PowerPop Overdose

[2011 Gayo Daejun Special] KBS - The Okay, The Boring and The Sleep-Inducing

2012-01-03T03:29:00.000-08:00

I think the title alone is a big giveaway of how the KBS Gayo Daejun was. Sometimes sleep-incuding, most of the time boring, and occasionally okay. Yup, that's about right. It was a smaller venue than the SBS and KBS ones, which means that KBS should've had an easier time handling the sound quality and such, but I'm afraid that was not the case, because vocals during the latter parts of the show were horrid. Plus the fact that the people in the audience were practically zombies, and the acts looked bored out of their wits, as if they were forced to appear on the show. Which they probably were.

I wanted the acts jumping through hoops and fire, KBS, HOOPS AND FIRE. I got none of that. At all. Even from my beloved DBSK. How dare you.

Two things before we start. This recap focuses only on idols, so the other acts who appeared on the show, rappers and the like, will not be included in the selection. And also, I wanted to get this out as fast as possible before everyone forgets about the Gayo Daejuns. So due to the fact that today is a school night and I have a mountain of readings to tackle (ALREADY!! *sobs*), plus I'm about to collapse from fatigue and stress and general exhaustion, the videos and other formatting details will have to wait until tomorrow when I'm a bit more alive. Please don't ask me for the videos, because writing this up took a so much effort, and a lot of strong coffee.

Before we get to the three main categories of this recap, there is one performance that deserves a special mention. Not because it's amazingly good, but because it was horribly blasphemous.

Kim Hyun Joong - "Rainism"
If Rain saw this, he'd bawl his eyes out because it's so bad. It's even too bad to be a parody, because parodies are deliberately made bad, so they can be funny (did anyone see that Kim Shin Young parody where the lyrics were about food?), but Kim Hyun Joong was as serious as serious can be. And really now, even if Rain wasn't exactly K-Pop's best singer, at least he could sing his own songs! This performance was LIP-SYNCHED, and it was STILL bad. The dancing wasn't that hot, the vocals were pathetic and painful, especially towards the end when he tried to do those runs, and this was a useless performance. Absolutely useless.

THE BORING

Davichi - "Don't Say Goobye"
It's a gorgeous song, and a gorgeous arrangement, with those epic drums and the stunning and flawless harmonies, but it was soooooooooo boring. The only thing keeping me awake was the thought that their voices were really gorgeous, and the harmonies kinda gave me little slaps on the face to keep me from drifting to sleep. And it didn't help that they were the only ones on stage and they were just standing there. I don't talk about it much, but I've always believed that the visual aspect of a performance is important too. Always second to the music, yes, but without the visuals you get performances like this.

4Minute - "Mirror Mirror"
It was interesting enough until they started singing, with all the back-up dancers behind them and the white coats against the dark backdrop, but it just got boring once they started singing. The dance break was okay, and Gayoon standing alone on stage kinda woke me up a bit, but once the singing started again there were nothing special, even with the remix and all the flashing lights.

U-Kiss - "Neverland"
I understand that they were trying to do the "epic" sound with this re-arrangement, but it completely sucked all the life out of the song. That's not just because their vocals were muffled, but because the instrumental was so one-dimensional. They tried to put some kick in it, but failed miserably. The entire performance sounded like U-Kiss were submerged in a tub of jello, and all you hear are muffled screams.

f(x) - "Danger"
Everything about this performance looked, and sounded, so robotic. Except Luna's line, but everything was so stiff, and Amber looked bored. There's a difference between orchestrated down to the last detail and robotic, and this performance was robotic.

Secret - "Shy Boy"+"Love is MOVE"
I adore the re-arrangement of "Shy Boy", it had spunk to it, but what ultimately bored me to death was the fact that "Shy Boy" was lip-synched. Their vocals were too clean for the performance, too smooth for something that should be really high-energy and lively, because of the nature of the processing. But on the other hand, their live vocals on "Love is MOVE" were weak, and that bored me too, because it sounded just like a regular weekly music show. I'm better off watching an episode of MuBank, the sound might even be better.

SNSD - "The Boys"
This was just like any other performance of "The Boys", and it wasn't even done extraordinarily well, in fact, they sounded even more strangled than they usually do, and that was the only thing that kept me awake, to be honest with you.

2PM - "Electricity"+"Hands Up"
"Electricity" was okay, but when you slow "Hands Up" down, it sounds even worse. It's repetitive, it's monotonous, and the instrument is very one-dimensional, so it literally sounds like you just slowed the song down at home and played it at a New Year's Eve party with your family and friends. It just goes on and on and on and on. If not for their stage presence, this would've put me to sleep from the very beginning.

THE SLEEP INDUCING

f(x), 4Minute, Infinite, IU, Super Junior, - K-Pop Shuffle Dance Special/K-Pop To The World
Oh dear. The lights gave me a headache, and the dubstep overload just put me to sleep. Gee, thanks KBS. You clearly didn't want me to watch the rest of your show. Seriously, even with the hooks under the heavy looping, the thing just went on and on and on and oooooooooooon. And they were essentially just doing a bunch of dance steps over and over and over and overrrrrrr. Although, the one thing that amused me was the fact that "Mr. Simple", without the heavy remixing, fit right in to the medley. That just goes to show how shallow that song is.

BEAST - "Fiction"
You know, when the performers themselves look like they're bored out of their wits and scream half-hearted "let's go!"'s, it affects their entire performance. Everything. And BEAST performed - sang, danced - like zombies. It's not even funny or incredibly bad, it's so pitiful that I just wanted to sleep through it to not see it. And it doesn't help that Hyunseung completely destroyed his high note. Even when they changed the arrangement towards the end, they still looked half-asleep, and the guy singing looked like he was about to cry. There was absolutely no kick to this performance, and it's such a shame because I expect a lot from BEAST.

Kim Hyun Joong - "Lucky Guy"
This is definitely a better choice, over "Break Down", because it's just that much more lively and fits Hyun Joong's vocals, but it STILL put me to sleep. It didn't help that this came over that horrid shuffle dance medley, so I was still half asleep. Even if it's a lively song, Hyun Joong's vocals have absolutely no sense of dynamics, nor do they have any body, and so he effectively made this performance flat. The best part was the end.

IU - "Good Day"+"You and I"
Strong, consistent, vocals, but the remix was so boring and generic that, once again, it sucked out all the life out of the song. And even if IU's vocals are nice, they're pretty thin around the edges, and so she needs kick to her arrangements. This was just flat, so her vocals turned too cute and too weak, albeit okay. And it put me off for the rest of the performance, so when "You and I" came on I was already knocked out and asleep. And no amount of bouncy, IU could've erased the boring arrangement she just did beforehand.

The Okay

Infinite - "Paradise"+"Be Mine"
The lights on the suits, although not exactly original, were a nice touch and an okay way to open the show. Nothing especially spectacular happened on this performance, but their vocals were pretty solid for Infinite standards, the dance intro was well-prepared and practiced (no one forgot anything), and the transitions, from the dance to the remix of "Paradise", to another dance break and finally to "Be Mine", were clean. The fact that this is one of the best performances of the night should not only be a compliment to Infinite, but an insult to KBS.

SISTAR - "SO COOL"
I never thought I'd see the day where I'd put a SISTAR performance among the best, but really, after the boring performances that came before, this was a welcome relief. And it's not like SISTAR are completely talentless, only 3/4 of them! Hyorin's vocals were incredibly strong as usual, and for the first time I didn't notice their lack of grace that much. I see improvement!

Miss A - "Goodbye Baby"
Brilliant re-arrangement. I loved the drums during the intro, even if they were pretty useless for the rest of the song, but I also adore the arrangement of the song itself, with just that hint of rock elements, including real drums (!!), but also enough of the original, familiar, arrangement! And they pulled this off much, much better than the SBS re-arrangement! Strong vocals, good concept, fitting re-arrangement. Best performance of the night? Best performance of the night.

Wonder Girls - "Be My Baby"
The beginning was messy, I don't know if it was on purpose or what, but their choreography was all over the place. Their vocals were strong, and up until the dance break it was actually really boring. All I could think of was that if I wanted to see a performance like this, I could've watched a weekly music show. Even their comeback was more flashy than that. But the end kind of resurrected them, and it was so amusing to hear Ye Eun and Sun Ye actually singing what should've been autotuned. I'd say, as a whole, this is okay verging on boring.

DBSK/HoMin - "Before U Go"+"Why? (Keep Your Head Down)"
This was not their best. It wasn't, and I'm disappointed, but their heavily overdubbed vocals could've been because this was pre-recorded and SME couldn't help but show off their flashy studios. HOWEVER, if you listen well enough (like I know many of you did!), it's rather clear that they're actually singing and not just relying on the overdub because their vocals were actually consistent. And that's something these new acts have to learn. Like what I said about their SBS performance, DBSK are, first and foremost, singers, and so even with the overdub, it's courtesy to the audience to sing live for a live performance. And that's what separates them from their back-up dancers, that's why they're the featured artist on their albums. Not because they look good, go on variety shows, and dance on stage, but because they sing.

[2011 Gayo Daejun Special] SBS - The Good, The Bad, and The Promising

2012-01-01T02:57:00.000-08:00

It's January first pretty much everywhere now, I guess, so happy new year to all you guys! Thank you for making 2011 such an amazing year for me, without you guys and your constant pestering and all your tear-jerking comments, as well as all the trolling I got this year, I would've never been able to get through the year in one piece, and win my very first Philippine Blog Award! Thank you so much for taking time out of your lives to read my work, and even more time out to comment on my posts. I may not answer your comments, but I read every single one of them. You've made Pop Reviews Now one of the leading critical K-Pop review blogs, and although I still have a long way to go, I promise to make an effort to repay you guys this year for all your support. Also, thank you for reading this, because it means you're sticking with me this 2012!

Allow me to explain this post first though. I really meant to do a recap of the 2011 Gayo Daejuns, but the original plan was throwing everything in to one huge post with all three networks' shows divided into several categories. However, due to the fact that I want to get the Gayo Daejun post out as fast as possible before it becomes stale news, and also the fact that I'm still in the process of getting a copy of the MBC show (which I've heard is the best out of the three), I've decided to split the posts by network. Today's recap is of the SBS show, which was broadcast on December 29th. Tomorrow I will be recapping the KBS show, and on Tuesday the MBC show (hopefully I have a copy of it by then), if everything goes as planned.

The first of the three Gayo Daejuns this year, SBS delivered a solid show with 170 singers packed in to three and a half hours of running around stage. The show was divided into several themed stages, including a special suite for SM Entertainment artists (and the debut of several EXO members), one which featured CN Blue and FT Island collaborating with f(x) and the Wonder Girls, and a hip-hop stage. The SBS show was a balance of familiar, hit singles from 2011, and special stages.

But that doesn't mean it was immune to disasters, because there were quite a few. And there were those performances that could've been really amazing, but didn't really come out right. I won't be recapping the entire show, instead, we'll talk about the best, worst, and the most promising performances.

THE BAD

B1A4 - Beautiful Target
And the award for the worst performance of the night? Well, that goes to none other than B1A4. For several reasons. First, obviously the song itself is a complete and utter disaster. It's all over the place in the most spread-out way possible. You look away for a while and the song sounds completely different, plus, about 99% of the song has to utilize a backing track, because the vocal treatment changes every five seconds, so basically all these guys are doing is screaming "yeah!" and running around stage. I'd hardly call that a performance. Second, what is with that choreography? My eyes. And third, when you put the song, together with the horrid choreography, and the fact that they're actually trying desperately, it's hilarious.

Gain (Brown Eyed Girls), Jiyeon (T-Ara), Hyun A (4Minute), Sunhwa (Secret), Fei (Miss A), G.NA - "Run the World"
Oh wow. Where do I start. Well, I appreciate the effort, and I appreciate the fact that they included Ga-In (even if she forgot some of the choreography), but this performance was another mess. Too many girls, and I guess they didn't have enough time to learn the whole song, because for the majority of the song they danced in shifts, and yeah, choreography was forgotten. The dancing in shifts really irritated me though, because it really shows how unprepared they were, and it's like the performance was half gyrating all over the place, and half dead air. At the same time. It's inconsistent, three or four of them are dancing, then there are two or three just standing there on the side. What are they, mannequins? If they didn't have enough time, then they should've just done one verse and a chorus or something. I'd rather they did that then haphazardly do a full, 3-minute performance. And really, people can only take so much of that kind of dancing.

G.NA - "Top Girl"+"Black&White"
It really breaks my heart to see G.NA like this. With that horrid choreography at the beginning, those pretty weak vocals throughout, and the cheap repertoire. She's talented, she shouldn't be singing songs like this, because they do her absolutely no justice.

KARA and 2PM - "Every Little Step"
Everyone was so dead during this performance. I mean I understand that KARA and 2PM aren't the best singers around, but what makes this so bad is that it was already lip-synced for heaven's sake, and yet the singing was wimpy and lifeless. I would've written it off anyway if the vocals were fixed up, but not as much as I am now. If you're going to lip-sync a performance anyway, at least use all those studio tricks to make the track sound damn good. Such lazy, lazy people.

THE PROMISING

Miss A - "Goodbye Baby"
I adore this arrangement, I really do. It's so fierce, and it matches the melody so well. It's obvious that this was thought about. However, their vocals on this were so disappointing, bad almost. Like, really, they were weak and everyone sounded like they were being strangled all the way through. I've dealt with the regular Miss A breathlessness since they debuted, and they got better this year, but this performance was so painful to listen to. It's such a waste though, because the arrangement was really good.

After School - "Diva"
This was a really interesting song choice, but also a very logical one, because "Shampoo" would bore people to death. Just the idea of hearing them perform "Diva" after so long is enough to get people interested, but in true After School fashion, they failed to deliver. Add the fact that line-stealer Raina struck again, STEALING LINES FROM JUNG AH (HOW DARE SHE), and that they didn't do the entire song and it just disappeared into them and Pledis boys dancing to dubstep (snore..), the originally good idea turned into bad execution.

KARA - "Step"
This is another arrangement I really like. "Step" in itself is already a big performance-ready song, and there's little you can do, but I like how they made the percussion sound a lot more real as if they had a live band behind them. They didn't lose that high-energy, yet girly, sound, but they made it a lot more apt for a live performance, and the transition to and from the dance break was very smoothly done. The let down? Again, the vocals. I'm not surprised, in fact I was expecting worst, but just because this is the best they can do, doesn't mean I'll forgive them for being inferior. They can't sing live, and it's such a shame because their material is really, really good, fun, pop.

T-Ara - "Cry Cry"
If this was done completely live and pulled off just as well as it was lip-synced, this would've been one of the best performances. But no, the backing track wins and you hear next to no live vocals. The arrangement is brilliant, the dance break is different but not disjointed and they kept the distinct piano line, even a bit of the original feel of the song, but made it fresher, and interesting. And believe me, after looping this for over 200 times this year, thus making the original arrangement pretty stale for me, this is really a strong, new, but faithful take on the song. It's an amazing arrangement ruined by bad production decisions and possibly the lack of solid live vocals.

CN Blue and The Wonder Girls - "Tainted Love"
First of all, Yoobin shouldn't have been the first to sing, because I was turned off right away. Yoobin isn't a bad singer, but you have to have a certain level of proficiency to sing songs like this, and she doesn't have that. She sounded like she was drunk and singing this on karaoke or something, not on stage. But Sohee and Lim don't have that proficiency either. Lim needs more power and this is a song she can't get away with because she has an American accent. And really now Sohee, why do you even try. Her line was all air and no singing, she was useless. It should have been just Ye Eun and Sun Ye doing this, because if it was it would've been an amazing performance.

Wonder Girls - "Be My Baby"
It was a classy performance, with decent vocals and a very polished arrangement, but even if the arrangement was fresh, it was boring. Pretty piano line, yes, and if you think really hard it's actually not a bad performance or anything, it surprisingly matches the lesser members' vocals even if it's now more dependent on the melody, but this is a performance, it's supposed to really catch your attention from the very beginning. In a sense, this arrangement was so predictable, but on the other hand, had they done a rock remix it would've been boring too considering all the other rock-ish arrangements that came before them. But actually, I liked the track that was playing during the intro, if they turned that into the remix things would've been interesting. Basically, what this performance lacks is shock. I know I have very high expectations of them, but after "Wonder World", why wouldn't I?

SMTOWN - "The Sound of Hallyu"
I loved the idea of this, and I loved how, even if majority of them weren't playing live, it was made very obvious that the people who played instruments actually know how to play them in real life. And I like how the people who sang were actually the people who can sing, and they didn't force people who are dancers, not singers, to sing. Like Taeyeon and Changmin's duet. Even if Changmin out-screamed Taeyeon, she was definitely the right choice for the song. If it had been Jessica I would have raised hell. The Shinhwa and H.O.T. covers were tame, and that's one of the two reasons why this is a "promising", but not one of the best performances. The songs they chose need savage vocals. Raw, powerful, with minimal processing, but seeing as the people they got to sing those parts, although good singers, simply don't have the vocals to do those songs justice. Of course the Exo members were a big part of the thrill of this suite, but they, or actually just one of them, are the second reason I didn't put this down as one of the best performances. Towards the end, the second guy to the left of Changmin, I think he was the one who danced after Victoria, was TALKING to the other Exo guy beside him. That's such horrid stage deportment. It may not be a lot to you guys, because the standard reaction is "So what's wrong with that? They're just talking.", but this is one of the most basic forms of courtesy towards not only the audience, because they have a responsibility to give their full attention to the audience and their performance, but also towards the other artists on stage. How would you like it if the guy beside you was talking to someone during your big solo? If, this early, that kind of behavior is just let go, forgiven and forgotten, it will get worse. Trust me, I've seen it happen, and it definitely doesn't end pretty. And considering how Exo are being hyped to be extremely talented, if they don't have basic stage manners it will be a huge waste of their talent.

THE GOOD

Yoon Mirae with Gary, Dynamic Duo, Jun Hyung (BEAST), Hoya (Infinite), Mir (MBLAQ), Taecyeon (2PM) - "Get It In"+"Monster"
And the award for the best singing of the night goes to Yoon Mirae. All these idols should be ashamed to call themselves singers after Yoon Mirae, who I believe raps majority of the time (the new times I've heard her material), out-sings them all without lifting a finger, by just by singing a few lines. Backing track, yes, but you know she's rapping and SINGING live, it's so obvious, but she does it so well that to untrained ears it may be a bit confusing. But apart from the strong vocals, she has the stage presence to not have to jump around too much. She still does towards the end, but she has a certain air to her that you know she's having so much fun and you want some of it too, but she still commands the stage, and all the guys sharing it with her. This, my friends, is a true performance.

2NE1 - "I Am The Best"+"Ugly"
I didn't like "I Am The Best", but like I always say, you have to watch 2NE1 for their material to make sense. It's not that their recordings are bad, because the production on them is outstanding, it's not that they can't sing, because my God can Minzy and CL sing, it's that their material is made to show off their strengths, and 2NE1's strengths lie in performance. They don't exactly run around stage because the majority of their performances are choreographed, but they have a command of it that's like no other. It's not just stage manners, or presence, it's really a command and it shows in everything -- the way they move, the way they sing. Pair that with a very creative and accommodating talent agency, and you have familiar, but stellar performance.

