambulance siren in slow motion and reversed. ("Weee waaa, weee waaa, weee waaa, weee waaa". I think I ate too much Christmas pudding.)
So far, this track's not doing much much for me. But it's not making me go "Yuk!" (apart from those four seconds of drum machine at the start). I'm semi-enjoying it in a "not too bad, but nothing sticking out as anything terribly unique" way. I'm listening to it, and it's pleasant.
1:20-2:17 – The second chorus.
2:09 – There's that falsetto hook again.
2:17-2:54 – A guitar solo. When Steve had suggested this song, he mentioned that he really liked the guitar solo. It didn't float my boat (I thought the guitarist used his whammy bar a bit too much), but one thing I did like about the solo was how it began. It sounded like the guitarist who was playing his part in the chorus kept on playing and launched into a solo (i.e., he continued playing after the chorus).
2:54-3:32 – The chorus after the guitar solo. I can't think of anything in particular to say about it.
3:32-3:58 – This is the band continuing the chorus as Aimee sings "What about love?" twice, then "What about me-ee-ee-ee?" once, and then everyone plays a dramatic G minor chord at 3:50, the dramatic G minor chord fades out, and that's the end of the song in G minor. Oh, I forgot to mention that the song's in the key of G minor.
My favourite non-Australian band for 2012, Peelgreems, released a Christmas song on Christmas Eve. (You're finding out about it now because I received an email about it approximately five minutes ago.)
It's a bit dance-y for my liking, but I'll take whatever Peelgreems I can get:
Being a curious kind of fellow, and wanting to hear more from the band, I also had a listen to their 2009 album In The Wake Of Won't Change. I'm glad I did, because one of the songs on the album had a wee coincidence in it.
The song is called "Take It Back", and this part...
We conclude our survey of The Two CDs Peter Received For Christmas* with Billy Thorpe & The Aztecs recorded at a concert in 1972 roaring through "Be-Bop-A-Lula" until no-one had their hearing left:
I hope your Christmas was a mighty fine one. (If it wasn't mighty fine, then I hope it was at least mighty tolerable.)
Over the next few days I'd like to share with you some of the music on the CDs and DVDs I received. (I like sharing. And I'd like to say that, no matter how small or large, I'm always grateful for whatever comes my way. I might change my online name from Mr. Happy to Mr. Thankful.)
I'll start with a track from a CD by a band that I've played on the blog before, but got into trouble for doing so by naming them. (I guess the record company said "Bah humbug!")
The band is an Australian folk group who were immensely popular in the 1960s, and who have just reformed for their golden jubilee. Their record company recently released a 2-CD compilation of their hits. (They needed two CDs because they had a lot of hits.) It's one of the CDs I received. And it's great.
I'll attempt to circumvent Blogger's unhelpfulness by renaming this particular band. I'll play you a track they recorded this year for that brand new golden jubilee compilation. It's a remarkably pleasant remake of a very well known song, and I think it might now be my favourite version:
This post is the result of a request by a band, and starts with a bit of a saga. (I'll try to make the saga part brief.)
Some time ago I was contacted by a very patient American musician by the name of Jason (Hi, Jason!). He's in a band called The Luxury, and he's patient because he asked if I'd have a listen to his band's music. I said A-OK and he very generously send me a CD. The only trouble is that the CD never arrived. Grrr. After letting Jason know that I was crestfallen at not being able to hold that shiny piece of plastic and aluminium in my hands, he sent me some MP3s instead, and they arrived much quicker. (Like about five weeks quicker.)
That saga out of the way, I hunkered down to listen to The Luxury's latest five-track EP, Why Don't You Cry Anymore (Like You Used To)?. Unfortunately, my first impression was not positive, but that's only because of the title – not because of the music, which I hadn't heard yet. That title sounds a bit icky to me. (Or, to put it a bit more sophisticatedly: "psychologically suspect".) It reminded me of a song title that I'm also not fond of: "Tears Are Cool" by Teenage Fanclub. (As far as I'm concerned, when someone sings "When I see you cry, I think tears are cool", I think to myself: "Who on Earth thinks tears are cool? What kind of person enjoys seeing someone cry?")
However, I put that misgiving aside and played the EP. After all, it's the music that I'm interested in.
So, with the MP3s that Jason sent me sitting in my media player waiting to be played, I played them.
The Luxury - Why Don't You Cry Anymore (Like You Used To)? (2012)
This is sort of a non-track. It's 33 seconds of a synthesizer awash in moody and melodramatic sounds. I liked it because it's an unusual way to start an EP.
Here's that synthesizer again. For a moment I was beginning to wonder if I'd been handed an EP of nothing but ambient sounds (like something you'd hear in an aromatherapist's waiting room), but I was relieved to hear a drum at 0:06. And then another one. And a few more, until at 0:21 and there's a quick drum fill before this song is off and racing. I must admit that I found the fast pace a little disconcerting after all the synthesized moodiness. It took a little while, but I settled into the pace. I like the singer's voice. It reminds me of someone. But I don't quite know who. Hang on... I'll listen to him a bit more... Almost got it... Hang on...
Production-wise, I like the reverb applied to his voice. My favourite part of the song is the middle eight (1:50-2:07). My least favourite part of the song is the little drum break after the middle eight (2:07-2:10). Here the drums are accompanied by a synthesizer with a sound that I can only describe as "dinky". And that's followed by a guitar solo that I found fairly painful to listen to. The guitar sound is fine, but it's out of tune. (2:20-2:23 is especially painful.)
Overall, this song didn't really float my boat. I did like how it finished though. (Abruptly – which was a nice surprise.)
Due to legal shenanigans I won't be posting it here. It's on the CD (the band got permission), but not online (Internet law is a slippery thing, so the band's playing it safe by not posting it anywhere).
But that's not going to stop me talking about a song you're not going to hear online. No sirree.
Oh-oh. The singer's voice has that currently fashionable slightly distorted sound that has him sounding like he's singing through a megaphone. Grrr. I think this is a decent cover. Not spectacular, just decent. There's a dinky synthesizer in this song too. There's also a bizarrely out of tune guitar in the right channel (e.g., 1:16 and 1:19). It's bizarre because it sounds like the guitar is being pushed out of tune, possibly by either the strings being hit too hard or the strings being pushed up. Either way, it's weird and doesn't suit the song at all. (I reckon.)
One more production oddity before I stop bothering this song: During the verse that starts from 1:30, there's a guitar in the right channel quietly playing a chord at the beginning of each bar. What I found odd was that at 1:46 the guitarist plays his chord much quieter than the previous chords, but at 1:48 he plays the next chord surprisingly loudly, much louder than all the other ones in the verse he had played up until then. After that he goes back to playing his chords quietly. Weird.
Unfortunately, I'm familiar with the original "Alive And Kicking" by Simple Minds so I wasn't entirely able to erase my memories of it whilst listening to The Luxury's version. As a result, I found this new version anaemic. (The sounds of those Simple Minds drums and the voice of Jim Kerr don't leave your brain in a hurry once you've heard them.)
Oh yeah. I like this. I think this is much more interesting than the tracks that came before it.
"Sleep Through Summer" starts off with a synthesizer sound that could be described (by me) as "Ice Crystals", and then the band comes roaring in at 0:13 with some off-kilter guitar sounds. This is much better.
One reason I'm liking this song is that the noisy part of the introduction (0:13-0:35) reminds me of a song by Peelgreems called "Shenmue". Have a listen from 3:33 onwards and you might hear the same vibe I hear:
I like a fair amount of things about the verse, such as its sleepy mood (with singing that suits the mood beautifully) and the repeating guitar line in the right channel. And I loved how the band chucked in a bar of 6/8 to split the verse (0:44-0:45). Cute. I thought the bridge (0:57-1:19) was a bit ordinary compared to the verses, but the chorus comes along sounding nice 'n' epic (1:19-1:41). I'd say that if the band wanted to attract people who like the mid-tempo portentous sound that has been "in" for the last few years (ever since Coldplay made it popular), they could play them this song.
Yep. "Sleep Through Summer" is my favourite track on the EP so far. And now for the last track. Let's see what that brings...
Well, this one has more energy than the non-live tracks. And I like it more than the other ones – except for "Sleep Through Summer", which is still my favourite track on the EP.
I do have a minor complaint about "Seven Stories" though: I'm not keen on the sound of that synthesizer in the first half of the instrumental break (2:17-2:31). It's not just dinky, it's ultra-dinky. The synthesizer is still there for the second half (2:31-2:43), but at least it's a lot quieter, and not playing as many notes.
But apart from that minor complaint, I enjoyed "Seven Stories".
Oh, by the way: I'm glad this song is called "Seven Stories", because it gives me an excuse to tell you that my brother (Hi, Anthony!) was recently guest guitarist in the 80's/90's band Seven Stories for their recent reunion gig. Here's my brother in action on the night of the Seven Stories gig (he's the one with the least amount of hair):
Thanks, The Luxury, for calling your song "Seven Stories".
Okey dokey. I think I should stop typing shortly and let you get on with whatever it is you were doing before you stopped to read this post.