Brown Eyed Girls - "Sixth Sense"
I noticed that hardly any of my favorite performances were full remixes. But I guess that it's harder to perform a familiar arrangement and still make it sound interesting. But that's exactly what the Brown Eyed Girls did. Apart from adding a few bits and pieces (literally pits and pieces) all over the place, and adding a dance break, the base is still the same. This is one of the best girl group performances, and, like the entirety of their "Sixth Sense" promotions, performances, songs, singles, this is girl group master class. To all the girl groups trying to be sexy with skimpy, but cheap, outfits, to all the girl groups trying to be fierce but failing, to all the girl groups trying to sing while dancing, this, girls, is how it's done. Watch and learn.

BEAST - "Fiction"
They didn't really do much to the arrangement of "Fiction", just softened a few parts, added bits and pieces here and there, and switched some things around, but the basic mould of the song is still the same. And that's the selling point of the performance -- it's familiar. However, despite it being pretty simple, the modifications were enough to keep things fresh and not bore people to death. It's also a very straightforward performance, but in being simple it's also very well-sung. And considering how good a song "Fiction" is to start with, it's a good thing that they didn't experiment too much, but still had the foresight to prepare for it. Like I said a while ago, I prefer a simple, but prepared performance over an elaborate but haphazard one.

DBSK/HoMin - "Keep Your Head Down"+"MAXIMUM"
Call it unoriginal, because the dance part most probably is, call it boring, because there were no significant changes to the arrangements, but what you can't deny is that Yunho and Changmin know how to perform, and they showed it. They hold the audience in the palm of their hands and they know exactly what to do to make them go wild, but they never, ever, forget the musical aspect of it all. Screaming, yes, chanting and interacting, yes, but stopping to sing just for the sake of it? Never. That's the kind of stage deportment that newer acts, even Super Junior and SNSD, lack -- they lack concentration and choose dancing, waving and being cute over singing. Image is important, yes, and they take care of that too, but they are singers before anything else, and singing should always be first priority. Yunho and Changmin are what idols should be, and THIS is how it should be done.

[#1] DBSK/HoMin - "Back To Tomorrow"

2011-12-30T16:47:00.000-08:00

From: "TONE" (Album)
Released: September 2011, Japan
Rating: 5.00

Surprised? Nah, you know me well enough already.

I tried really hard to keep a DBSK/HoMin/JYJ song off the top spot this year, and I even thought of just revealing the top 5 songs out of order, because I know that there are people who will write me off and start raising hell if DBSK end up on top. Again. But after certain events, like hearing "TONE" in CDQ on extremely nice speakers, screw that.

Everyone has to understand that unlike other people, or even the people who raise hell at my choice, I like DBSK because of the music. My fangirling works the other way around -- I hear a song I like, I do my research, I hear more songs I like, I recognize their voices, I start learning about the members, I hear entire albums of brilliance, I pick a favorite voice, which becomes my favorite member altogether, and I begin spazzing on Twitter over their cats. For me, the music always comes first, and I'm a Cassie because of all the brilliant songs.

So if DBSK, or any part of, keep coming on top of my best of lists, it's because they really deserve it. I have explained time and time again that I KNOW DBSK aren't perfect, I know they have their flaws, I know they've had some really bad songs over the years, and before "Mirotic" they couldn't really hold a solid live performance in Korea, but the good outweighs the bad. At the end of the day they are immensely talented, they can carry themselves on stage like no other boyband in K-Pop right now, and they have some of the best material the Asian pop music industry has to offer.

"Back To Tomorrow" is one of those songs. It's epic, it's well-sung and well-arranged, and above all it's a beautiful song. I wouldn't describe it as stunning or gorgeous, because there's something lacking in those words, something inferior. Beautiful is a more apt term. Simple, but straight to the point, like the song itself.

You have all these heavy instruments, a bass line you really feel in your bones, a confident yet gorgeous string section, this very light, but firm, piano line, and despite everything happening, the song has such a strong sense of dynamics. The verses are quite packed, but them literally there's a BAM and everything explodes. And that explosion will literally reduce you into a puddle of goo because it's so beautiful.

The melody is jaw-droppingly beautiful, and Yunho and Changmin do it flawlessly, but one thing I noticed is that the melody is actually pretty tame compared to the epic instrumental. It sounds so humble and effortless. It's as if Yunho and Changmin are like "you want epic, here you go" without lifting a finger. Of course the song still has conviction, but unlike other acts, they don't have to try too hard to deliver something amazing.

With everything going on all over the place, you'd think that either the elements clash, or the melody will sound disjointed from the instrumental. They don't, and it's not. Everything gels together in the most natural way possible. Kind of like when you mix the yellow and white of an egg, and the mixture turns out yellow, but a little lighter than the original yellow. "Back To Tomorrow" is exactly like that.

To put it simply, the songwriters, and the arranger, knew exactly what they wanted, and they knew exactly what they were doing when they executed it. And Yunho and Changmin went in and executed it flawlessly, to make my favorite song of 2011.
[FULL][AUD]Tohoshinki - Back to tomorrow from manaras on Vimeo.

[#2] Lee Haeri - "Can You Hear Me?"

2011-12-29T15:44:00.000-08:00

From: "Tears of Heaven Soundtrack" (OST)
Released: March 2011, South Korea
Rating: 4.95

In this world, there are emotionless ballads, there are ballads that give you goosebumps, there are also ballads that make you cry, and then there is "Can You Hear Me?".

"Can You Hear Me?" is beyond crying, it's beyond goosebumps, it's a million light years above emotionless -- it literally makes you want to crawl under a rock, curl up into a ball and curse everything for making something beyond stunning. It's as if you want to cry because it's so gorgeous, but your body says otherwise, because it's above gorgeous.

The song was for "Tears Of Heaven", and basically the reason why I even know of this song is because I wanted to hear a Junsu-Haeri duet recording but ended up with a Haeri song. Not that I'm complaining.

It's a very simple song, if you listen carefully. There's nothing out of the ordinary, nothing outside the standard piano, drums, bass, electric guitar here and there, and some strings later. However the song's beauty lies in the way everything was put together and executed. How Haeri's vocals were literally made to float above the very simple and light instrumental, and how the arrangement was made in such a way that the song builds up in an excruciatingly slow place, then dies down right away, leaving you stunned and wanting more.

And Haeri's voice is of no help to the situation, as usual (for those who didn't get it and might lash out on me because of that, I mean that it's just as stunning as the rest of the song). It's gorgeous, smooth and very feminine, but at the same time it's also mature, and her technique is really something else. The maturity, the stability, the control she has over herself to keep from just screaming her way through the entire song, now THAT is singing.

Like I said, the song itself is actually really simple. And if you notice, she doesn't really have any extremely high notes either, just a few at the tail end which she executes flawlessly, but apart from that the melody is very basic. What Haeri has is one, obviously a stunning AND learned voice, and two, emotion. I know I probably sound like a broken record already, but really, music is half heard and half *felt*. And this song, Haeri's vocals in particular, is the epitome of that.

[#3] DBSK/HoMin - "Before U Go"

2011-12-29T02:15:00.000-08:00

From: "Keep Your Head Down Repackaged" (Album)
Released: March 2011, South Korea
Rating: 4.75

It was a fierce battle between what's now my #2 song and this, but in the end, I'm afraid my beloved HoMin, and their gorgeous Korean single, will have to settle for #3 this year. But #3 is incredibly high too!

I really meant to publish this later in the evening because of my "11 albums you HAD to hear in 2011" post, so throughout the day, I was thinking of an appropriate food analogy for this song. I had a few ideas, including (leche) flan, and even royal icing for a while, but then I thought that maybe I should rest from comparing songs to food for a bit.

Not.

"Before U Go" is definitely not butter because even if butter is really smooth, it's kinda gross once it's melted and oily. Definitely not. So I went through the other possibilities, and I eventually settled. "Before U Go" is caramel. The hot, thick, incredibly sweet kind. It looks unsuspecting, it actually looks like your standard confectionary, but when you eat pure, newly-melted caramel it's so sinful. But so amazing, so much so that sometimes you need a sip of water because it's too much, but you still keep eating.

And because it's so sweet, caramel actually becomes a bit salty sometimes. It has dimension. "Before U Go" has dimension.

The song itself is so smooth, the orchestration, the melody, the background vocals, everything is so polished and smooth, but done with conviction -- that's the smooth, sweet part. The instrumental is very basic, but the melody oh my gosh the melody. It's a difficult song to sing, you have long lines that don't allow for much breathing, and high notes all over the place, but when it's sung well, the heavens rejoice.

The salty part is courtesy of Yunho and Changmin's vocals. They're not smooth like Kyuhyun or Jaejoong, they're not big like Junsu or Yesung, they're a bit thin around the edges, and not too flexible either, kind of like a thin sheet of plastic. You can bend it a bit, yes, but you can't really make it a completely different shape if you don't melt it or anything. But it's that firmness and the character of their voices that gives the song the dimension it needs.

But even with the dimension and the sinfulness, caramel is very basic. It's classic. You can put it on anything and everything, just like how "Before U Go" has the ability to transcend time. The song could very well be a classic, because despite everything going on, the foundations of it are very basic.

"Before U Go" is truly one of the most stunning, yet classic, songs you will hear.

11 Albums You HAD to Hear in 2011

2011-12-28T14:00:00.000-08:00

I thought of mixing things up a bit this year, so instead of just laying down the best albums that came out in the past twelve months, I'm going to be talking about the albums that caught my ears, and maybe even eyes, this year. They are on the list not necessarily because they're amazing albums (but I have those too!), but because they've been talked about, or they've broken records, and basically because they've caught my attention. Therefore, I won't just be talking about the music, so I hope it's a welcome change!

The rules:

1. This list is exclusively for releases which contain FIVE (5) or more tracks. A mini-album must have the minimum five tracks, whereas a full-length one should feature at least TEN (10) original tracks. Only cuts which were released for the first time in 2011 are eligible to be counted. For example, in SNSD's Japanese album "GIRLS' GENERATION", "Genie" and "Gee" were Japanese singles in 2010, not 2011, and so they will not be included in the final, technical, count (exclusively for eligibility and classification), however they can be talked about in the review proper.
2. The featured artist must be an idol or idol group and of Korean nationality, regardless of where the album was released and what nationality the production staff were.
3. The featured artist must be the sole artist on least 75% of the songs on the album. So, for example, G.NA's "Black and White" (let's pretend rule #1 doesn't exist for now, because half of that album was from 2010) contains TEN (10) tracks. However, in SIX (6) of those ten tracks, she shares credits with other artists. Therefore, the album is disqualified.
4. One album per artist, regardless of territory. If the artist had two albums this year, only one can appear on the list.

I will not be writing full reviews for the eleven albums on the list, however, if available, I will refer you guys to my reviews of the albums, or singles. I don't have enough time to write eleven full reviews, but I hope the 2-3 paragraphs I wrote will suffice.

The Album: Super Junior - "Mr. Simple"
The Format: Full-Length
The Release: August 2011, South Korea
The Lead Single: "Mr. Simple"
The PRN Review: N/A
The Reason: Because according to Hanteo, and several other Korean sales charts, this is the biggest-selling album in Korea for 2011. So far. Do I think it deserves that title? Honestly, no. And that's why it caught my attention, because this is the business side of the industry at work -- you don't just have to have superior material to be popular, you also need buying power and armies of fans who will buy anything you release at the drop of a hat. And sometimes, you can't have both. The material on "Mr. Simple" aren't the dregs of the earth or anything, but so much more could've been done, considering that one, Super Junior aren't completely lacking in talent, and two, SM Entertainment clearly have the money and manpower to get better material. I mean, if you put together a sub-par album then put Super Junior's name on it, since the buying public is stupid, then no one will really notice how bad the album is, right? "Mr. Simple" also demonstrates how stupid all these capitalists are for thinking that we're stupid.
The Recommended Track(s): "Opera", "My Love, My Kiss, My Heart"

The Album: Wonder Girls - "Wonder World"
The Format: Full-Length
The Release: November 2011, South Korea
The Lead Single: "Be My Baby"
The PRN Review: Full Review, Best of 2011 - "Me, In"
The Reason: Best album of the year, and most definitely worth the long wait. I went from being this close to absolutely hating their Korean material, to worshipping the ground they walk on. I don't do that very often. But somehow, in this massive shift, the Wonder Girls managed to keep the sound that makes them, themselves. "Wonder World" is cohesive yet diverse, it's fresh yet familiar but confident, and the material is not only top-grade, it's also well-executed. Outstanding song selection and strong production, but not too strong, giving the album some character. Catchy hooks, simple melodies, a whole array of synth loops, and everything your standard pop album has to have these days, but done in a sophisticated and musical manner. "Wonder World" is pop down to the last note, and it's not ashamed of that, but it also has kick. With tracks like "Me, In", why wouldn't it? It's one of those albums that you have to listen to from start to finish over and over and over again.
The Recommended Track(s): "Girls Girls", "Me, In", "Stop!", "Sweet Dreams", "G.N.O."

The Album: BEAST - "Fiction and Fact"
The Format: Full-Length
The Release: May 2011, South Korea
The Lead Single: "Fiction"
The PRN Review: Full Review, Best of 2011 - "Though I Call"
The Reason: BEAST are solid proof that effort can, and will, go a long way. They have talent, they have good songs, but unlike other acts, they also put in actual effort to make up for what they lack in. Even if they got what is possibly the best material Cube ever provided, the album was a success because they knew how to deliver the material and how to make it work for them. The songs on "Fiction and Fact" have the potential to be classics, and it's not exactly impossible now that BEAST have the influence they have now. And also, the material allowed us to both look at how far BEAST have come, but also see what they still have to improve on, and something to make us look forward to their next release.
The Recommended Track(s): "You", "Virus", "Though I Call"

The Album: DBSK/Tohoshinki/HoMin - "TONE"
The Format: Full-Length
The Release: November 2011, Japan
The Lead Single: "Why? (Keep Your Head Down)"
The PRN Review: N/A
The Reason: It's DBSK, that's why. Even if it's just Yunho and Changmin now, doesn't mean it can't be brilliant. Despite the fact that DBSK are of Korean descent and thus are eligible for the "K-Pop" categories of major Japanese retailers' charts (like other Japanese-language releases by K-Pop acts such as SNSD and KARA), they do not appear on them. Instead, they are counted as a J-Pop act and are the only K-Pop group ranked alongside J-Pop artists. (see: my soompi article on HMV Japan's year-end rankings) Despite the influx of Korean acts in Japan, DBSK (and BoA!) are still much, much higher up the respect ladder than everyone else, and this album is solid proof of that. While the rest of the Hallyu wave is merely scraping the surface of Japan, DBSK are already a part of the Japanese industry. "TONE" is an amazing album, whether you hear it in CDQ or MP3, because every single track matters, and every single track was thought through and delivered outstandingly, but with such ease. Filler tracks, what filler tracks?
The Recommended Track(s): "Back To Tomorrow", "Thank U My Girl", "Duet", "I Don't Know"

Tohoshinki - Superstar PV from cTVXQmusic on Vimeo.

The Album: SNSD/Girls' Generation - "GIRLS' GENERATION"
The Format: Full-Length
The Release: June 2011, Japan
The Lead Single: "Genie"
The PRN Review: Single Review - "Mr. Taxi", Best of 2011 - "Let It Rain"
The Reason: It was SNSD's first Japanese album, the best-selling K-Pop album in Tower Records Japan during the first half of the year (despite being out for only a month prior to the chart), and it was their ticket to this year's Kouhaku Uta Gassen. In short, it was massively successful. And it's probably one of the most cohesive SNSD albums. Ever. With material from Swedish producers like Jörgen Elofsson, strong A&R, and generally okay vocals from the girls, this is probably the best album SNSD have ever released. Of course "Gee" sticks out like a sore thumb, and so does "Genie" at times, but the album proper, and the new material first heard in Japanese, is really good. Months after it's release, and a few hundred plays later, the good songs are still as good as they were back in June.
The Recommended Track(s): "you-aholic", "Let It Rain", "BORN TO BE A LADY", "Mr. Taxi"

The Album: MBLAQ- "Mona Lisa"
The Format: Mini
The Release: July 2011, South Korea
The Lead Single: "Mona Lisa"
The PRN Review: Best of 2011 - "Mona Lisa"
The Reason: Apart from actually being a good, solid album, "Mona Lisa" was what I had been waiting for since day one. Like I said earlier this month, this EP is still not enough to make up for the disaster of the debut they had back in 2009, but it's a step in the right direction. We have actual songs now, people, ACTUAL SONGS! They've managed to deliver good, solid songs, without losing the MBLAQ sound, a bit thin around the edges and trying to be a Michael Jackson song, among others. And, I never thought I'd say this, but the album is filled with gorgeous songs. Stunning, almost. Everything, from "Mona Lisa" down to the last track, they're all such a pleasure to listen to. "Mona Lisa" is as cohesive as it is gorgeous, and it's also one of the few albums I can listen to without skipping a single track.
The Recommended Track(s): "Mona Lisa", "One", "말하지 말걸.."