Summary
I was glad to be given the opportunity to hear music I hadn't heard before (thanks, guys!), and I thought the EP was A-OK for what it was – i.e., slightly synth-y, slightly moody rock. It's not quite what I enjoy listening to, but I think it's a good example of the kind of music it is. If that's you bag, then I'd say you'd enjoy it more than I did.
À chacun son goût, baby.
***
By the way, in what might be a horrible case of "I like your old stuff better than your new stuff", I must admit that after listening to both Why Don't You Cry... and the band's previous effort, the 2009 album In The Wake Of Won't Change, I prefer the album. I'm fully aware that the band could be reading this and thinking "That album was three years ago! We've moved on! We're much better now!" etc., but it's just my particular tastes in music that have me reaching for the play button on the album rather than the EP. Ah well.
***
Oh, and one more thing (I will finish this post eventually)...
One of the songs on the In The Wake Of Won't Change album reminded me of another song, so there'll soon be a Musical coincidence on the blog that will feature The Luxury. Oh yeah.
To get you into – or out of – the Christmas spirit, here for your enjoyment/bemusement (pick one) is the famous/infamous Christmas duet performed by Bing Crosby and David Bowie on the 1977 Bing Crosby's Merrie Olde Christmas TV special:
This week, in honour of it being a Christmassy time of year, Michael has suggested "Thanks For Christmas", the Christmas song by XTC under the guise of The Three Wise Men.
I'm in a bit of a quandary about this post, because it's going to be short. One of the reasons for its brevity is that I like the song, and can't think of anything critical to say about it.
Actually, there's one thing I don't like about it: the sound of the snare drum at the start of the song.
By the way, "Thanks For Christmas" was released on the Virgin Records label. Here's Virgin's press release for it so I can help make this post appear longer than it really is:
VIRGIN PRESS RELEASE
Three Wise Men turn up on Virgin, not Mary, but Records
"On the first day of Christmas my true love sent to me a partridge in a pear tree ... "
Yes, Virgin enters into the festive spirit with this seasonal offering, 'Thanks for Christmas' by The Three Wise Men. The song was penned by well-known writing team Kaspar/Melchior/Balthazar, the Far East's answer to Holland/Dozier/Holland. Production was by The Three Wise Men and the Good Lord himself. (released Nov 21st Virgin VS642)
Not surprisingly, the release hits the decks shrouded in mystery, intrigue and much speculation. The 'What's On In Bethlehem'-style sleeve may well proclaim 'The Three Wise Men', but this non-de-plume cunningly conceals the identity of one of Virgin's top pop groups! Not that we're telling you which band. Could it be Culture Club, Human League, Heaven 17, China Crisis or even Slapp Happy? Over to you! Just good clean Virgin fun to keep you guessing right into the New Year. It's certainly countdown to Christmas party time. Cheers!
I've been reliably informed by a member of the household who prefers to remain anonymous that Hey Ocean's lead singer, Ashleigh Ball, voices two of the ponies on the TV series My Little Pony: Friendship Is Magic.
Be warned: this is a hefty album review. (Unfortunately for you, I found a lot of stuff to talk about.)
It's from an America band called The Condors. I don't know how interested you are in geography, but they're from California. If you want to get even more specific about location, they're from Burbank.
I know all of these things because the band's singer/guitarist/chief songwriter, Pat DiPuccio ("Poochie" to people who want to call him that – I don't, because Pat's nickname reminds me of this) emailed me to tell me about the band and their latest album.
The album is called 3 Item Combo and I'll let you know what I think of it before I get to the nitpickin' full review:
It's a solid power pop album. I like it.
That's the mercifully short review.
And now, if you're game (and have a spare two hours), here are my comments about each song:
The Condors - 3 Item Combo (2012)
1. "Here I Go"
The first two things I noticed about "Here I Go" are: 1) the instrumentation is pleasingly spare; and 2) it's well produced. (I was originally going to say that it's lean and the production is clean. But I don't think the band would want their album described as "lean and clean".)
I enjoyed this song almost wholehartedly. I say almost, because now I must offer some criticism. It pains me to say this, because Pat, the chap who not only writes the songs, sings the songs, and plays the guitar in the band, is a very nice chap to talk to via the wonders of email. But with reviews I do always try to be as honest as I can when discussing the music I'm asked to listen to, and here I must say, in the nicest way I can, not to put too fine a point on it, I, er, ah...
(Note to self: Just get on with it, Peter. Say what you need to say.)
OK. The singing's not very good.
The background singing is fine (albeit a little quiet for my liking). It's the lead vocals that I find troublesome.
It pained me to say that for three reasons:
Everything else – and I mean absolutely everything – about the song is thoroughly enjoyable, from how the song is constructed, to the lyrics, the playing, the instrumentation, and the sound. I think it's a mighty fine song. It's just the singing that makes me emit sighs of slight disappointment.
Pat's a swell guy, and (possibly up until now) I've enjoyed chatting with him electronically. (Despite my terrible rudeness, I hope to keep chatting with him. Hi, Pat!)
I'm a dreadful singer, so I'm in no position whatsoever to criticise someone else's singing.
But I do want to stress that I think this is a good song.
Enough of this awkwardness. Let's move on to the next song. (Yes, let's...)
2. "My Slice Of Life"
Ah, this one's better. Not in terms of songcraft (as a song, I prefer "Here I Go"), but because the singing's better. Pat's singing is still a little flat and sharp in places, but overall I think the vocals are an improvement on the first track. Plus this track has the added bonus of having louder backing vocals, just the way I like 'em.
By the way, when "My Slice of Life" began it reminded me of Lou Reed's "Dirty Boulevard". (It was the drumming that got me thinking of Lou's song.)
I want to point out a few things I liked a lot about this song:
0:49-1:04 – I love – nay, LOVE – the combination of the drum beat and the guitar jangle in the chorus. I think it's gorgeous.
1:06-1:14 – Very nice guitar harmonics.
1:18-1:23 – The nylon-string guitar fills. I thought that was a nice touch.
1:26-1:30 – I like how the electric guitar fills here illustrated the lyrics. "Work through the day, and practice at night" (1:23-1:26) was followed immediately by that electric guitar "practicing".
They were the most noticeable things I liked.
Now I'd like to point out one thing I didn't like about the song:
So that's a like-dislike ratio of five-to-one. I think that's a decent ratio for a song.
By the way, I was a bit puzzled by 2:56-2:58, where the band sounded it came to a halt during the last chorus. To me it interrupted the flow of the song. But it's a very minor thing.
I think I need to tighten up my commentary and ramble a little less than I'm doing at the moment, so I can finish this post in a reasonable amount of time (i.e, not six months after the album was released).
3. "Queer Fascination"
Now, I'm a traditionalist when it comes to the word "queer". To me, it means "odd". So I'm perfectly content to think that Pat has an odd fascination with something, not that he's, er, fascinated with...
I'll try to focus on the song here, and not the lyrical ambiguity.
This one's a bit of a more straight-ahead rocker. I must admit that I wasn't especially keen on it when it began, but as it went along I began enjoying it.
I must also admit that I would have preferred the song to keep its 4/4 beat throughout the section from 1:13-1:44. This is the kind of song I like to keep going steadily. Four-four to the floor, baby.
4. "All Hung Up"
I thought this slow, slightly bluesy track was a bit disposable. And the choice of the D minor guitar chord after A major irritated me enormously. I kept on wanting to hear D7 instead, but that never came. Ah well.
Oh, by the way (sorry about this post being full of "by the way"s): "All Hung Up" holds the distinction of being the second song I know of that uses the "hung up" pun in a song title. The first is Fountains Of Wayne's "Hung Up On You".
Just before I move on to the next song, I'd like to mention that I liked the guitar solo (2:49-3:14) Very twangy. It made me think of Henry Mancini, and that's what I call A Good Thing.
5. "Holiday"
I think it was the mid-tempo beat and the guitar playing that had this song reminding me of Big Star. I'm not much of a Big Star fan, so I probably enjoyed this less than a proper power pop fan (I've been told that if you don't like Big Star then you're not a proper power pop fan). Which leads me to the blindingly obbsious observation: if you like Big Star, I reckon you'll like "Holiday".
(Note to self: Speed things up, Peter. You're only halfway through the album.)
6. "What's Wrong With That?"
Not much, actually. (Apart from the passing open G note on the guitar at 0:24 that sounds out of place in between the E major and D major chords. And Pat's occasionally dodgy vocal intonation.)
7. "Angry Little Man"
The thing that sticks out for me in "Angry Little Man" is the funky drumming. The rest of the song is fine, but that's what I enjoyed the most about it. The vocal melody in the line "Holding him while he's sleeping" (1:38-1:40) reminds me of something, but at the moment I can't figure out what it is. Grrr. I liked the layered guitars from 3:12-3:33. They reminded me of Blue Öyster Cult's Godzilla".
8. "Seraphina Why"
Oh-oh. It's a "My girflriend and I are having difficulties at the moment" song. I've heard more than enough "My girflriend and I are having difficulties at the moment" songs to last quite a while, thank you. If I ignore the lyrics (which I fully intend to do), I find it an enjoyable song.