The Album: Brown Eyed Girls - "Sixth Sense"
The Format: Mini
The Release: September 2011, South Korea
The Lead Single: "Sixth Sense"
The PRN Review: SOOMPI - single review ("Cleansing Cream")
The Reason: "Sixth Sense" is girl group master class, courtesy of the Brown Eyed Girls. Even if you don't like their music, because even I'm very picky with the BEG songs I like, you have to hand it to these girls because my gosh the attitude is literally spilling out of the album. Even for a toned-down song like "La Boheme", which is also my favorite track. It's half the material, because the songs are so distinct yet tie together nicely, and half their strong vocals. They pull off the material because they actually have the vocals to jump through hoops and fire. While all the other girl groups were either going the cute route or trying way too hard to be edgy and "fierce" (I'm talking to you, SNSD and "The Boys"), the Brown Eyed Girls don't even have to lift a finger and BAM you have "Sixth Sense", both the album and the gorgeous, gorgeous single. Listen to it for the sake of hearing what kind of attitude everyone else should be channeling, regardless of the song.
The Recommended Track(s): "La Boheme", "Sixth Sense"

The Album: Big Bang - "The Fourth Mini Album"
The Format: Mini
The Release: February 2011, South Korea
The Lead Single: "TONIGHT"
The PRN Review: The First Quarter Report
The Reason: Big Bang not only did a lot for their careers this year, they also did a lot for K-Pop. I know I kept quiet about their EMA win, but I'd rather it be them than a lot of other acts who could've very well been nominated as well, because even if I don't worship Big Bang, they, as musicians, have my respect, something I don't give out a lot in k-pop. Their 2011 offering was tight, cohesive, strong, and distinctly Big Bang. Catchy hooks, synths all over the place, and your usual Big Bang chaos were all present, but with a fresher, more current sound. Even without watching their performances and just listening to the album, I could literally imagine the five of them running around and going wild on stage.
The Recommended Track(s): "SOMEBODY TO LOVE", "TONIGHT"

The Album: Infinite - "OVER THE TOP"
The Format: Full-length, counting the repackaged tracks
The Release: July 2011, South Korea
The Lead Single: "Be Mine"/"PARADISE"
The PRN Review: N/A
The Reason: To the industry, and the fans, Infinite's success was one of the year's biggest surprises. You have here a group from a rather small talent agency, with okay, but not brilliant or stellar, vocals, and they actually won Inkigayo and M!Countdown this year. And who were they up against on Inkigayo? Oh, no one. Just the Brown Eyed Girls, KARA, Super Junior, B1A4, Davichi and Sung Shi Kyung. Although 4 wins is a far cry from the likes of DBSK, Big Bang, SNSD, BoA and a host of others, they have laid down the foundations, and they can only go up from here. "OVER THE TOP" is not the year's strongest album, but it's a solid effort, and a solid base to take off from now that Infinite are no longer rookies. It's a well-rounded and well-done album, that's very sure of itself, but it also leaves a lot of room for Infinite to grow with their subsequent releases, which I'll be eagerly waiting for!
The Recommended Track(s): "Amazing", "Julia", "Be Mine", "Paradise", "Because", "Tic Toc"

The Album: G.NA - "Top Girl"
The Format: Mini
The Release: August 2011, South Korea
The Lead Single: "Top Girl"
The PRN Review: Best of 2011 - "Banana (Feat. SWINGS, JC지은)"
The Reason: Because everyone should know of the injustice that is being done to G.NA. Sure, she's not the best singer in k-pop right now, she's a bit flimsy around the edges, but she's probably the most stable and one of the best voices in Cube! And she got *this* as a "big comeback single"? Blasphemy. The rest of the album, although the two recommended tracks are pretty, sound like leftovers from BEAST and 4Minute (and 4Minute didn't exactly get good material this year either) and even if I like "Banana", G.NA can't sing that song live even if she tried really hard. It's such a waste, because k-pop finally gets a young solo artist that is more pop than ballad, and who is actually from a talent agency with actual influence in the industry, and they just ruin her. "I'll Back Off So You Can Live" was light years better than this, I want that back.
The Recommended Track(s): "싫어", "Without You"

The Album: JYJ - "IN HEAVEN"
The Format: Full-length
The Release: September 2011, South Korea
The Lead Single: "IN HEAVEN"
The PRN Review: Full Review
The Reason: With all the intrigue that surrounded JYJ this year, and will probably continue to surround them next year, it's good to know why SME is so afraid of them that they take all these drastic measures to ensure that JYJ never promote this album on Korean TV, including banning "Pierrot" for mentioning "PSM", which apparently means "President Soo Man". JYJ denied it, and even if it's most probably true that it has something to do with SM, they didn't explicitly state it for heaven's sake! A "guess" cannot be grounds for banning a song. It's also good to know why, even amidst all the stupidity JYJ were faced with, this is still one of the biggest-selling albums of the year. Despite not being spoon-fed prime material from local and foreign songwriters and not boasting of "foreign producers" (they've already had their fill of that, thank you very much), JYJ deliver a solid effort with "IN HEAVEN". There's much to improve, yes, and it's only right that they learn to walk before they run, but for what it is, "IN HEAVEN" is a good album.
The Recommended Track(s): "Get Out", "Boy's Letter", "IN HEAVEN", "You're"

Agree? Disagree? What albums did I miss out on? Comment away! ^_^

[#4] Infinite - "Nothing's Over"

2011-12-27T16:41:00.000-08:00

From: "INSPIRIT" (Single)
Released: March 2011, South Korea
Rating: 4.60

I must keep surprising you guys. Don't think that I didn't have an extremely hard time deciding which song to include this year, because believe me, I did. So before you start raising hell about how it should've been "Be Mine" or "Paradise" or even "Before the Dawn", I bring you a food analogy. (I couldn't help myself, I'm sorry!)

"Nothing's Over" sounds like a steaming hot bowl of ramen, whether Japanese, Korean (Ramyun) or even Chinese if you want (La Mien). It sounds like ramen because ramen's quite unassuming, I mean a bowl of soup with some noodles and a few bits and pieces of meat isn't something to write home about, right? Wrong. Ramen may be simple in theory, but getting the elements, the soup, the noodles, and even the toppings, right is truly a science. I didn't think that way when I was a kid, but when I went to Shanghai and Xian last year and tasted the real thing, MY GOD was I missing half of my life (the other half of course is Xiao Long Bao, but I'll save that for another song).

But we deviated a bit on that last bit. My point is, you may *think* that ramen is a very simple dish, and "Nothing's Over" a very simple song, but they're not, because it isn't the idea that carries the package, it's the execution.

And "Nothing's Over" was spot-on.

It matched their vocals extremely well (we're talking about the recording here, not the live performances), so much so that even the possibly boring chorus wasn't as boring as it could have been. So let's just say that the vocals are the noodles -- it seems like they're very basic to make, but making them well, so that they're nice and firm but still soft and chewy, is extremely difficult. Then you have to match the noodle to the specific type of soup stock, which in this case, is the melody and song itself.

And the instrumental is stunning. It's kinda like the toppings, meat, dumplings, whatever else, it gives the food dimension, but also choosing the wrong toppings for the noodles and soup can completely destroy the dish. Not in this case. Everything, from those warm electric guitar lines to the trumpet-like sounds to the percussion, they make sense together, and gel the entire song together.

But also, to take things a bit more literally, "Nothing's Over" sounds very familiar, it sounds very warm. The vocal treatment and instrumental sound like they can envelope you in a hug any time now. It sounds like a bowl of your mom's (Or dad's!) homemade ramen on a cold, rainy day.

So, apart from probably making you all salivate with hunger over ramen, that is also exactly why Infinite are the most junior act in the top five this year.

[#5] Seungri - "What Can I Do"

2011-12-26T15:20:00.000-08:00

From: "VVIP" (Mini-Album)
Released: January 2011, South Korea
Rating: 4.50

Surprised? You shouldn't be, because I believe I've made it clear in the past that Seungri's "VVIP" is one of the few albums I will gladly shell out money for, just to hear in CDQ. His entire solo effort this year was so strong and cohesive that I had a hard time choosing which song of his to put on the list!

From the very beginning, "What Can I Do" was my favorite track from the EP, and months later it's still as glorious as it was when I first heard it.

It's very synth-heavy, with the instrumental packed beyond belief and Seungri's vocals just adding more to the mix, but everything just works together. The melody breaks the very stiff and packed instrumental, and Seungri's strong vocals carry both the airy and powerful sounds so, so well and that hit of nasal-ness actually adds to the sound instead of turning people off -- it's as if this song was made for him.

One of the main things I like on the song is the use of dynamics all throughout. Everything is packed together, yes, but the instrumental isn't ALL in your face, it pulls back at times and lets the brilliance of everything sink in, before completely letting loose, and even then you can still hear everything that's going on. And it sounds so sophisticated when you take a step back to just take everything in.

"What Can I Do" sounds like a cup of Filipino hot chocolate, the really, really, reaaaaaaaaaally thick kind that you can either drink or dip churros in. It's kinda like you boiled a bar of dark chocolate with 2 or 3 teaspoons of water. It has this really thick, almost gooey, texture, but it's still fluid and it isn't just flat sweet, it's a bit bitter around the edges, but by the time you're done drinking it you're literally O.O And it's for that reason that this song has to be heard in 320kbps AT LEAST, and if possible, physical CD quality.

[#6] Wonder Girls - "Me, In"

2011-12-25T12:43:00.000-08:00

From: "Wonder World" (Album)
Released: November 2011, South Korea
Rating: 4.40

I've made it no secret that I think "Wonder World" is one of the best albums of the year, and that initially, my favorite song was "Girls Girls", which they're now promoting (and we see the return of my knack for predicting post-album singles!), so you must be wondering, why is "Me, In" on the list and not "Girls Girls"?

Apart from the fact that I genuinely like "Me, In" just as much as "Girls Girls", no matter how much I like "Girls Girls", even if I overplayed it a bit and now it's pretty generic for me, any other girl group can put out something like that, and there are a host of other girl groups who can actually pull it off too. Some better than the Wonder Girls, live at least. And it's stupid how they gave Sohee so many singing parts when they probably already knew they'd be doing this live.

"Me, In", however, is a different story. It's a cover of a Korean rock classic, so I've heard (both figuratively and literally), and I'm not very fond of the idea of covers altogether, but for the Wonder Girls it works. And it's not like they're putting out multiple albums full of covers (*ahem*WESTLIFE*ahem*), so all is good. And really, there are only two our three other groups who I can imagine pulling "Me, In" off as well as the Wonder Girls. Yes, BEG is one of those groups.

I watched a live performance of the original version of this, and it was all loud, high-intensity, near-screaming (in a good way) and it came off really as a hardcore rock song. The shift from that to this is really something else. It still sounds like a rock song, but much tamer around the edges and slightly more pop.

You have attitude, spunk, class and a hint of pop all rolled into one. That, paired with Ye Eun and Sun Ye's stunning and powerful vocals, which were vital to the success of the delivery, and wow. Just, wow.

And what I find even better is that even if, when you think about it, it's really out of sync with the rest of the album because everything else is so pop and then you have this rock song in the middle of it all, it actually blends with all the other tracks on the album, due to the production and the vocals, but without losing some semblance of individuality.

So it's only right that they're the highest-placing girl group on my list this year.

[#7] SNSD/Girls' Generation - "Let It Rain"

2011-12-25T01:11:00.000-08:00

Merry Christmas everyone! I hope you all had a great day spent with your loved ones, and that you got lots of presents and ate a truckload of food! :D But on to today's matter.

From: "GIRLS' GENERATION" (Album)
Released: June 2011, Japan
Rating: 4.30

Despite the fact that I'm not your biggest SNSD fan, and there are so many things I find unfair in the way their Japanese career is going, their Japanese album was clearly light years ahead of anything they've put out, and so I had quite a difficult time deciding which song to put on the list. For a while it was "Mr. Taxi", then it became "Bad Girl", then "you-aholic" then actually "I'm In Love With The HERO", before I settled on "Let It Rain".

This is something I don't think they'd ever make a major release in Korea, and that's one of the main reasons why I settled with "Let It Rain" as somewhat the representative Japanese song (even if I hear there's a Korean version). It's something they'd do only in Japan, not because this is better or anything, but because this is simply not Korea's taste. It's too slow to be danced to so it will never be a lead single, but on the other hand it doesn't fit the standard ballad OR midtempo formula, so it'll just be another overlooked album track in Korea.

In one word, the entire song is epic. The bass line is felt rather than heard, and all the instruments, though amazing in themselves, are slightly dulled to let the vocals float. The structure is simple, but the melody is gorgeous and flows so well with the rest of the song. And, above all, "Let It Rain" is so easy to listen to. It has some bite around the edges, courtesy of the vocal treatment, but as a whole it's so smooth.

I have another food analogy for this song. The instrumental kinda reminds me of plain tortilla chips, which are okay on their own, but a bit flat and more focused on texture than taste. But then you add in this awesome tomato or garlic cream dip, which in this case is the melody and vocals laced together, and everything explodes in your mouth. Or in this case, your ears.

[#8] DGNA/The Boss - "Lady"

2011-12-23T15:30:00.000-08:00

From: "Lady" (Single)
Released: October 2011, South Korea
Rating: 4.20

Laugh at me all you want, but I actually liked "Lady", and this is a list of my favorite songs, so this belongs here. "Lady" is a gorgeous song, but it also made some kind of statement -- that just because The Boss come from an obscure little agency, doesn't mean they can't be talented, because my goodness are they amazing.

And actually, this is their first formal ballad release. Which is surprising because they've always been pushed as an "idol group who can sing" and usually in Korea that equates to ballads. But I'm not complaining, because I liked their uptempos!

Everything starts out simple enough, with minimal instruments and their gorgeous voices, but slowly, the entire thing just explodes into a glorious mix of epic instrumentals and a gorgeously sung melody. By the end my jaw dropped, and when the resolution came around everything just went blank. The good kind. The kind where you're literally stunned and can't say anything cohesive anymore,

The vocals, oh dear Lord the vocals. They may not be up to par with older, more experienced singers, but for their calibre, my God. The harmonies, the solo lines, the belting -- stunning. Their vocals literally shine, and after hearing this, I don't think anyone can discount the fact that, vocally, they're one of the best idol groups in a long time. Like I said earlier this year, there's still so much they have to improve on, but put them beside any of the newer idol groups and they crush them.

Which is why, even if "Lady" in itself is pretty generic, and if you're not listening well enough it can bore you, they've made it work. The arrangement is simple, but the vocals carry the entire song.

[#9] BEAST - "불러보지만 (Though I Call)"

2011-12-22T17:54:00.000-08:00

From: "Fiction and Fact" (Album)
Released: May 2011, South Korea
Rating: 4.10

I swear, I keep changing the songs at the last-minute. When I locked the list, the BEAST song I chose was "You", and it's a gorgeous song, but as I listened to it throughout the month, I got bored. Here comes "Though I Call" to the rescue. Actually, this song was one of my first favorites on the album, but I guess time when against it so when I was choosing songs last month, I completely forgot about it. Thank goodness I remembered it in time.

2011 was amazing for BEAST, with "Fiction and Fact" easily being one of the best albums of the year. The A&R was spot-on, and the delivery impeccable -- they tried hard, and it shows. Of course that probably cost Cube an arm and leg, thus leaving nothing for everyone else under them, but I can deal with that. Cube has a lot of redeeming to do in 2012 though, and it better start with G.NA.

But anyway. "Though I Call" is a lot like me other favorite BEAST songs, actually -- "내 여자친구를 부탁해 (Say No)" and "Oasis". They're the songs that really show them putting an effort into their vocals, because let's face it, they weren't the best when they debuted. But, once again, hard work pays off, and their vocals have greatly improved.

The song sounds so BEAST, with the synths, the rapping and the melody all thrown together, from the opening alone you know it's a BEAST song. But it also has grace in the delivery of the vocals and the instrumental. All the elements explode when they need to, but also know when to hold back.

And really, the sweeping melody and the simple but well-orchestrated instrumental make the song such a joy to listen to.

[#10] Kim Junsu - "You Are So Beautiful"

2011-12-22T00:41:00.000-08:00

From: "Scent of a Woman Soundtrack" (OST)
Released: September 2011, South Korea
Rating: 4.00

Screw all the other drama theme songs that came out this year, "You Are So Beautiful" is ballad master class with the god of ballads, and you really can't do better than that.

It has a quaint melody, with some quirk around the edges, and it's not all tear-jerking melodrama. It's also not too big on the high notes, but not completely lacking in them either. Reminds me a lot of slightly creamier fro-yo, a bit creamy, but still tart.

Junsu's vocals are the highlight and focus of the song, and everything is stunningly perfect -- from the technique, to the belting, to every single little detail of his vocals. Not too much screaming, but not too much airiness either. It's just the right mix of dynamics to leave you stunned at the end of it all.

That, laced with a straightforward, what you hear is what you get, instrumental that goes straight to the point, makes Junsu's voice stand out even more. The instrumental is still gorgeous though, with a touch of electric guitar behind the gorgeous strings and the crisp piano line.

Throw all of those together, and you have one of the most stunning ballads of the year.

[#11] Brown Eyed Girls - "Sixth Sense"

2011-12-21T01:32:00.000-08:00

We're finally at song #11, which means that starting tomorrow, up until new year's eve, I will be revealing my top ten songs of the year. One by one. Oh the agony. Mwahahahahahah! So which song just missed the cut?

From: "SIXTH SENSE" (Album), South Korea
Released: September 2011
Rating: 3.98

And this, my friends, is how you sing a song. It is also how you make a song with attitude. And to top it all off, I actually adore "Sixth Sense". Kick, attitude, punch, whatever you want to call it, "Sixth Sense" is it.

Basically, the reason why this song works so well is that they can actually sing. Extremely well. If they didn't have the vocals they do, this song would have been a pure and utter failure, not to mention a disgrace. And the good thing is that they actually show it off, but not too much.

The chorus is a mix of screaming and melodic singing, and although it's a bit anticlimactic (not as much as it was when I first heard it though), it does the trick. It's a scream-fest, yes, but it's a melodious and ever so slightly feminine, scream-fest. They scream enough to wow you (and make you go O.O), but they also dilute it enough to keep your eardrums alive, and let you recover from the shock.

Let us take a moment to drop everything and worship the verses of this song. They are stunning. Smooth, melodious, slightly interesting, but powerful and catchy at the same time. But they're also rather simple, with the right amount of repetitiveness, simple enough to remember after a few listens here and there.

The entire song has a pinch of arrogance to it, but that's exactly what it needs. The arrogance leads to punch, and the punch leads to power, and the power leads to a strong, literally stunning, song.

[#12] Kim Jaejoong - "I'll Protect You"

2011-12-20T16:14:00.000-08:00

From: "Protect The Boss Soundtrack" (OST), South Korea
Released: August 2011
Rating: 3.95

I like ballads. I like sweeping melodies and gorgeous string sections and I like it when they're put with stunning vocals. And thank goodness Jaejoong got some sort of solo song this year, and that solo song was stunning, or I would've raised hell.

If you didn't watch PTB but listen to "I'll Protect You", it doesn't come off as one hundred percent an OST song, because it has a little more than your generic piano, strings and maybe some canned drums in the arrangement, and the melody is out of the ordinary. It has character, and can actually stand apart from the drama.

"I'll Protect You" is smooth, courtesy of the instruments AND Jaejoong's voice that is the epitome of smooth, but has punch, courtesy of that gorgeously real, yet smooth, drum part, and again, Jaejoong's flexible voice that goes from smooth to powerful in a single song. I know I don't say anything much about how voices express emotion, but really, Jaejoong captured it perfectly, and instead of his breaths being annoying and his technique over-the-top, they add to how the song feels over-all.

Everything starts out simple. Minimal instruments, a piano and guitar line, but then the chorus hits and the instrumental gradually explodes, but Jaejoong's vocals don't, and he keeps that tone for majority of the song, until of course, it's time for everything to just go wild, and those gorgeous high notes he does at 2:38 and especially at 2:58 make me ready to kill to see him sing this live.

"I'll Protect You" is a stunning song, done gorgeously, by a gorgeous and learned voice. What more could I ask for?

[#13] Brave Girls - "Do You Know"

2011-12-20T03:07:00.000-08:00

From: "The Difference" (Mini-Album), South Korea
Released: April 2011
Rating: 3.89

The Brave Girls are the highest-placing rookie group on this year's list, and believe me, they deserve it. "Do You Know" is simple, it's clean and unlike all the other idol groups who make a contest out of their debuts, this is like the Brave Girls saying that they're above competition. Because they are.

Again, a very simple song, but it does the trick. It's sophisticated, it's graceful and it's laid-back, but it has conviction. Nothing on this song sounds lazy, nothing sounds half-baked, and that alone betters a handful of other girl groups. The smooth sound doesn't bore you to death, it relaxes you, and lulls you to sleep. This sounds like white chocolate -- smooth, creamy beyond belief, but convincing and sure.

Put together the fact that it was actually sung well, and that they can actually perform this live, and this is a recipe for a brilliant song. And what I really appreciate about the vocals on this is that they're not forced. No excessive belting, no trying to out sing everyone else in the band, and the vocals really match the sound of the entire song.

I can listen to this for weeks and not get sick of it. Strong production, and a simple, yet effective and well-done sound.

[#14] IU - "Someday"

2011-12-20T00:50:00.000-08:00

From: "Dream High Soundtrack" (OST), South Korea
Released: January 2011
Rating: 3.85

"Someday" was actually the very first song I put into this year's list, and no, this is not on the list just because IU's releases have always managed to miss the cut-off date by a few days/weeks, because really, "Someday" is a stunning yet simple song.

Scrap all the fancy studio effects, the vocal gymnastics and whatever other frilly things people add to songs these days, and you're left with a gorgeous melody accompanied by a simple, yet timeless arrangement and good vocals.

One of the things I value the most in a song is simplicity. You have a point to put across, I understand, but there are many times when less is indeed more. The simpler it is, the more people can imitate it, and the more people imitate it, the closer it is to becoming a classic. I always raise this point, but it's true -- even if arrangement and technology and effects are very important, the melody is the part that will ultimately transcend time. In pop, when you remix a song, you take the melody and slap it on top of another arrangement. Again, the melody.

"Someday" shows off IU's vocals, not in the screaming, "I can hit notes this high" way, but in how she delivers something simple. The true measure of a singer is not how high he/she can go, but how he/she makes use of his/her vocals and technique to deliver the simplest melody. A good singer doesn't show off, but doesn't shy away either. And that's exactly what IU did with "Somebody".

[#15] Big Bang - "SOMEBODY TO LOVE"

2011-12-20T00:08:00.000-08:00

From: "BEAUTIFUL HANGOVER" (Single), Japan and "BIG BANG 4TH MINI-ALBUM" (Mini-Album), South Korea
Released: August 2010 (Single) and February 2011
Rating: 3.75

Up 'till last weekend, the Big Bang song sitting on my year-end list was actually "Love Song", but when I looked over the list again the other day, I realized that I put "Love Song" in because I liked the idea of it, what with it being pretty far from the usual Big Bang sound, and not because I genuinely liked the song. So here we are, and my favorite song from them this year is indeed "Somebody To Love".

Although originally released in Japan last year (and was it just me or did majority of the sound sound like it was in English?), they re-recorded it and put it on this year's Korean release. And I adore it, because I genuinely like it, and also because it sounds like the Big Bang I came to like, and respect.

You see, that's the very reason why I respect Big Bang. They can experiment with God knows what, they can jump through hoops and fire, but at the end of the day they know how they are, and they know how to show people that they haven't forgotten.

The song is synth-heavy in the sense that the song revolves around them, but the synths themselves aren't that heavy, so you have enough room to both hear the instrumental, and the melody itself. It's kind of like a chewy cookie - even if it's really creamy and packed, there are little gaps/holes for it to breathe.

Gorgeous melody, well thought-of arrangement, and over-all, a song I'd gladly listen to over, and over, and over again.

[#16] 2NE1 - "Ugly"

2011-12-18T15:22:00.000-08:00

I apologize in advance, but I'm having a hoard of friends over for lunch and a sleepover today, so my mind is in a different place right now. D:

From: "2NE1 2ND MINI ALBUM" (Mini-Album)
Released: July 2011, South Korea
Rating: 3.70

I've been really quiet about 2NE1 this year, but in my defense I was so busy that I hardly paid attention to the acts I didn't genuinely like to start with. However, listening to the EP a month late, I found this gem.

The really cool, no actually, amazing thing about "Ugly" is that when you look at the individual elements, it sounds nothing like 2NE1. The heavy synths (although there are still synths) have been replaced by an electric guitar line, no studio-made loops, instead there are actual, real drums, and the vocals have no extremely obvious processing. AND CL IS SINGING. It's about the farthest you can go from the 2NE1 sound, just before heart-wrenching piano ballads, and yet when you stop thinking of all the nitty gritty, it actually *does* sound like a 2NE1 song.

I have several guesses as to why it still sounds like a 2NE1 song, but they're far too tentative so we'll skip them altogether. However, there are a few elements that 2NE1 couldn't do without on this song. Despite the differing lyrics, the chorus is actually repetitive, and so is the middle 8.

The selling point for me was the melody. It's gorgeous. Simple, repetitive at times, but gorgeous. And they're all singing! I move to get rid of Dara, because CL and Minzy should just take over, with Bom having the occasional singing part. That would be perfect, thank you.

[#17] After School - "Bang!"

2011-12-17T23:30:00.000-08:00

From: "Bang!" (Single)
Released: August 2011, Japan
Rating: 3.70

Even if "Because of You" will forever be immortalized as one of the most brilliant After School songs on the face of the earth, and for just writing it, Brave Sound was resurrected in my books, "Bang!" made me realize that given the right material, the girls in After School actually have talent. "Bang!" single-handedly proved that repertoire is crucial to a band's survival, and it frankly, they haven't released anything better since then.

So you could imagine how much I freaked out when I heard this Japanese version.

The Korean version of "Bang!" was very stiff, with the chanting AND the in-your-face-and firm drum rolls. Everything sounded so.. angular. I liked it, and the drums were indeed the focus of the song, but there's only so much of it that you can take, especially when you hear a much more fluid version, courtesy of the Japanese re-arrangement.

Basically, what happened between the Japanese and Korean versions is that a bunch of new instruments were added, everything was made much more intense, but they also made the song much more rounded and less stiff. However, all of that was done without losing the attitude and a bit of the crisp sound of the Korean version. And, like the Supernova song, the Japanese lyrics had something to do with it too.

It's a fresh take on a now-classic After School song, and it takes the fluidity of the new After School sound and incorporates it into the package. What you get is again, a balance.

[#18] MBLAQ - "Mona Lisa"

2011-12-17T20:23:00.000-08:00

If this, or any of my recent reviews, sounds a bit off, you'll have to forgive me. We're right on schedule, yes, but it's a pretty tight schedule until we get to the top ten songs, so I'm writing all these reviews with the flu and migraines left and right. I'm sorry. D:

From: "Mona Lisa" (Mini-Album)
Released: July 2011, South Korea
Rating: 3.65

Again, I was debating between this song, and "Cry" from their earlier release this year, because really, "Cry" is stunning, but I believe "Mona Lisa" is the song that really put them somewhere musically. The possibilities of them ever completely making up for the travesty that was "Oh Yeah" are next to none, but at least now we're assured that MBLAQ are capable of actually making a good song.

Not just decent, but good. They can't sing it live to save themselves, but as a recording, and as a song, it's really good. And actually, it sounds a bit like what "Oh Yeah" should've been, had it not been blasphemous, what with the Mexican thing going on.

Vindication? Maybe. Does it make up for "Oh Yeah"? Again, definitely not.

They were given that oh so valuable second shot, and kudos to MBLAQ, because they got it spot-on. It has sophistication to it (which MBLAQ are in dire need of), but it's also not afraid to pack a punch. Strong production, a tight, yet fluid arrangement, and something that can actually make use of their arrogant vocals. It has enough K-Pop to make it familiar, but enough of the guitars and the Mexican-ish sound to make it interesting. It doesn't bore us to death, but it's not completely alien to us.

The entire song is very tight, clean where it's supposed to be, and chaotic where it's called for, but it's not too crowded. It's packed enough to give you an entire song, with a catchy melody, instruments running around all over the place and everything in between, but it has enough "air", so to say, to allow you to take everything in as it goes.

It makes you want to press repeat, not because you didn't catch a few of the gazillion different things happening throughout, but because you liked what you heard and you genuinely want to hear it again.

[#19] T-Ara - "Cry Cry"

2011-12-17T15:19:00.000-08:00

From: "Black Eyes" (Mini-Album)
Released: November 2011, South Korea
Rating: 3.60

So many acts proved me wrong in 2011, including T-Ara in the latter half of the year. I've never really liked T-Ara singles, and apart from a few album tracks I liked here and there, none of their major releases were really exceptional songs to me. They were almost always exceptionally bad, to be completely honest with you, what with "Bo Peep Bo Peep" and "Yayaya" leading the pack.

However, "Cry Cry" is in a league of it's own as far as T-Ara singles are concerned. First of all, it completely disregards my theory that Core Contents only knows how to produce two kinds of songs - cheesy, cheap uptempos, and stunning ballads - because even if this is kinda like a ballad, it doesn't fall into the likes of Co-Ed School's "The Words That Make My Heart Beat", and it most definitely isn't a cheap uptempo either.

It's like they put together the two styles, took the best, and added some finishing touches here and there. It's catchy, it has this cool dance break, and it's sophisticated. That sophistication is what I've been looking for from T-Ara for like forever.

This song also finally, truly, convinced me that T-Ara CAN indeed sing (I can hardly remember them from their debut, actually, I don't know who's who), and that all those cutesy songs weren't just to hide the lack to talent, but were a disgrace, because they're a lot better than a handful of over female idols. It's probably more of an injustice than Luna's injustice on practically every f(x) song, because it concerns majority of the band.

I get the impression that they're trying to make "Cry Cry" some kind of mexican-ish song like MBLAQ's "Mona Lisa", but they failed and settled for a late 1990's Britney/Christina/every other Maratone and/or Max Martin-produced boyband/pop princess sound, which works for me too! Clean, but not too clean, production, a smooth, well-sung, melody, and everything in between make for a song I've looped countless times.

It's the last stretch of 2011...

2011-12-17T02:29:00.000-08:00

We're already in the second half of December (!!!!), and so before everything gets chaotic, both on Pop Reviews Now and in real life, I think it's best if I lay out everything that's gonna be happening on the blog during the last few days of 2011. Believe me, there's a lot happening this year.

So today is the 17th of December, so right now we're at song number 20 on this year's top 50, and we are right on schedule. Songs #19-#11 will be revealed between tomorrow and December 21st, and from December 22nd to December 30th, songs #10-2 will be staggered, one a day. On December 31st, I'll reveal my favorite song of 2011, as well as a few of YOUR favorite songs (deadline to send in your reviews is December 25th!).

If you'd like to place bets on what the rest of my top 50 is, like McRoth and Ree did the other day, just for fun (I'm too broke to give anything away!), you may do so on this post and I WILL give out clues. ;D

I also kicked off this year's Holiday special today, with a review of "2011 SMTOWN Winter: The Warmest Gift". Part 2 will be published any time from tomorrow to the 24th, just in time for Christmas day. I may or may not do episode recaps of music shows that do Christmas specials, I'll think about it.

And, of course, after Christmas everyone will be fussing over year-end specials and Gayo Daejuns. I WILL be doing recaps of all 3 music shows' year-end specials, and by the first week of January I'll put out something like what I did for last year's Gayo Daejuns.

[#20] JYJ - "소년의 편지 (The Boy's Letter)"

2011-12-17T01:37:00.000-08:00

From: "IN HEAVEN" (Album)
Released: September 2011, South Korea
Rating: 3.58

So. Here we are. It's time for me to talk about a JYJ song. I notice that whenever I say something positive about JYJ, I'm labelled as an obsessed "fangirl" (which I am, but in this sense it's most probably derogatory), however when I point out that they're people too and they have flaws, either people call me an anti-fan for "putting them down" and/or "not encouraging them", or tell me I'm over-thinking things. So I assume, the solution is shutting up about anything JYJ-related, which, of course, I refuse to do. So I'll go on with this review.

I'll say flat-out that this song is far from perfect. It is, but just like why I like DB5K in the first place, the good far outweigh the bad, and so this is on the list, at #20, whether anyone likes it or not. It's imperfect because of how the song is structured itself -- it's too long in a bad way, and it drags on at the end.

In my opinion, the song should've ended at the 3:36-mark, after, or during, Yoochun's part. It should've been done by then, because essentially, that piano part, and even Yoochun's solo itself, was actually already the resolution. It's like having your happily ever after in a story, then having this really useless, fluff-fest, of an epilogue that involves the main characters having a kid. It's like a sequel - it's not necessarily that bad, but it's as if you're milking a dry cow, nothing will come out of it.

Don't get me wrong, those extra 2 minutes are stunning, with all their voices soaring in different, yet cohesive, directions and really showing off just how talented all three of them are, but one, like I said a while ago it drags, and two, it hardly has anything to do with the song proper anymore.

But, again like I said a while ago, the fact that it's a gorgeous song in itself far outweighs that. In fact, I kinda like cheesy, fluffy sequels. For fun.

"The Boy's Letter", despite being dragging at the end, when you pass that, the song is really something else. It was made to show off Jaejoong and Junsu's vocals, and it's one of the few songs on "IN HEAVEN" where they got Yoochun's part spot-on. It's a very JYJ ballad, with all the strings and whatnot, and it's really what these three do best.

I'm getting carried away here, aren't I? Basically, the reason why this is on the list is because I like it. Because it's a joy to listen to a well-sung ballad, and because the good qualities surpass the bad.

[#21] Miss A - "Goodbye Baby"

2011-12-17T01:14:00.000-08:00

From: "A Class" (Album)
Released: July 2011, South Korea
Rating: 3.53

2011 was very good to Miss A in terms of success, and even if A Class was half-unoriginal, the new tracks were actually pretty good.

"Goodbye Baby" gives off a very nonchalant attitude. It's edgy, it's smooth and it's somewhat sophisticated, but it sounds very effortless. It's right smack in between heavily-orchestrated and the wild, running around stage-type songs in the sense that it's still structured and it's still serious, but it's also very second nature to both Miss A and the people behind the song.

There's a thin line between effortlessness and laziness, but this song is certainly far from lazy. Very far. Their vocals, although very smooth and somewhat laid-back, still manage to pack a punch, and the instrumental has enough quirk to sustain. And, despite the fact that I'm not the biggest fan of the singing style JYP forces down his acts' throats (literally!), it actually works for this song, because if it was sung straight without the "JYP technique", one dimension of the song would've been lost in the shuffle, and this song is all about dimension.

Let's backtrack a bit. I said that "Goodbye Baby" is smooth, and that's another really important element of the song. The vocals, even if they're slightly disjointed due to JYP, are very smooth, silky smooth even. They add to the over-all sound, and laced with the instrumental this entire song sounds like a smooth cup of coffee, with just a little extra creamer.

Bottom line is, "Goodbye Baby" is catchy, it's an effective pop song, but above all it's well-done. In being well-done, it becomes a pleasure to listen to, and that's a really important trait in a song - it has to be easy to listen to.

[#22] Secret - "Neverland"

2011-12-16T15:32:00.000-08:00

Just a quick reminder of what this list actually is -- it's a list of my favorite songs this year. So whether that is "credible" or not is really none of my business, these are the songs I enjoyed listening to this year, along with justifications on why I liked them. That's it.

From: "Moving in SECRET" (Album)
Released: October 2011, South Korea
Rating: 3.5

The deal-breaker that ultimately put this on the list instead of "Together", is that horrid rap part on "Together" that really doesn't match the song and makes me cringe every single time. If not for that, "Together" would've been gorgeous from head to toe. But "Neverland" is too!

Again with the balance -- parts of the song remind me of pre-"Magic" Secret, with that hint of innocence and that somewhat generic R&B sound. But actually, they pull off that sound pretty well! And you can see that their sound now, albeit not that much more mature and still a bit confused around the edges ("Shy Boy" sticks out like a sore thumb, I tell you), is definitely much more sophisticated in terms of production and execution. In short, they have more money now.

But really, the melody is gorgeous, and the instrumental, though simple, does the trick. With those seemingly distant strings and that thumping, yet gentle, bass line. And actually, the whole song sounds very gentle, even how they treated the higher parts, everything sounds rounded and gentle. Kinda like a chiffon cake, to be honest with you. (I'm sorry, you guys must be saying "AGAIN WITH THE FOOD ANALOGIES!")

So that's why I used to use this as my lullaby!

The 2011 Pop Reviews Now Holiday Special Part 1: "2011 SMTOWN Winter: The Warmest Gift"

2011-12-16T02:00:00.000-08:00

Just a quick explanation of how I'm doing this year's Christmas posts. So, obviously this SM TOWN Christmas album is part 1, and for part 2 I'll be reviewing some of my favorite K-Pop Christmas offerings, both old and new. Rules and stuff will be discussed in part 2. But now, on to more important business.

It's been a good three years since any sort of SM Town release, the last being the half-SM Town Summer 2009 EP with Super Junior, SHINee and DBSK. If you remember correctly, we were told that the other half of SM Town, namely the girls, would be featured on the Christmas album. Well, clearly that didn't happen. But FINALLY, SM has decided to put something out in time for Christmas. Is it any good? Well, that's a pretty long story.

When news of this album first broke, I was ecstatic. Of course, SM Town isn't SM Town without a fail Yoochun English rap, a Jaejoong/Lina or Jaejoong/BoA duet, or some goofing around courtesy of Shindong and Eunhyuk's rap part, but I could do without that if it meant getting one song with everyone thrown in, acting happy in a fake-snow wonderland. Right? That was until I found out that not only was there no group song this year (WHAT KIND OF BLASPHEMY IS THIS?!), but the album would be 100% English. Let's just say that if Yoochun, who actually spent more than a few days in the US, manages to epicly screw up all his English parts, what more the others. And let's face it, there are only a handful of SM Town artists who can actually speak good English. I'm still thinking of whether or not BoA is in that handful.

And once again, my psychic powers did not fail. The English is horrible. I'm an English major(well, comparative literature, but I'm still under the English department), I know. But the bad English isn't really the big problem, it's the fact that it's in English.

Let me put it simply, the album is too Americanized. It's hardly K-Pop anymore. Say all you want to say about how K-Pop is just a rip-off of Western music, but you know, even if majority of the songs probably are, you can tell the difference between K-Pop and American pop. You know why I'm into K-Pop? It's because I'm so sick of US Pop, and here we are, back to the very sound I want to avoid.

The problem with it sounding too American is that one, obviously they're not American, but two, really now, what good, distinctively Christmassy POP songs have the Americans contributed to the standard Christmas repertoire? "All I Want For Christmas Is You"? Seriously now. "Last Christmas"? You have got to be kidding me. They're merely pop songs with Christmas lyrics about gifts and snow. There’s so much more to a Christmas song than that. This SM Town album sounds like a confused Rat Pack-turned-makeshift Christmas album, to be completely honest.

This album is massively confused. Massively. So either the song itself isn't K-Pop enough, or when they finally get the song choice right, they screw up the execution. My prime example? Jang Ri In's version of "Oh Holy Night", which is actually one of my favorite Christmas songs. The girl has a gorgeous voice, she really does, and what does she do? She murders the song. All those runs and those strange sounds she makes with her voice. No, just no. There's a reason why the Christina Aguilera Christmas album was a complete failure.

Yes, I'm very picky with Christmas songs, but that's only because my childhood was filled with some of the most gorgeous Christmas songs anyone will ever hear. I grew up not only listening to them, but singing them as well. I know my Christmas repertoire - everything from the classic Handel's "Messiah" to Filipino novelty Christmas songs where you make sounds out of combs and pieces of wax paper, to the most tear-jerking, yet most distinctly Filipino Christmas song you will ever hear, I've sung them all. So imagine going from all those, to a bunch of pop songs that don't even sound like Christmas. They are inferior not because they are pop songs, there are some gorgeous pop Christmas songs (DBSK's "Winter Rose" for heaven's sake!), they are inferior because they don't sound like Christmas, they don't serve their purpose.