It's mondegreen time: From 2:37-2:43 Pat sings "...as all the answers disappear into the blue". When I first heard it I thought he sang "as all the ants just disappear...". I'd much rather Pat sing about ants than the difficulties he's having with his girlfriend.
9. "Full Blown Love Attack"
This starts off as a heap o' fun. And I'm pleased to report that the whole thing is heap o' fun. "Full Blown Love Attack" is equal parts surf rock and garage rock. One reason I like this possibly more than any other song on the song on the album is that it calls to mind the Hoodoo Gurus' first album, Stoneage Romeos (1982), which was also equal parts surf and garage (with a dash of psychedelia tossed in).
Things to look out for:
1. The tom-tom action at the start of the song to get you in the mood (0:00-0:20).
2. The guitar pick sliding down the E string to get you even more in the mood (0:02-0:05).
3. The "Wipeout" drum fill (2:29-2:33)
4. The wonderfully warped guitar fill (2:35-2:38)
5. The bass guitar fill (2:40-2:43)
6. The band shouting "Stay away!" (2:59-3:00).
7. The deliberately-tripping-over-itself ending (3:15-3:18).
Yep. I like "Full Blown Love Attack". Fun, fun, fun!
10. "Bad Tattoo"
Another slow, slightly bluesy song, but this one's more of a dirty-blues song. I preferred this to the previous slightly bluesy song (track 4, "All Hung Up").
It's here that I must voice my strongest opinion about an aspect of the album. From 1:42-1:53 is a guitar solo. It's actually two guitars trading solos – a guitar in the right channel plays something, then a guitar in the left channel plays something, then it's back to the guitar in the right channel etc. But that's all beside the point. The point is that while the band is playing E minor in the background, the solos are all tinkling away in E major. Aaaargh!
11. "Zzyzx Road"
This impossible-to-type-without-checking-the-spelling song is a fine, roots-rockin' way to end the album (except for Pat's occasionally dodgy vocals). And I now know how to pronounce "Zzyzx" (It's "zizich". Thanks, Pat!)
***
Just before I finish up, I'd like to mention a couple of things about the liner notes in the CD packaging. One's intrigung, and the other is a slight case of "oops".
The Intriguing
In the liner notes is the following text:
All songs copyrighted by Condorosa Music (ASCAP) except "Telephone Line" and ...
This leads me wonder if track 4, "All Hung Up", was originally called "Telephone Line". Hmm. I wonder...
The Oops
In that same line of text about the mysterious "Telephone Line" there's this unfortunately-missed-by-the-proof-reader typo:
..."Telephone Line" and "Queer Facination"...
Now, my question here is: Does that typo now make the CD a collector's item?
Liner notes.
***
I'm glad to say that this is the end of the review, which means you can go back to doing whatever it was you were doing before you got sucked into the vortex of this unhelpfully long review.
Incidentally, Pachelbel's Canon has been appropriated elsewhere in the pop world. It was used by Australian band Klinger for one of their songs, and that was Musical coincidence #319.
Finland, Finland, Finland
The country where I want to be
Pony trekking or camping
Or just watching TV
Finland, Finland, Finland
It's the country for me
You're so near to Russia
So far from Japan
Quite a long way from Cairo
Lots of miles from Vietnam
Finland, Finland, Finland
The country where I want to be
Eating breakfast or dinner
Or snack lunch in the hall
Finland, Finland, Finland
Finland has it all
You're so sadly neglected
And often ignored
A poor second to Belgium
When going abroad
Finland, Finland, Finland
The country where I quite want to be
Your mountains so lofty
Your treetops so tall
Finland, Finland, Finland
Finland has it all
Oh focus on Finland friends
Finland, Finland, Finland
The country where I quite want to be
Your mountains so lofty
Your treetops so tall
Finland, Finland, Finland
Finland has it all, Finland has it all
If you're a fan of the Pernice Brothers and/or Teenage Fanclub, you may be interested in the following blurb on the page I pinched that song from. If you're not a fan of either of those bands, then feel free to ignore the next five paragraphs:
Taken from The New Mendicants' first EP, 'Australia, 2013', to be released digitally on Friday January 18 + available at all shows on the band's January/February tour of Australia.
While I'm still writing my album reviews (yes, still), I'll sneak in a couple of songs from a power pop album I adore – but it's an album that doesn't appear to be well-known amongst the power pop fraternity. (Maybe it's not considered a power pop album. And another thing: is there a power pop maternity?)
The 21-year-old of the household (Hi, Celeste!) spotted this one. When she heard the track by fun., she exclaimed: "That's exactly like a Plain White T's song!".
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