You want me to tell you what Christmas sounds like? Christmas sounds like a cup of hot chocolate, rich and creamy and sweet, it sounds like a thick blanket wrapped around you, keeping you warm. It sounds like bells ringing in the distance and lights all over, it sounds like you're being surrounded with your family and friends and you're all happy. Christmas songs literally wrap you around in a nice, warm, hug, and refuse to let go. Christmas is such a simple feeling, but it overpowers everything else. Now regardless of how that gets translated into music, that's the standard framework of a Christmas song, and the minute you deviate from that even a bit, you lose the Christmas. All of it.

I don't care if you want to add electric guitars (like Aly&AJ's "Greatest Time of the Year"), go all-out with synths and loops and the works (surprisingly, JYP Nation's "This Christmas"), make everything epic and waltz-y (a-la DBSK's "Winter Rose"), keep it to a bare minimum (Josh Groban's "Thankful), or even make it kinda reggae-ish (like the brilliant Nota a cappella version of "The Little Drummer Boy", complete with a RAP PART), bottom line is that it has to leave people warm and fuzzy.

With the SM Town album, I felt nothing. Nada. Zilch. The entire album sounded like a pop album released any time BUT the holidays, it sounds so clean, too clean almost, and Christmas is not a cleaning contest on who can use the most sanitized production, it’s a contest of who can make the most emotional, goosebump-inducing song. No feeling whatsoever, they all sound like robots. Don't get me wrong, there are gorgeous songs on this album, namely BoA's "Distance", that song is stunning, but they're just not Christmas. Let me put this nicely, even T-Ara's "O My God", which I'm not even sure if it's a Christmas song, sounds more like Christmas than this entire album put together.

Unlike your usual pop song which lasts for a few months before becoming completely irrelevant, when you release a Christmas song, the standard shelf life is forever. Yes, forever. For the good ones, at least. My Christmas playlist this year includes pop Christmas songs that were released as early as 1998. 98 Degrees, BSB, that staple *NSYNC "O Holy Night" 5-part a cappella arrangement, Blue's "Gift", Aly&AJ, and even the DBSK Christmas EP - they're all still relevant. That's because Christmas never grows old, and people will always have a need for a Christmas repertoire. Which is why no one should be surprised that the most familiar "classical" pieces are in fact the Christmas offerings.

In simpler terms, "2011 SMTOWN Winter: The Warmest Gift" is more novel than it is lasting. The arrangements are faddish, the over-all sound very current, but under those you have nothing that can transcend time and cement these songs as Christmas staples. In colloquial Filipino/Taglish, this album is a "one time big time", and does not have the lasting qualities of other, better, Christmas releases. And actually, some of the songs on this package sound more like they belong on the acts' respective albums, and not a CHRISTMAS-themed compilation.

Super Junior's "Santa U Are The One", excusing the horrid English on the chorus (Ear after ear? Seriously?), sounds like a pop song they just slapped some bells on, and some lyrics about happiness and Santa. That's it. It's SO Big Time Rush (but even BTR made a better Christmas song than SuJu)/One Direction ala-"What Makes You Beautiful". I mean it's an okay song, nice and happy and upbeat, and I'd probebly listen to it a lot if it were not for the "ear after ear", but that's all it will ever be, and that's not it's purpose. When I first heard this, I thought it sounded nothing like Christmas, as in nothing at all, but actually, after listening to the rest of the album, this is probably the song that's closest to getting what Christmas songs should be. But still not enough.

I hate the covers on this thing. I hate them. DBSK's "Sleigh Ride" is the biggest disappointment. Because seriously, we went from "Winter Rose" to this monstrosity. This is one of the rare instances that I will consent to a version in another language, because seriously, DBSK should've just done an English version of "Winter Rose". Now THAT is a song that can be milked for all it's worth, because it’s shelf life is literally forever. But no, they had to give DBSK a cheesy cover of "Sleigh Ride", that actually makes them sound sleazy, to be honest.

And really now, SHINee's "Last Christmas" has got to be one of the worst covers of one of the most cheesy, cheap Christmas songs ever released.

It was bad enough when Wham! did it, for heaven's sake. Then they SM-ify everything? Oh dear. The production is okay, and I kinda like the outer space-like synths, but you mix those with some of the most uninterested, boring and lazy vocals I've ever heard from SHINee and you have a disaster. I'm serious, they all sound bored out of their wits, which they probably were, and for once, I would've liked Jonghyun to go wild, because seriously, I fell asleep listening to this song, and not in the good way.

J-Min's cover of the John Lennon song "Happy X-Mas (War Is Over)" is okay, nothing special, and the girl has a nice voice, but once again, it sounds so uninspired. And boring.

As far as "The First Noel" covers go, DBSK win by light years. So I thought that since SM was behind their cover, the Jang Ri In verson would be really good too. Boy was I wrong. I like some parts of the arrangement, like the simple piano part, those gorgeous strings, and the drums, but you know what it sounds like as a whole, including that oriental-sounding instrument? It sounds like an American's attempt to make something "oriental", like "Ninja Assassin" or whatever. And that really disturbs me, because Jang Ri In is CHINESE, and SME is a KOREAN company. I don't get it, and don't think I ever will. To top it all off, like I said earlier, the vocals totally ruined the song. Totally. Why do you have to put all those unnecessary runs and strange vocal techniques into a song that's supposed to be nice, and quiet and simple then it's supposed to explode, but in the really big and tasteful way. Then Ri In just does a Christina/Mariah on it.

BoA's "Distance" is gorgeous, it really is. I love it and I'll probably be looping this for the next few days, but it's still not Christmas enough. "Distance" actually reminds me a lot of a Stacie Orrico/Young CCM-type song, in terms of treatment. The harmonies, and even the instrumentation, sound like something straight off Stacie Orrico’s self-titled album. Which is very, very, VERY far from Christmas. And that bugs me. There's a difference between "gorgeous pop song" goosebumps and "Christmas song" goosebumps, and the goosebumps I got this time were the "gorgeous pop song" ones. Basically, the only part of the song that made it remotely Christmas is the lyrics, and that's a foul. Which is such a shame because BoA has had some really amazing, really Christmassy, releases over the years, and even if "Distance" does match up in terms of gorgeousness, it fails at being Christmas. When you talk of BoA Christmas songs, "On December 27th" is still, hands-down, the best of them all, not even "Meri Kuri" comes close.

SNSD’s “Diamond”, and I'm not sure if I've ever used this analogy, but it kinda sounds like something that would fit right in to the Christmas talent show set list on "Mean Girls", you know, when the slutty, popular girls trying to sing and dance at the same time in skimpy Santa outfits and high heels? Maybe not that drastic, but the chorus is EXACTLY like that. However, the middle 8, and that small bit before it (which I presume is Sunny's part) is gorgeous. Stunning, almost. And actually, it's probably the most Christmas I've heard on the entire album, but then we go back to the uninspired chorus. It's not as boring as the SHINee track, but even for SNSD they can do better.

f(x)'s “1,2,3” also sounds nothing like a Christmas song, bar those strings which were probably just thrown in last-minute. It actually sounds more like the theme song for a FRIENDS rip-off, like, really. It sounds like it belongs on a Disney chick-flick soundtrack (Kinda like that song that's on the "Confessions of a Teenage Drama Queen" soundtrack, which, conveniently, is also called "1,2,3"), not an SM Town Christmas album.

While we're on the topic of songs that sound like they belong elsewhere, CSJH (DANA&SUNDAY)'s "Amazing" sounds more like a charity single ala-Destiny Child's "Stand Up For Love". Pretty far from Christmas, if you ask me. Not that I oppose to Christmas ballads, but again, there's a way to do it without completely missing the point. And it's not that I don't like the song either, I do, it's gorgeous and Dana and Sunday's voices are stunning and the middle 8 kills me every single time, then by the time that stunning piano line comes in just before everything explodes with the chorus behind I die again, but yet again, THIS IS NOT CHRISTMAS. Same goes for Kangta's "For The First Time", Kangta's voice is stunning, but this sounds more like a Disney animated fairytale song that plays just when the prince is about to kiss the princess/girl. It actually sounds like something straight out of Aladdin. Again, pretty far from Christmas, if you ask me.

TRAX's "Like A Dream" sounds like what I kind of expected TRAX to do, but it's too clean, like they sucked all the emotion out of the song and left it to rot. In terms of "band"-ish K-Pop Christmas offerings, actually Infinite's "Lately" takes the prize. I'm sorry, TRAX, but this song sounds more like those tracks you put behind a montage of tour videos and screaming crowds and bands going wild on stage. All in back and white. And in reality, those tracks are usually the cheesiest, filler of filler tracks.

And, of course, a special Christmassy wrap-up:
The most Christmassy song: Thankfully, "Santa U Are The One"
The great, but not Christmassy songs: "Distance", "1,2,3", "Amazing"
The worst song: "Last Christmas"

[#23] Kim Bum Soo and Lena Park - "사람, 사랑 (Person, Love)"

2011-12-15T17:35:00.000-08:00

From: "Hwang Project Vol.2 - 사람, 사랑" (Digital Single)
Released: August 2011, South Korea
Rating: 3.45

The only non-idol entry on this year's countdown is from Park Bum Soo and Lena Park, and it's their gorgeous duet "Person, Love". You all know that I love gorgeous ballads, and these two gorgeous voices are enough to send me through the roof. Stunning.

"Person, Love" is SO "A Whole New World"-y, with the very simple, but epic, instrumental laced with Park Bum Soo and Lena Park's smooth, yet full voices, which actually have character.

I won't say much, because I want to let the song do the talking, but really, THIS is how duets are done, people. It's a simple, quaint song, but what really makes it soar is not only their individual voices, but the chemistry they have when they sing together.

That is all.

[#24] CSJH (DANA&SUNDAY) - "나 좀 봐줘 (One More Chance)"

2011-12-15T16:32:00.000-08:00

From: "나 좀 봐줘 (One More Chance)" (Digital Single)
Released: July 2011, South Korea
Rating: 3.42

The SM sound this year was heavy synths, a slightly more natural, but still obvious autotune, and monotonous hooks, which aren't anything new. Those three elements, majority of the time, produced very stiff, albeit very full and well-produced, tracks, because of the nature of SM acts' voices, and the songs themselves. However, because CSJH are queens (yes, even this half), even if they are given a song like "One More Chance", it still turns out better than the rest of the songs in this style.

CSJH can sing, even through all the autotune, so in reality, the autotune of this song serves it's actual purpose and it serves a more artistic purpose and it's not a treatment used on inferior vocals. When you watch the live performances of this they're still spot-on, most of the time better.

You must be wondering, if that's the case, then do I approve of autotune? That's a little more complicated. I approve of autotune if, and only if, it's used for aesthetic purposes and not because the act can't sing. However, we can only start talking of autotune as an artistic thing if the act in question has proven it's worth and can actually do without the autotune on regular days. Like CSJH.

But back to the song. It's very similar to the other SME songs this year, namely the f(x) releases, but of course, again, what sets this apart from f(x) is that Dana and Sunday's vocals are not only much mature, but they have much more body and are less generic than their younger counterparts, so when their vocals are put through all that processing, they still retain majority of the qualities that make their vocals, well, their vocals. That and SM didn't screw up the only girl in the band who could sing (LUNAAAAAAAAAAAAAAAAAAAA), but then again, even if Sunday's voice isn't exactly my favorite, she's still a lot better than at least half of the girls in SME these days.

So is "One More Chance" a good song? I seem to think so, yes, because once again, it's a balance. It's how the SME sound should've been done this year, and it's proof that it DOES work to a certain extent, but only when you have people with actual voices do it.

[#25] Davichi - "Love, My Love"

2011-12-15T03:30:00.000-08:00

We finally reach the halfway mark, conveniently, halfway through December! And despite all the set-backs, we're right on schedule!

From: "Love Delight" (Mini-Album)
Released: August 2011, South Korea
Rating: 3.40

Unlike other artists who continuously have to prove their worth by singing their heads off and making the fanciest, most over-produced song in the industry, Davichi are doing the opposite, because they can do all of that. After proving their worth with scream-fests in the form of "8282" and "Time, Please Stop", this talented duo go on to a lighter song this year.

But that's not to say that it's a more inferior song. If anything, it's actually harder to sing a straight melody without deviating from the script. "Love, My Love" has a similar feel and sound to that Gummy song from last year, but with a much lighter, smoother execution, courtesy of the girls' (especially Haeri) gorgeous vocals.

You know what this song literally sounds like? It sounds like those Nature Republic commercials, with sunlight hitting your face while you're standing in a really, really, really green forest, and the photos turned out a bit blurred. Actually, this song sounds like the album cover. If that sentence made any sense to you guys.

Basically, the entire song is kinda blurred, but the good kind of blurred. Instead of coming off very strong and sharp, the instrumental just lays back and lets the smooth, gorgeous, vocals do all the work, with just the right amount of high notes to keep people interested 'till the end.

[#26] 2PM - "모르니(Don't You Know)"

2011-12-15T03:06:00.000-08:00

From: "Hands Up" (Album)
Released: June 2011, South Korea
Rating: 3.37

Surprise, surprise. After a rather dismal year in terms of material, 2PM manage to sneak their way onto my best of list. But it's not without grounds of course, because "Don't You Know" is possibly my favorite 2PM song ever, tied with "Like A Movie", and it was another situation where I was literally debating about the two songs just before I started writing this review, because I like them both equally and they both have their merits. But of course, you know which won in the end.

The reason why I chose this is that even if "Like A Movie" is a really gorgeous song with epic-ness slapped all over it and a gorgeous melody, it's not fun. And if you guys remember the "10 Points Out of 10" days, you know that 2PM was ALL about flipping around-happy, and, like a lot of other songs on this list, "Don't You Know" is a balance between the mature 2PM now, and the fun 2PM they used to be.

But of course, it in itself is a gorgeous song, with a gorgeous melody, that has managed to use the guy's not-exactly-amazing voices to make the song work. Extremely well. "Don't You Know" is catchy, it's fun, and despite the heavy instrumental, it sounds very light and it literally feels like you're gliding through the entire song. Even during Khun's singing parts, yes.

And, another very important aspect of the song is that it's singable. The melody, although it sounds high for the guys, is actually in a comfortable humming and/or whistling range, which makes it even catchier than it already was to start with.

Throw everything together, and really, you have your staple "end of concert let's run around stage pouring water all over each other tralalalalaaaaaaa" song, which, in this case, is a gorgeous song in itself.

[#27] Supernova - "クリウンナレ"

2011-12-15T02:48:00.000-08:00

From: "4U" (Album)
Released: June 2011 (Single) and November 2011 (Album), Japan
Rating: 3.35

I will seriously find every possible way to include this song in every single year-end list I make, because if you remember, this was also #24 on last year's list. But really, after two years and three versions, it's become one of my all-time favorite K-Pop songs.

There's nothing much to say anymore, because I've said everything in my two other reviews of this song, but I do have to say that the Japanese version has a much better flow, courtesy of the nature of the Japanese language. That flow provides a really nice contrast to the very stiff, slightly packed instrumental.

And those drums, my gosh those drums. They not only sound real, they FEEL real. It's the type of drums that literally makes your heart pound along, but they also give the song much-needed dynamics. The type of drum, the rhythms it plays, and the manner in which it was executed was spot-on.

Lace all of that with a smooth but punchy piano line, strong vocals and an exploding chorus, and well, you have brilliance. How this song was not a hit will forever be beyond me.

[#28] U-Kiss - "Baby Don't Cry"

2011-12-13T04:30:00.000-08:00

From: "NEVERLAND" (Album)
Released: September 2011, South Korea
Rating: 3.30

Up to just before I started writing this very review, I was actually debating on which U-Kiss song to put on the list. For the longest time, it was actually "0330" sitting on this very spot, but then I realized that I didn't really LOVE it as much as I did another song from U-Kiss this year. Another two songs actually, this and "Take Me Away". However, there's more to talk about if I put this one in, so "Baby Don't Cry" it is.

Basically, the reason why this is on the list and not the gorgeous ballad that is "Take Me Away", is that U-Kiss have achieved a sort of balance with "Baby Don't Cry", and you guys know that I am ALL about balance. They've managed to take the distinct, although sometimes cheap and too repetitive, U-Kiss sound, and make it more melodic, and epic.

Yes, epic. Yes, U-Kiss doing an epic song. I know, I never thought it was possible either, but here we are, and here it is.

The first line is epic enough, followed by the nice verse that gradually gets bigger and bigger, and eventually explodes into this epic, but ever so slightly controlled chorus. The entire song sounds so dark and whatnot, but this is one of those times when the autotune does a song good, because it gives "Baby Don't Cry" a lighter, slightly flowy, sound, that's a good contrast to everything that's happening in the background.

Balance. That's all I really want from k-pop, to be honest with you. I want all these acts to figure out that too much of anything tends to make a song go haywire, but it's possible to take who you are, and what you like, and turn it into a strong song.

[#29] After School Red - "In The Night Sky"

2011-12-13T04:04:00.000-08:00

From: "The 4th Single Album - RED" (Single)
Released: July 2011, South Korea
Rating: 3.20

Yes, I know the loop they used was the same one on "Shady Girl", and I know that this is definitely not the Brave Brothers' best song ever, but one, I LIKE "Shady Girl", and two, I LIKE "In The Night Sky". It's catchy.

Of course, it's blasphemy for ruining Jung Ah's amazingly strong vocals, and it's already served it's punishment. If they hadn't made Jung Ah sound like a mouse on this track, it would've been in the top half of my list. But they did, so it's not.

But really, even if it wasn't the "fierce" we were all expecting, it's actually a pretty good song. It's melodic, it's catchy, and it's not the type of song you get sick of after a few hours of looping it. I know, because it's the most-played song on this year's top 50 list. You'll have to wait to see if it's my most-played song of the year over-all, but yes, that means a lot.

I think more than "fierce", "In The Night Sky" is fresh. It has a relatively simple instrumental, with a few loops here and there, matched with light, high-pitched but rounded, synths, and surprisingly, a piano line buried under the verses. Also, I love the transitions on this - clean, but they always find a way to make them like tiny explosions.

Now I think I have another food analogy for this song. Instead of cookies, or a cheesecake, or decadent chocolate, "In The Night Sky" is kinda like Nerds. Yes, the candy. They're really sweet, they taste good, but instead of completely taking over your mouth and killing you in the process, they have all these mini-explosions. Yup, definitely Nerds.

[#30] Rainbow - "Sweet Dream"

2011-12-12T02:16:00.000-08:00

From: "Sweet Dream (SO女 Repackage)" (Mini-Album)
Released: April 2011, South Korea
Rating: 3.15

Yes, I know, I was one of those people who laughed at Rainbow when they debuted with the ill-fated "GosSHip Girl", but they've really come a long way since their debut, enough to warrant them a spot on my 50 favorite songs of the year.

This Daishi Dance-penned track actually manages to really capture where Rainbow are at the moment. Dance-y, but still structured and melodic songs, that aren't just one note repeated over and over again. The melody is gorgeous, especially the bridge, and the chorus gives the very flow-y and pretty verses that much needed dose of contrast and kick, even if it's basically just "Twinkle Twinkle Little Star" in a minor key (don't think I didn't notice that Daishi Dance, you're not as clever as you think you are). They're actually singing, even on such a dance-influenced song, and actually, the melody, in the key they're singing it in, isn't that easy to pull off. I know, because I tried. It's actually pretty high for the run-of-the-mill person.

And that's exactly why they're on the list. What has made me like Rainbow even more is that even if they're easily out-sung by a lot of other female idol group singers, they try. And if you know me, you know that I give points for trying, because majority of acts these days don't. And you know, the acts who really put in effort to push themselves are usually the ones who come out victorious. My prime example? BEAST. They tried, and look at where they are now.

Bottom line is, even if "Sweet Dream" sounds very unassuming, what with the generic club beats and the sometimes thin vocals, it's actually harder to sing that it looks. And that just goes to show that there's more to Rainbow than meets the eye, and that everyone should just forget about their horrific debut single and focus on the now. The good now.

[#31] Super Junior M - "Destiny"

2011-12-12T01:56:00.000-08:00

From: "Perfection" (Mini-Album)
Released: March 2011, China
Rating: 3.05

I will neither confirm nor deny the presence of any other Super Junior songs on the countdown, but if you've read any of my tweets concerning their releases this year, you'll probably be able to guess whether or not you'll see them on my list. But anyway, Super Junior M were brought back this year, complete with a mindless and empty lead single, but I managed to find this gem buried in their mini-album.

It was actually between this and the Chinese version of "My All Is In You", but seeing as I'd heard that song way too many times in both Korean and Chinese and apart from the lyrics there wasn't that big a difference in the versions, I went with "Destiny". It's fresher to the ears, and has a heavier, but ever so slightly more epic sound.

"Destiny" sounds like it came straight out of the soundtrack of "Meteor Garden", or some Taiwanese drama that was blown out of proportion so they made this really elaborate opening sequence, complete with a song by this HUGE star. Yup, sounds about right. I mean come on, can't you imagine this montage of all the actors and their characters flashing during the chorus? Can't you?

It's got a really pretty melody, accented by all your standard soundtrack instrumentation, complete with a string section. And really, who can go wrong with such a gorgeous song?

[#32] f(x) - "Hot Summer"

2011-12-11T14:42:00.000-08:00

From: "Hot Summer (Pinocchio Repackaged)" (Album)
Released: June 2011, South Korea
Rating: 3.00

Despite being a cover of Monrose's forever legendary "Hot Summer", f(x) (or SME, rather) managed to give the song a definite f(x) sound, what with the processed vocals and synth-laden sound. It's a pop song in the trust sense of the word, and it's one of those songs that best represents the SME sound for this year.

Of course I crave for something like "Lachata" again, and basically everything between this and that was blegh, but SME has paved the f(x) sound pretty well. Trendy, edgy, not too sexy, and youthful with just the right amount of fun. Even with the heavy synths and autotune, "Hot Summer" manages to sound fun and a bit fresh, actually.

I cry for the injustice served to Luna's vocals, but on the other hand, Sulli has really shaped up and gotten better in terms of vocals. Now all we need is for Amber to get more singing lines, and Victoria to not get any until she learns how to sing and not whisper.

In standard SME style, everything about "Hot Summer" has been choreographed to oblivion - every note, every little bit of vocal gymnastics, every little detail meticulously looked after, and it shows. But then again, that's what SM is, and it works for their acts. "Hot Summer" is one of the songs I couldn't stop listening to earlier this year, for that very reason.

2011-12-11T01:38:00.000-08:00

From: "Super Girl" (Album)
Released: April (Single)/November (Album) 2011, Japan
Rating: 2.95

I have both fond and not-so-fond memories of "Jet Coaster Love", because it came out during a very stressful time for me. Remember when I got that tropical virus earlier this year? Yup. The video for this came out just before I got admitted to the hospital, and I listened to it throughout, all the way up to the week I made up ALL my final exams, my thesis defense, and basically everything I needed to graduate. So whenever I listen to JCL I get all tingly and whatnot. But enough about me.

"Jet Coaster Love" is probably the best single KARA's released in Japan all year, because once again, it's a balance between what they were, and what they should think about becoming. Instead of being all-cute, JCL is more on the whimsical and/or girly side, with the instrumental and actually even the melody being a bit more serious than usual, but nevertheless still fun.

If you've been reading my recent tweets, you might've come across some "why can't I write" or "I have nothing to say about a song" tweets. They were for this song. But now I realize why I don't have much to say about JCL -- that's the point.

I admit that sometimes I tend to over think songs, so much that I miss the point altogether. But I didn't miss it this time. "Jet Coaster Love" is fun, mindless pop music, and that's the way it should be.

[#34] Gahee - "Come Back You Bad Person"

2011-12-10T15:36:00.000-08:00

From: "Come Back You Bad Person" (Mini Album)
Released: February 2011, South Korea
Rating: 2.90

Well, well, well, Gahee manages to land on this year's list. Surprised? I was actually debating between this and another track from her EP, but somehow this one managed to stand out more.

Okay sure, the song is a mess, the hook is blegh, and she can't sing it that well live, but I'd take this over Orange Caramel and a host of other cute-wannabe groups, because it's got kick. Gahee has attitude, and the song actually has a concept of dynamics! It's not a barrage of one note throughout the entire three minutes, and at least they bothered to make variations throughout the song.

And I don't know about you guys, but that kept me at the edge of my seat, which is always a good thing.

I like how they used the bass on the song, especially when they laced it with those gorgeous piano lines throughout -- the effect was slightly creepy, but more on the epic side. And of course, the melody was a big factor as well, apart from the non-melodic hook, I really liked the melody! Like the instruments, slightly creepy, courtesy of the true nature of Gahee's vocals, with a bit of kick in them. And I also like how they layered the vocals in some parts, because you can tell they actually really thought about how to go about it.

As a whole, I like "Come Back You Bad Person" because it's convincing. Because it bothered, and because it has kick, despite having a melody.

[#35] KARA - "STEP"

2011-12-10T02:00:00.000-08:00

From: "STEP" (Album)
Released: September 2011, South Korea and November 2011 (As part of "Super Girl"), Japan
Rating: 2.85

I know not a lot of people will agree with me when I say this, but Japan has worked wonders for KARA. They may not be aware of it, but after they began their Japanese career, majority of their singles have been strong, with the likes of "Jumping" (which was #20 on last year's best of list)

"STEP" dropped nearly half of it's initial score when I reviewed it earlier this year, however it's still one of the best KARA singles ever. The most important thing to take note of is that with "STEP", KARA managed to find a balance between the cutesy image they were known for, and a more current, albeit technology-dependent, sound. And balance is all I've ever really wanted from KARA, to be honest.

I understand that the concept of "cute" will never leave, because of all the money and fans they've made with it, but KARA themselves have to understand that they won't be in their late teens/early twenties forever, and once they get past that age, cute just won't work anymore. Can you imagine 30 year-old's singing "Rock U" or "Pretty Girl"? I think not. They have to think for the future, and "STEP" is the beginning of that.

And a portion from my review earlier this year, which I'd like to point out:

It's nice to know that after all the complaining I've been doing these past few years about the fact that all these idol groups have no sense of musical identity and cohesion, everyone in kpop is finally, slowly, finding their ground, and their niche. I've been waiting for more than 2 years for this, it's about time!

And of course, that middle 8 is stunning. They can't sing it live to save themselves, but on the recording it's a much-welcome pause from the synth-laden, chaotic song.

[#36] SNSD/Girls' Generation - "Sunflower"

2011-12-09T15:47:00.000-08:00

From: "The Boys" (Album)
Released: October 2011, South Korea
Rating: 2.78

Yes, yes, I know. As an album, "The Boys" was an epic failure, but that doesn't stop SM from sneaking in a decent, but still out of place, song or two. And that song was "Sunflower". Taking off from After School's "Play Ur Love", it's another one of those gentle-sounding songs.

The difference is that although I don't like the vocals on this, I like the instrumental a lot better, because it's a lot more raw. What with the real drums, and the guitar lines, laced with the barely-there harmonies throughout. And really, the singing during the verses was pretty spot-on, it's just that the chorus is really anticlimactic.

Basically, "Sunflower" sounds like an SNSD-fied rock ballad, ala "It's Only My World" and the likes. What makes it SNSD-fied are the really bland, and ever so slightly cutesy vocals. Of course I would've personally liked it if the song had a lot more punch, but that's just not SNSD. Actually, looking at it objectively, it's actually a good thing that they did the appropriate adjustments to suit the SNSD album track sound more.

That and as a whole, the song actually sounds really gentle, even with these somewhat "hardcore" elements. Pretty good. And something I'd listen to in the morning when my ears can't take too much noise.

Secret Saturday!!

2011-11-26T04:00:00.000-08:00

Shhh... Don't Tell Anyone...
A treat for all Power Pop Junkies that can only be found at PPO on Secret Saturdays! It may be old, it may be new but it is excellent and it will only be here on Saturdays! If you look for the link on Sunday it will be gone...

Secret Saturdays!

The Motels - The Motels - 1979

2011-11-25T04:00:00.000-08:00

1979's self-titled debut release from the California band the Motels comes across as what a less pretentious Doors might have sounded like had they emerged during the new wave era. The Motels is a fairly cold, almost robotic affair which trades in lyrics that explore the darker side of life in Los Angeles. There are a few tracks that bear repeated listens like the frantic "Kix" and "Celia," a warning to a woman involved with the wrong guy. "Total Control," a big hit for the band in Australia and later covered by Tina Turner, is the album's standout with its menacing lyrics of possession delivered by Martha Davis. She is the one consistently redeeming attraction of this dated record. Although she tends to over-sing at times, Davis is a riveting and sensual vocalist and her vocals hint at the potential in the band. -AMG

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The Green Beetles - The Basement

2011-11-23T11:36:00.000-08:00

Here is a good one from friend of PPO Herb Eimerman!
Check out the Power Pop pedigree for this one.
Recorded in our respective homes and mixed by Joe.

Our Xmas gift to you. Also available on the ROCK Against Bullshit Vol.6 CD.

www.facebook.com/pages/ROCK-Against-Bullshit/247467691935617

rockagainstbullshit@hotmail.com

Joe Algeri...Guitar and lead vocal...Australia
Dom Mariani...Lead Guitars and background vocals...Australia
Herb Eimerman...Bass Guitar...12 string acoustic guitar...background vocals...U.S.A
Stefan Johansson...Drums...Sweden

&amp;lt;a href="http://joealgeri.bandcamp.com/track/the-basement"&amp;gt;The Basement by GREEN BEETLES&amp;lt;/a&amp;gt;

Thanks Herb!

Protones - Not That Difficult - 1998

2011-11-23T04:00:00.000-08:00

A power pop band from Spain, Protones debuted with the release of an EP attached to the first issue of a fanzine called Rock Indiana, followed by their first album, Cartunes. After issuing Nothing to Say in 1996, the Plimsouls' Paul Collins teamed up with the band, producing their following record, Not That Difficult. Protones moved to California to participate in the International Pop Overthrow soon after. In 1999, guitarist Octavio (aka Octavio Vinck) and bassist Tato (aka David Tato) joined the band. In 2001, the Spanish group returned with Come Out and Play, including "Now That I Think of It," a song featured in the movie No Te Fallaré. -AMG

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The Oranges - Teen Rock - 2006

2011-11-22T04:00:00.000-08:00

Japanese import at a great price from a long-time Not Lame fave. Why? Well, pull up a chair and listen, my dear friend. This purely entrenched in 1975 pop band that pulls of glammy pop cum Bay City Rollers quite wonderfully. The best power pop band to come out of Japan, The Oranges produce incredibly pure, hip, catchy, Japanese bubblegum-power music. So if you like the idea of a pure power pop, bubblegummy extraganza of Bay City Rollers, glammy T. Rex and Sweet, then you have heaven here. The best power pop band to come out of Japan, The Oranges produce incredibly pure, hip, catchy, Japanese bubblegum-power music. With their Bay City Roller "look" and Bo Donaldson and The Heywoods haircuts, this foursome display catchy riffs and power guitars, while singing of love and dreams. But disclaimer,xenophobes: they sing in Japanese. But, trust me...while some may not dig that, with the Oranges, it could not be less of a tripping pop lovers! -Not Lame

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The CRY! needs your love

2011-11-21T08:59:00.000-08:00

The CRY! is a music sensation emerging from the eclectic arts scene of Portland, OR. With heavy pop influences like The Beach Boys, The Who, Nick Lowe and The Sweet, the band has re-crafted the 2 min. pop song for a new generation. The CRY! effortlessly merges 50's style vocal harmonies and the jangle of 60's pop hooks with the raw punkish emotion of the PDX street culture.

While its members are young (18-21), The CRY! motto: “Don't Suck” has produced a professionalism, work ethic and sense-of-purpose typically seen in older well-seasoned acts. In a few short months The CRY!’s rare musical chemistry, upbeat energy and hooky songwriting have garnered over 6,000 “plays” and earned the band #1 and top #25 on Reverb Nation’s local and national charts respectively! Additionally, after a recent a live performance at the International Pop Overthrow (IPO) Festival in Seattle WA, The CRY! was the only act to receive an “A+” rating

Head over to their website and get yourself a copy now!!

Revernation: thecrypdx

Facebook: the cry pdx

Website: www.thecrypdx.com

The Shamrock - The Mods Are Alright - 2004

2011-11-21T04:00:00.000-08:00

This was THE power pop band in Japan in the 80`s..they were huge. This collection documents a good part of this story gathering up a bunch of studio demos(great sounding!) and live trax. The sound is classic early Jam, Beatles `64 and The Undertones, as well as The Vapors.....mix up The Who, The Smal Faces and you have some pure pop joy. This Japanese release is very reasonably priced so it`s well, well worth more than a casual sniff. The first 8 songs of this 23 song affair are worth the price of admission. The singing is classic late 70`s skinny tie mod-power pop and they mix Japanese and English lyrics throughout, amusingly. -Not Lame

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Silicon Ballet - Sunglasses

2011-11-20T06:11:00.000-08:00

If you haven't managed to catch anything by Silicon Ballet yet, I'd really encourage you to have a listen to their new single, available via our the Rainboot label (and all the big evil places like iTunes too) - four and a half minutes of your time well spent!

The single is out ahead of the band's mini-album Utopia which will be out next February.

The Onoma/Two label presents... TODD AID

2011-11-20T04:00:00.000-08:00

Todd Dillingham

A message from the excellent Terry Burrows.

As some of you may know, our dear friend and collaborator Todd Dillingham is currently undergoing some heavy duty cancer surgery in Florida.To help him with his medical expenses, we're offering two download albums from our Bandcamp.com site, which we launched last week. The albums are Yukio Yung's "Goodbye Pork Pie Brain/Hello Pulsing Vein" and Chrysanthemums' "The Baby's Head".

Todd made guest appearances on both of these albums. They originally appeared in the late 1990s variously on vinyl and CD issued by record labels in Germany, and this is the first time they have been available online. Individual tracks are priced at .99 GBP or for 6.99 GBP you can get the complete album. ALL OF THE INCOME, ONCE ONLINE FEES HAVE BEEN DEDUCTED, WILL GO TO TODD - WHICH SHOULD BE SOMETHING LIKE 6 GBP/ALBUM.For those of you who don't know Bandcamp.com, it's hugely preferable to iTunes as a download site. You can listen to streamed versions of the *complete* songs (not just 30-second clips), and downloads are of much higher sound quality (mp3s are 320Kb rather than 192Kb,or you can have lossless FLACs). Paying is very straightforward – click on "Buy Now" and pay using Bandcamp's secure system using the likes of PayPal, Visa or Mastercard.So we invite you to take a listen to what we (and Todd) were doing at the end of the last century.And, of course, any contributions to Todd Aid! will be gratefully received.Thanks for your time.Onoma Research

http://onomaresearch.bandcamp.com/

Maybe Dolls - Propaganda - 1991

2011-11-18T04:00:00.000-08:00

Maybe Dolls were an Australian pop/rock band that released one album, “Propaganda,” in 1991. The band’s core was brother and sister duo Chris and Annalisse Morrow, who had previously performed as The Numbers in the late 1970s and early 1980s. The band scored regional hits with the singles “Nervous Kid” and “Cool Jesus.”

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Thanks to friend of PPO David!

Trolley - Things That Shine And Glow is now available

2011-11-17T08:00:00.000-08:00

Perennial PPO favorites Trolley has a new album out now! The new album feels fresh and current while still maintaining the energy and vibe of the 60's. "Things That Shine And Glow" is pure power pop and a delight to your ears and it sounds amazing. Follow the link below to download your copy now or you can get the physical CD at www.cdbaby.com/trolley12! Highly recommended.

&amp;amp;amp;lt;p&amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://trolleymilwaukee.bandcamp.com/album/things-that-shine-and-glow"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Things That Shine And Glow by Trolley&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;lt;/p&amp;amp;amp;gt;

You can "like" Trolley on facebook and tell them you heard about the new album from PPO!

The Numbers - 39.51 - 1982

2011-11-17T04:00:00.000-08:00

Over the course of 3 years, The Numbers released one E.P., six singles and two LP's. Many will remember them from their numerous Countdown appearances and their first two singles, the hits: 'The Modern Song' and 'Five Letter Word' and their self-titled debut LP. However, there's a whole lot more to their story. Although The Numbers reached their commercial peak early ('Five Letter Word' was their last charting single), they continued to release excellent material - four more singles and a neglected second album: 39.51 (the title was a curt response to the criticism of their debut LP's 28 minute length). The core, and only constant during their five year career, of The Numbers was the brother and sister team of Chris and Annalisse Morrow. In Chris, they had an excellent songwriter and inventive guitarist and, in Annalisse, an equally accomplished musician and a striking focal point.

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Thanks to friend of PPO David.

The Numbers - The Numbers - 1980

2011-11-16T04:00:00.000-08:00

Between 1978 and 1984, Sydney group The Numbers plied their trade on the basis of the very smart and snappy songs of guitarist Christian Morrow and his younger sister, bass player and vocalist Annalisse. Two albums, seven singles and roughly a hundred drummers later, the group were dropped by their label and split up.

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Thanks to friend of PPO David!

Spy vs Spy - A.O. Mod. TV - 1986

2011-11-15T04:00:00.000-08:00

A.O. Mod. TV. Version is the second studio album by Australian rock band Spy vs Spy, produced by Leszek Karski (Boys Next Door, Midnight Oil, Nauts) and released through WEA on 8 December 1986.
The title is an abbreviation of 'Adults Only Television Version' which used to appear at the bottom of late night movies in Australia at the time. The album peaked at #12 on the Kent Music Report and went gold. For this album Spy vs Spy recorded as v. Spy v. Spy, and the line-up was the original trio Craig Bloxom on bass guitar/lead vocals, Cliff Grigg on drums/percussion and Mike Weiley on lead guitar/vocals.

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Digital Download Derby

2011-11-14T04:47:00.000-08:00

The Yep Roc Store is offering fans a chance to stock up their digital music collection with unbeatable deals on some of Yep Roc's best releases. Now through Friday 11/18, they have reduced the price on 100 titles from the Yep Roc vault to just $3.99 each.

Don't miss your chance to save on amazing releases from Chuck Prophet, Dave Alvin, John Doe, Los Straitjackets, Jukebox the Ghost, The Sadies, Peggy Sue, The Minus 5 and more!

Art in America - Art in America - 1983

2011-11-14T04:00:00.000-08:00

begins as delicate, somewhat elegant album with a pleasing mix of harp, guitar and keyboard that slowly changes to a more arena rock sound with progressive touches that make the band sounds like Asia meets Breathe. A pretty and slightly mystic album with hints of album rock and pop, Art in America was overlooked upon its release.- AMG

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Eric Marcos - Disposable Friend - 2005

2011-11-11T04:00:00.000-08:00

The long awaited follow-up disc from Eric and his band features support from most of the Boston music scene, including Bill Janovitz, Todd Thibaud, Mike Gent (The Figgs) and many others. But all I can say is this one helluva power parade of pumping pop with balls! A few of you may remember a band from LA called Code Blue, a few songs on this fabulous debut remind me of that band, at the their best. But, generally, what the Boston Globe says below is dead-on...they sound like early Tom Petty And The Heartbreakers. It`s just a tour-de-force of rock `n roll spirit---what a blast this must have been to make? That energy and vibe is on full display here, that`s for sure. Extremely Highly Recommended! -Not Lame

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Connells - Old-School Dropouts - 2001

2011-11-10T04:00:00.000-08:00

Like 1998's Still Life, Old-School Drop Outs continues the Connells' move away from the more experimental nature of Weird Food and Devastation. This album, self-released after their long, fruitful relationship with the TVT label finally came to an end, finds the Connells building on their classic sound, a world of wistful lyrics, strong guitars, and gorgeous melodies -- a world where the childhood dreams of Boylan Heights are only a heartbeat away. Fans of the brand of guitar pop this North Carolina group has been harvesting since the Athens-to-Raleigh frenzy in the mid-'80s will find themselves in comfortably familiar territory. Mike Connell and George Huntley's guitars still have just enough bite to keep things out of saccharine territory, and Doug MacMillan's boyish timbre still sounds as sincere as it did all of those years ago. Highlights include the driving stomp of "Put Down" and the pretty sentiments and soaring guitar leads of "Gladiator Heart," while the bittersweet romanticism of "Rusted Fields" is up there with the Connells' most beautiful work. This represents the group's first effort since the departure of longtime drummer Peele Wimberley. -AMG

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Daryll-Ann - Happy Traum - 2001

2011-11-04T04:00:00.000-07:00

Though the album's title is named after a famous folk musician who authors instructional guitar books and videos, has recorded several solo records, and collaborated with Bob Dylan and Maria Muldaur, Happy Traum is an aural trek back to the breezy, organic pop/rock of the late '60s and early '70s. Happy Traum, which translates as happy dream, brims with infectious melodies, jangly guitars, and vocal harmonies reminiscent of solo Paul McCartney, Badfinger, and the Kinks. Considered to be among Holland's best pop exports, Daryll-Ann romps through this collection of rockers ("When You Cry"), folksy ballads ("Money or Love"), cosmic country honky tonk ("Feelings," "All By Myself"), and emo rock ("Riverside") with a blithe spirit. Though not essential, Happy Traum is a well-crafted, enjoyable collection of ear candy. -AMG

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Sparkle*Jets U.K. - In, Through and Beyond - 1998

2011-11-03T04:00:00.000-07:00

In, Through, and Beyond, the debut effort by L.A.'s Sparkle*Jets U.K., was the irreverent antidote to snoringly classicist late-'90s power pop acts. While Sparkle*Jets are a power pop band by virtue of their influences, exhibited here in their wonderful choice of covers (Electric Light Orchestra's "Above the Clouds," Big Star's "Thirteen," and the Beach Boys' "Girl Don't Tell Me"), they steer clear of clichés and remember that pop music is fun by design. While many modern pop revivalists play guitar pop like it belongs in a museum, Sparkle*Jets rock with abandon through these 15 tracks, smirking all the while. Sure, the songs can be goofy; there's a song about "Surfing Monkeys," and "Oh Poor Me" is more or less the female answer to the Smiths' "Girlfriend in a Coma," in which the girl doesn't mind that her narcissistic boyfriend dies in a fiery car wreck while trying to change CDs. And it doesn't stop there -- "My Internet Love Song (To You)," which crams computer jargon into a bouncy love song, is easily one of the most clever geek rock anthems ever written. Sure, the album sags a little toward the end, but the humor doesn't wear thin after a few listens because the hooks are strong and the two frontpersons are appealing. Mike Simmons and Susan West are like polar opposites -- Simmons' boyish, innocent voice provides the ideal backdrop for the album's more typically power poppy moments, while West is a little more prone to let loose with her very rock & roll set of pipes. The end result is a relentlessly energetic, delightfully cheery, and thoroughly entertaining debut record. -AMG

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See you in a couple of days

2011-10-31T08:55:00.000-07:00

Sorry folks, but I have to do a lot of running around for the next couple of days, and so, new stuff here will be spotty at best. I'll be back very soon. Try to hold back your tears.

Curty Ray

Kurt Baker - Rockin' For A Living now available...

2011-10-30T04:00:00.000-07:00

The brand new record from Kurt Baker.. "Rockin' For A Living".. Out NOW on Oglio Records. Vinyl released by Stardumb Records and Torreznetes Entertainment!

Whatcha waitin' for, get it now!

1. Just Forget About It
2. Don’t Steal My Heart Away
3. Can’t Have Her Back
4. Kiss Me
5. Why You Gotta Lie?
6. The Problem

&amp;amp;amp;lt;p&amp;amp;amp;gt;&amp;amp;amp;amp;amp;lt;a href="http://kurtbaker.bandcamp.com/album/rockin-for-a-living"&amp;amp;amp;amp;amp;gt;Rockin' For A Living by Kurt Baker&amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;gt;&amp;amp;amp;lt;/p&amp;amp;amp;gt;

Produced by Kurt Baker & Wyatt Funderburk
Executive Producer: Carl Caprioglio

Kurt Baker - "Don't Steal My Heart Away" from Tasty Dude Films on Vimeo.

Personnel:
Kurt Baker - Lead & Background Vox, Bass Guitar, Electric Guitar

Kris “Fingers” Rodgers - Background Vox, Rhodes, Hammond, Farfisa,
Piano, Privia-tone

Josh Malia - Rhythm Guitar/Lead Guitar, Backing Vox

Geoff Useless - Rhythm Guitar, Backing Vox

Wyatt Funderburk - Bass Guitar, Lead/Rhythm Guitar, Backing Vox

Craig Sala - Drums, Percussion

Additional Musicians:

Mike Byrne - Lead Guitar
Michael “Miek” Rodrigue - Lead Guitar

The Wind - Where It's At With the Wind - 1982

2011-10-28T05:06:00.000-07:00

Playing exuberant power-pop with abundant talent and a solid grounding in '60s AM radio — from Merseybeat to folk-rock to summery soul — this Miami trio made a wonderful debut with the winningly unpolished Where It's At. The marvelous 14-song collection of beguiling originals not only re-creates the sound of a simpler time, but captures the giddy innocence of musical self-discovery, as if this were all new. -trouserpress.com

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This is your last chance to get "Shake Some Action: The Ultimate Power Pop Guide "

2011-10-27T06:50:00.000-07:00

Just a brief note to let you know "Shake Some Action: The Ultimate Power Pop Guide" - is now available again after being out of print for three years!

The book is an in depth look at the power pop genre and features a rundown of the top 200 power pop albums of all time. Every copy also comes with a 24 song CD featuring rare and/or previously unreleased songs from a variety of artists, including Shoes, Rubinoos, Chris von Sneidern, Tommy Keene, 20/20 and many more. There are also tons of previously unpublished photos included.

There is a limited supply of books available - around 225 - and around 70 of these have already been sold, so you might want to act fast if you'd like to grab one. The cost is $49.95, but don't forget that it also comes with what is basically a double CD filled with music and it's sure to increase in value as the years go by. Plus, it'll make a great holiday gift for the discriminating music fan on your shopping list. ;-)

Here is the link to order and to find out more information:

http://www.goodmusicguy.com/shake-some-action-book/

The Black Watch - The King of Good Intentions - 1999

2011-10-27T04:00:00.000-07:00

It hasn't been easy for the Black Watch. This makes five records on five different labels. But like wandering the desert in an endless search of bountiful waterholes instead of mere drops of cactus juice, such wayward struggles have just made this fledgling band more determined. Each album, three years apart, has been better than the last, and if the quantum-leap The King of Good Intentions finds a spot in the stereos of discerning pop fans, the Black Watch will have found their oasis at last. For this release, they've pared down to the two essentials: singer/songwriter/guitarist John Andrew Frederick and multi-instrumentalist J'Anna Jacoby. They're aided by a phalanx of L.A. underground musicians playing the other parts, and together the assemblage has made a minor masterpiece. Enjoying by far the best production of his career, Frederick seems to have a Go-Betweens jones on such beguiling, handsome, fertile pop as "The Wrong People," "Hey Hey Hey," and the more organic, skipping "Obligatory Blues." Jacoby's exceptional violin used to save the group's weaker work; now it adds translucent sparkle to a freshly painted canvas. And the multiple times a piano drops in for coffee in the background, it's the sort of ageless pop moment you spend hours in CD stores looking for. As a result, the poet Frederick finally has a backdrop to match his abilities. Always a cutting wordsmith, he's full of acerbic disregard for those whose lives have crossed his. "I suppose she'll go upstairs with anyone that mumbles that he cares" he gibes at one point, typical of the austere subject matter. Nothing happening in pop? No talent, no craft, nothing to say in pop today? Buy this, then. -AMG

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The Mood Elevator - Listen Up! - 2000

2011-10-26T04:00:00.000-07:00

Falling squarely into the category of power pop bands that don't take themselves too seriously, the Mood Elevator crafted a jovial and lively debut album in Listen Up! In the course of 11 tracks, the band runs through a few rave-ups ("Leisure Time Provider," "Day of Renee") pure pop ("Butterfly Net"), ska -- sort of ("Cool Nights") -- and a ragtime-based piano rocker ("Better Than That.") For a debut, the diversity in songs is surprising and refreshing, as the album doesn't tire after a few listens. The downside, really, is that the lyrics are often too silly, detracting from the rest of the picture, and the hooks are not nearly as interesting as those written by their peers. Still, it's too easy to point out what's wrong with a pop album rather than what's right: And what's right here is that this band has managed to craft an engaging debut album that manages to be diverse and adventurous while still maintaining the band's pop roots. And that's more than most can really hope for anyway. -AMG

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Swirl 360 - Ask Anybody - 1998

2011-10-25T04:00:00.000-07:00

Borrowing from every pop band from the Beatles to Oasis, Swirl 360 may be a little hard to pin down, but that's part of the reason why their debut album, Ask Anybody, is so enjoyable. Favoring the sweet pop of McCartney over Lennon's brittle rock & roll, Swirl 360 augment that melody with crackling modern rock production. If they get a little too slick -- and let's face it, anyone who collaborates with Desmond Child is bound to get a little slick -- they make up for it with sharp collaborations with Adam Schlesinger (Fountains of Wayne) and Ken Stringfellow (Posies), a crisp attack, and uncluttered arrangements. Denny and Kenny Scott, the twin masterminds behind the band, still need to find their own voice, but Ask Anybody remains a cheerful, pleasing debut. -AMG

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Chris Von Sneidern - Sight & Sound - 1993

2011-10-24T04:00:00.000-07:00

The first solo album by ex-Flying Color singer/ songwriter Chris Von Sneidern is a terrific slice of '90s power pop, roots and ruefulness division. Von Sneidern's slightly rough voice isn't particularly suited to chipper material, and so the better tracks here are the darker ones like "Bad Black Lonesome" and the downright bleak closer "Never Again My Love." Von Sneidern is capable of his lighter moments as well, like the sweetly jangly "Annalisa" and the lighthearted homage "Hey Nino Tempo," but the best parts of this album, which features guest appearances by fellow Bay Area luminaries like John Wesley Harding and American Music Club guitarist Vudi, have an emotional depth and richness not often associated with the sometimes facile world of power pop. At 16 tracks, Sight & Sound is a little overstuffed and could use some pruning, but minimal use of the skip tracks buton will turn this CD into something special. -AMG

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Second Saturday - Here`s The Deal - 2002

2011-10-21T04:00:00.000-07:00

GREAT power pop band - hard to find 2002 debut album. Imagine(go with us here) The Beach Boys(but not literally) playing Fountains Of Wayne, The Argument, Jetpack and Ben Folds. Or Jeffrey Foskett teaming up with new up and comers The Blakes, The Rentals, Light FM or Adventures Of Jet. Huh? What`s all this? It`s spiffy, up-beat lightly tinged new wave power pop for modern made to splash water on stiff, established pop contributions of late. Second Saturday`s music is a fine-woven blend of catchy, energized, and powerful sugar-pop tunes with beautiful melodies, up-beat tempos, rip-rocking guitars, infectious synthesizer, and four-part harmonies that can be matched by the likeness of only Brian Wilson. Every song a winner! -Not Lame

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Big Hello - Orange Album - 2000

2011-10-20T04:00:00.000-07:00

After neo-power pop group the Elvis Brothers disbanded, drummer, songwriter Brad Elvis formed a new outfit in late 1994, which he dubbed Big Hello. Despite a rash of early personnel changes, the band built a following in its hometown of Chicago and around the Midwest through extensive touring. The remainder of the lineup eventually settled on vocalist Chloe Orwell, guitarist Johnny Million, and bassist Tom Atteberry. In addition to contributing to several power pop compilations, Big Hello gained increased exposure through hosting Chicago Pop Mondays, a highly successful series of concerts at the Beat Kitchen. -AMG

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Doug Powell - More - 2000

2011-10-19T04:00:00.000-07:00

For his third outing, Doug Powell follows much the same formula as with his first two albums: straight ahead rock songs with a definite, pronounced pop leaning. Powell's influences are plastered all over this, from Jellyfish-like vocal harmonies to Todd Rundgren's brand of smooth pop and Cheap Trick-style guitar crunch. But thankfully, Powell does manage to mold the record into more than just a sum of its parts. The album's best songs -- the uppity rock of "Dinah Might," the soulful pop of "The Scent of a Rose," and the hard rock of "Empty V," amongst a few others -- are extremely well-crafted modern pop. While not exceedingly commercial or adventurous, the devotees of verse-chorus-verse song structures and gooey background vocals will agree that not only is More catchy and memorable, but it manages to steer clear of potholes of derivation. With that being said, there are a few flaws that keep More from being a classic. The production is appropriately crisp but strangely tinny, and on the requisite mainstream music rant "Empty V," Powell appropriately gives the musical finger to MTV and their ilk. But the problem is that the listener is torn between believing whether it's appropriate commentary or a cranky old man who is upset that he never got his commercial due. Maybe it's a little of both, but that assessment is probably a bit too harsh given the songwriting expertise displayed by Powell here and with his band, SWAG. And something does seem wrong if a song as infectious as "Rise" isn't all over mainstream rock radio. The true assessment, then, is that More is very much music by a pop fan who hates MTV, for pop fans who hate MTV. It can't be fairer than that. -AMG

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The Sun Sawed in 1/2 - Bewilderbeest - 2000

2011-10-18T04:00:00.000-07:00

St. Louis' Sun Sawed in 1/2 made a major departure from their flexible, inventive power pop on Bewilderbeest. Recorded partially in the Ukraine, Bewilderbeest tries to make world music a palatable influence in power pop; of the disc's 14 tracks, three are world music-styled instrumental tracks. The remaining tracks sound heavily influenced by Eastern European rhythms and music, and it makes Bewilderbeest an admirable and ambitious affair. The album's highlights include "Kiss Her Like You Mean It," an excellent up-tempo rocker that sounds like a lost Jellyfish classic, the moving ballad "Shining Knight," and Ken Kase's "Song No. 11." While it's not quite as solid of an album as the defining Fizzy Lift, the ambition alone of this album makes it a worthwhile listen for both fans and the curious. -AMG

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Save Pluto - Age of Lowered Expectations - 2007

2011-10-17T04:00:00.000-07:00

Their debut album, Age of Lowered Expectations, is reminiscent of Barenaked Ladies meets Matthew Sweet. It’s fun, it’s smart, and it rocks. The group’s musicianship shines through on the album, with all three band members sharing lead vocal duties on various songs.
Shawn Moynihan (vocals, rhythm guitar) and Alan Miller (guitar, vocals), songwriting partners since high school, have been recognized by Billboard Magazine's National Songwriting Contest, and were commissioned to write the theme song for the New York Yankees' minor league team on Staten Island. Miller's guitar skills, displayed prominently on the album, have also been featured in Guitar One Magazine. Gautam Peri completes the lineup on bass and keyboards. -CD Baby

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Another album, another band, another name.

2011-10-16T04:53:00.000-07:00

Matthew Bannister has made numerous records under different names, with different people - first Sneaky Feelings in Dunedin in the 80s, then the Dribbling Darts of Love in Auckland in the 90s, a solo release as One Man Bannister - Moth (2007) - and another band effort -The Weather’s Aroha Ave (2008). And now the Changing Same.

Why so many names? Why not just use your own? “I’ve never felt comfortable being a solo artist. Music to me is something you do with other people. That’s what makes it fun. When I get new people, it’s a new project. Of course it’s a bit of a disaster from a publicity/career point of view.”

Since 2008 Matthew has been living in Hamilton, where he works at Wintec, who also support his music activities. “I make a CD, and it counts as research!” The album was mostly recorded at the studios in the Music Dept there. “But I have the same software at home, so I could take away live backing tracks and overdub in my own time. You get live feel, but also lots of time to fiddle with additional parts - the best of both worlds.”

&amp;lt;a href="http://powertoolrecords.bandcamp.com/album/the-changing-same-1-2011"&amp;gt;The Changing Same- 1. (2011) by PowertoolRecords&amp;lt;/a&amp;gt;

The Changing Same are:
Matthew Bannister: guit./bass/vox
Nick Johnston: keys
Stan Jagger: drums

The Changing Same’s CD is available through Powertool Records, or can be downloaded at the bandcamp site. They’re also on Facebook.

The Jigsaw Seen - My Name Is Tom - 1991

2011-10-13T04:00:00.000-07:00

This is the Jigsaw Seen's 1991 EP for the now-defunct New Jersey-based Skyclad label. The mini-CD featured an early version of "Persephone Again" (the track was later re-recorded for release on the Swedish-released Pop Under the Surface, Vol. 1 compilation and the band's own self-released Zenith from 2000) and a cover of Love's "The Daily Planet." -AMG

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The Rumble Strips - Girls and Weather - 2007

2011-10-12T04:00:00.000-07:00

The Rumble Strips don't take any chances on Girls and Weather, but that's because they don't need to. If the Devon foursome's fun, innocent, and refreshingly light tone -- not to mention their eschewing of guitars in favor of horns -- isn't enough to make their debut album stand out, then their musicianship and wry lyrics certainly are. It takes a few listens to discern the Rumble Strips' technical proficiency, because it's all too easy to get caught up in the fun that they're having instead. There's no build-up to the revelry -- Girls and Weather gets off to a rollicking start with "No Soul," a tune that sounds a bit like a Kaiser Chiefs tune that replaces synthesizers with a deliberately off-kilter brass section. It's immediately followed by "Alarm Clock," which tells the story of a young slacker through the use of an infectious melody, singalong chorus, and cheery self-deprecation. Happy melodies coupled with bittersweet lyrics are a running theme throughout the album, but it's a formula that works well for the Rumble Strips, especially when they're poking fun at the Walter Mitty-like fantasies of average Joes. The best example of this on the album is "Motorcycle," a riotous take on the "cars and girls song" that alternates between the mundane reality of a 10-speed bike and the sunny fantasy of a motorized chick magnet. There are times when the band's giddiness is a little too overwhelming -- the repetition of the chorus on "Clouds" quickly goes from endearing to annoying -- but it's a minor complaint in the end. Girls and Weather loses neither steam nor charm throughout; it's an album for adults who want an excuse to behave like kids again. -AMG

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Zumpano - Look What the Rookie Did - 1995

2011-10-11T04:00:00.000-07:00

The title says it all. This debut effort from Vancouver's Zumpano is an astounding piece of infectious, guitar-driven pop. The group's original material is outstanding, but the lone cover proves to be one of the album's highlights -- a compelling version of Jimmy Webb's "Rosecrans Boulevard" (previously recorded by the Fifth Dimension and Johnny Rivers). With Webb as an influence, it's no wonder Zumpano end up crafting such sophisticated yet melodic compositions of their own. In the '60s, tracks like the Zombies-esque "I Dig You" would have been all over the charts and the radio, but in the 1990s, there seems to be less of an audience for such inventive, intelligent pop. However, the freshness of Zumpano's sound, combined with adventurous melodies and rhythms, makes this an essential piece of work. -AMG

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Parthenon Huxley - Mile High Fan - 2005

2011-10-10T04:00:00.000-07:00

Parthenon Huxley had a pretty sweet job between 1987 and 1993 -- he was a contact songwriter with MCA Music Publishing, and he got to spend his work days writing tunes, recording them with first-rate musicians and getting paid for the privilege. Best of all, it appears no one was riding herd over Huxley regarding what he should be writing about, judging from Mile High Fan, a 15-song collection of Huxley's demos from the period, which includes catchy songs about heroin addiction, soaring real estate prices and urban sprawl. According to Huxley's liner notes, a number of his MCA demos became basic tracks for his first album, 1988's Sunny Nights, and the recordings collected here sure don't sound like songwriting demos -- the combo Huxley put together for these sessions evolved into his band P. Hux, and they sound professional as all get out, especially guitarist Rusty Anderson, whose Eddie Van Halen-esque Stratocaster gymnastics are certainly impressive if more than a bit overstated on several cuts, and drummer Rob Ladd, who pounds with conviction. Huxley's material here walks a tightrope between witty power pop and muscular hard rock, and the two sides don't always get along, with the guitar shredding often getting in the way of the melodic side of these recordings. But there are some good tunes here that work just fine with the band, especially "This Isn't Yesterday" and "Bazooka Joe," and Huxley's smart-ass wit is welcome throughout. Mile High Fan isn't perfect, but it's as polished and satisfying as any of Huxley or P. Hux's "real" albums, and this certainly deserved better than sitting on a shelf at some publisher's office for 13 years; Not Lame are to be commended for finally giving this music the public hearing it deserves. -AMG

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True Believers - True Believers - 1986

2011-10-07T04:00:00.000-07:00

Legend has it that the True Believers' pre-production process with producer Jim Dickinson before they began sessions for their first album consisted entirely of a conversation in the car as the band picked him up from the airport and drove to Austin's Arlyn Studios. While Dickinson has a splendid track record producing maverick rock bands, for this project money and time were in short supply, and the True Believers album suffers a bit accordingly. The sound is thin and lacks the punch that the group's three-guitar lineup demanded, and the gated snare sound on Kevin Foley's drum kit is such a mid-'80s cliché that it sounds almost comical more than a decade down the line. But if True Believers captured a great band under less-than-ideal circumstances, it leaves little doubt that this really was a great band; Alejandro Escovedo, Javier Escovedo, and Jon Dee Graham all sing, write, and play guitar well enough to lead fine bands on their own, and together they were a guitar army in the truest sense of the phrase, thinking and performing as one and leaving behind some inspired music as a result. (Bassist Denny Degorio also helped write a number of the album's best songs, and drummer Kevin Foley holds down the backbeat with smarts and precision.) True Believers was the only album this group would release during their lifetime, and while it doesn't get the full impact of their live show on tape, it gets just enough of it down to prove that this band's reputation as one of America's greatest roots rock bands wasn't just talk. -AMG

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The Shore - The Shore - 2004

2011-10-06T04:00:00.000-07:00

The Shore's full-length Maverick debut offers enthusiasts of the AAA radio format a palette-pleasing aggregate of spacy Britpop and dusty American rock texture. It's a fashionable, well-appointed album, impeccably designed for the leisuring iPods of listeners who like their music furiously in the moment. Ben Ashley -- songwriting brains and frontman of the Shore -- channels Richard Ashcroft brazenly, particularly the cheekboned one's more dramatic solo work. But that won't matter to those swooning over the Shore's sun-spackled piano ballad "Take What's Mine," or the dusky, loopy, string-laden opener, "Hard Road" -- the sound might be shockingly derivative, but since three out of five Americans have either forgotten or never knew of the Verve and Ride, the Shore's lapping pace and gentle waves will wash forth as fresh and new as a watercolor daydream. "Waiting for Sun" plays soft pop verses off a chorus melody worthy of Embrace's grandeur (more keening strings, stat!), while "It Ain't Right" and "Firefly" do nice things with tensile electric guitar dynamics and changes into fluttery vocal harmonies. In its weaker moments ("Everything We Are"), The Shore drifts into middling alterna-pop. -AMG

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Sweet Apple Pie - Between the Lines - 2004

2011-10-05T04:00:00.000-07:00

Pitched somewhere between Sloan, the Apples in Stereo, and Club 8, France's Sweet Apple Pie provide a sound much like their name: warm, sweet, and wholesome. Between the Lines is their second album, and it is a huge step forward from their first. In fact, it is one of the better indie pop records you will hear in 2004. The songwriting is tight, the arrangements are fully realized, and the group vocals are large and lush, sometimes coming close to Polyphonic Spree proportions. Songs like "Harder Than We Thought," "Pray Before," and "Oyster" reflect a '70s influence, sometimes sounding like Squeeze, sometimes like a more flexible ABBA. Always sounding good and hooky, Between the Lines is full of laid-back charm; it's the kind of record that radiates warmth from beginning to end. Playing it is like hanging out with the kind of friend with whom you don't have to say anything; you just have to be there. Add Sweet Apple Pie to the list of bands making adult pop (Walker Kong, the Heavy Blinkers, Young and Sexy) drawn from the '70s and '80s but sounding completely modern and completely fabulous. -AMG

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Rick Parker - Wicked World - 1991

2011-10-04T04:00:00.000-07:00

Parker's dynamic voice allows him to sound like three very different vocalists on the same album. On tracks such as "Cause Your Mine" and "Sally's Home" his voice bears a striking resemblance to that of Mark Knopfler. When the music slows, however, his sound metamorphoses into something more akin to Corey Hart. He rounds out his range with some INXS/Michael Hutshens style vocals. But with strong, consistent backing vocals bi guitarist Josh Blake, the album flows nicely. - L.A. Times

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The Hellacopters - Payin' the Dues - 1999

2011-10-03T04:00:00.000-07:00

The Hellacopters reconvened for a second album in 1998, churning out a platter that retained the raw ferocity of their debut while featuring even better songs. Payin' the Dues is a winner from start to finish, but special kudos go out to "You Are Nothin'," "Hey!," "Where the Action Is," and "Soulseller." One has to wonder how huge these guys would be if they were American instead of Swedish. The record did so well in Europe that vocalist/guitarist Nicke Andersson (aka Nicke Hellacopter) decided to quit the security of his day job on the drum stool of death metallers Entombed to concentrate on the Hellacopters full-time. Unfortunately, co-leader Dregen chose to carry on with his main band, Backyard Babies. -AMG

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A Gift From John Wicks and the Records!

2011-10-02T05:13:00.000-07:00

With Fall comes change. And, thanks to a new Records' Facebook promotion, you can keep yours in your pocket while getting some FREE music
to listen to. John Wicks, lead singer of The Records and co-writer of the hit songs Starry Eyes and Hearts In Her Eyes, has decided to post
a complete live set via his Facebook fan page found right here. Starting
October 2, each week John will be posting one of nine live songs from a set that was recording earlier this year. With guest appearances
from Debbi Peterson of The Bangles and Andy Qunta of Icehouse, this recording is truly one of a kind.

Just "like" the page, and the mp3 is yours.

We'll post one track per week, leading up to the re-release of Rotate due out Noverber 8, this time with three bonus tracks and an all new, pedal
to the metal version of The Records' classic hit "Starry Eyes".

Starting October 2, go to www.facebook.com/TheRecordsFeaturingJohnWicks and click "Like", refresh your browser, and the mp3 will be available
to you...FOR FREE. Check out The Records' main website at www.johnwicksandtherecords.com for news, tour, or any other additional information
about The Records or the new version of "Starry Eyes".

The Feedbacks - Nothing A Little Pop Won't Cure - 2002

2011-09-30T04:00:00.000-07:00

The Feedbacks began to play in Mieres (Asturias) at the beginning of 1995, when Adolfo, (singer, guitar player and composer), his brother Carlos, and two friends, Diego y Javi, with nearly no experience with bands, gathered together to kill the time and also to emulate their idols, ancient melodic punk rock and power pop bands. On this excellent third installment of the Asturian Feedbacks, they expand thier horizons with more sedate but equally strong and vigorous songs.

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POP GEEK HEAVEN - Arrives This Friday! (special beta for Power Pop Prime buyers)

2011-09-29T04:14:00.000-07:00

Bruce from over at Pop Geek Heaven sent us this little reminder.

I've been working on the Pop Geek Heaven project in my extra time for a good part of 2011. The dream of it, a lot longer.

It's finally ready - but before the 'rest of the world' can see and enjoy POP GEEK HEAVEN, I wanted to give you the first look at it.

Think of it as your Backstage Pass to a new kind of experience for the power pop fan.

This V.I.P. Access is one way for me to say "Thank You So Much!" for picking up my "Power Pop Prime" book this summer! (by the way, my digital gifts that I promised are going to be sent out in a few weeks so they are coming - and news on two other books coming next week, too!)

On Friday, you'll be ushered through the back door to check it all out first. Before anyone else!

So, when does Pop Geek Heaven launch?
Answer: Just go to this link on Friday at 1 p.m. M.S.T.

Please Understand: THIS IS A BETA TEST phase. There could be some issues and weirdness. If so, let me know what you're seeing - and be patient.

This is important - to enjoy everything at PopGeekHeaven when you go there on Friday, you must become a member of PGH (which costs you nothing so don't stress on it!).

I mention this so you are clear PGH is not some big company, corporate thing - it's a 'free'/gratis project that one person has been working on and will be supported by sales at the Pop Geek Heaven Store.

Everything with PGH has been a BIG vision in my head for years - and it's just been one person(me) working on the development of this(and I'm no techie so I've been limited with the resources to pull this all off).

But PGH is all about us, the fans - and the artists making the music.

Our passion for music and our interest & devotion to 'power pop' is what will make it work.

It's that simple. I really hope you dig it......

It's Live
RIGHT HERE on Friday!

Peace 'n (good) Pop,

Bruce Brodeen
(Just Another) Pop Geek

The Pyramidiacs - Nobody's Fools - 2001

2011-09-28T04:00:00.000-07:00

Characterized by a upbeat power-pop feel, the Pyramidiacs sound has remained consistent since the group's 1988 origins. Based in the Sydney suburb of Fairfield, Australia, the original line-up of Eddie Owen (guitar/ vocals), Bob Susnjara (bass/ vocals) and Mickster Baty (drums) took upon a musical idolization for the Replacements, Teenage Fanclub, Big Star and Matthew Sweet. With the 1992 addition of guitarist Mick O'Regan, the Pyramidiacs would eventually release a slew of singles and compilation tracks before their 1993 full-length debut, Don't Wish It. The following year saw the Pyramidiacs' second album, All You Want, released through Pink Flamingo Records before their 1995 European tour. The group's third album, Teeter Totter, came out in 1996 courtesy of Ranezz Records -AMG

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The Silver Seas - Starry Gazey Pie - 2004

2011-09-27T04:00:00.000-07:00

Daniel Tashian (vocals, guitar) was already an established solo artist when he enlisted the help of producer/keyboardist Jason Lehning to fashion the '70s-inspired classic pop/rock of the Silver Seas. Formerly known as the Bees (U.S.), the group formed in Nashville, TN, with John Deaderick (bass) and David Gehrke (drums) rounding out the lineup. The band's self-pressed debut disc, Starry Gazey Pie, was released in 2004 and received support from such influential radio stations as Boston's WFNX and L.A.'s KCRW. This, coupled with a national tour alongside Guster, enabled the group to release a follow-up, 2006's High Society. Cheap Lullaby signed the Bees (U.S.) in April 2007, and the Nashville band changed its name to the Silver Seas that September, citing a legal conflict with the British outfit A Band of Bees. The following month, Cheap Lullaby re-released High Society. -AMG

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Moods for Moderns - Loud & Clear - 2001

2011-09-26T04:00:00.000-07:00

Stealing more than a few pages out of the power pop handbook, Moods for Moderns has officially arrived as a veritable force with Loud & Clear. Big guitars, lush harmonies, and incessant energy mark this reverent, yet altogether refreshing, arena pop. Whether channeling Big Star influences on "Lust for Luster" or cavernous Left Banke-ish sounds on "Long Distance Dedication," Moods for Moderns is overwhelmingly on target with its decidedly backwards-looking pop confections. While the Zombies, Elvis Costello, and the Rolling Stones are all evoked at different moments, it's quite obvious that this band's loyalties lay in classic '70s rock. As this dedication has supposedly manifested itself in the band's members refusing to listen to any music recorded after 1979 during Loud & Clear's recording sessions, as well as only using recording equipment from that period, the result of their devotion is undeniably rewarding. Fairly predictable and obviously derivative, Moods for Moderns nonetheless succeed in presenting straightforward rock at its most undiluted. -AMG

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True Love - Wings - 2005

2011-09-23T04:00:00.000-07:00

Power pop torchbearers True Love deliver a gutting slab of melodic rock on their third studio release, Wings. If the title and cover art are meant as a humorously ironic allusion to Paul McCartney's post-Beatles group, the music therein also takes a similarly opposing direction from Macca's soft rock/AOR. Much like their guitar-heavy self-titled sophomore release, True Love rip through a series of über-melodic and somewhat emotionally pyrrhic mini-rock epics that bring to mind such icons of the genre as Cheap Trick, the Replacements, Elvis Costello, and others. This is pretty great stuff that will obviously appeal to the pop underground faithful, but deserves a much wider audience. -AMG

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The Stands - All Years Leaving - 2004

2011-09-22T04:00:00.000-07:00

U.K. quartet the Stands traffic in gentle jangle pop rooted in the Byrds and the '60s West Coast sound, the mid-'60s Beatles, country Dylan, and in their missing and missed countrymen the La's. Their debut album, All Years Leaving, is coated in honey-sweet vocal harmonies, rollicking tempos, gently strummed guitars, and a general sense of easy nostalgia. Many, many bands have treaded this leaf-strewn, autumnal path and the Stands don't do much to distance themselves from the pack, nor do they stumble significantly. Middle of the packers then and that's not so bad. In fact, it is unfailingly pleasant. The tunes tend to blend together in a sepia-toned wave of gentle melancholia, but there are worse ways to spend 40 minutes. There are even a few that you will want to throw on mixtapes, like the dreamy opener, "I've Waited So Long"; "The Love You Give," which has a languid beat, slow-motion guitar plucking, and fine la-la-la backing vocals; and the album's crown jewel, "Here She Comes Again." It's definitely a cousin to the La's' "There She Goes," with a lovingly similar melody (and an almost direct lift from the Cars' "My Best Friend's Girl"), but it adds some Byrds-y 12-string and an emotion-packed bridge that does what a bridge should and jumps the song's intensity up a notch. It's the kind of song that you will want to listen to about five times in a row every time you hear it, the kind of song that would make you want this album even if the rest stunk. If they can come up with a couple more like it on their next record, they might take a giant step to the front of the pack. Until then, All Years Leaving is a fine, solid debut. -AMG

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Hello

2011-09-21T09:07:00.001-07:00

hello

Bill Popp & The Tapes - Popp This - 1989

2011-09-21T04:00:00.000-07:00

A unique and unconventional veteran of Manhattan's Lower East Side club scene, Bill Popp has often combined unapologetically Beatlesque power-pop with elements of punk and new wave. By the time his debut album was recorded in 1989, Popp and various editions of his band, the Tapes, had been playing live for eight years -- often getting a favorable response playing "Eleanor Rigby" for punk rockers at CBGB! Listening to the strong hooks and powerful melodies of "Don't Hold It Against Me," "She's in the Sky," and other gems on Popp This, it's impossible to miss the influence not only the Beatles, but also, other British Invasion icons like the Yardbirds and the Zombies. One could easily assume that the undeservedly obscure singer/composer (whose last name really is Popp) is British himself. But in fact, Popp was raised in the blue-collar College Point section of Queens. He consistently comes across as someone who is determined to play exactly what's in his gut -- and darn the consequences. -AMG

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Summercamp - Pure Juice - 1997

2011-09-20T04:00:00.000-07:00

The alternative rock quartet Summercamp first began to take shape in 1987, when vocalists/ guitarists Tim Cullen and Sean McCue first met in high school in their native Santa Barbara, CA; another fellow student, bassist Misha Feldmann, joined after graduation, and with the 1994 addition of drummer Tony Sevener, the group's roster was complete. After signing with Madonna's Maverick label, Summercamp issued their 1997 debut LP, Pure Juice. -AMG

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The Bristols - Tune In With - 2001

2011-09-19T04:00:00.000-07:00

Fabienne Delsol & Liam Watson's garage supergroup featuring amongst it's ranks Bruce Brand (Milkshakes/Headcoats) Owen Thomas (Graham Coxon Band/Cee Bee Beaumont) Parsley (The Adventures of Parsley / Dutronc / Dee Rangers) and the glorious vocal talents of Miss Fabienne Delsol they released two full length albums on Damaged Goods and three singles.
They released their first single on Hangman's Daughter in 1994 followed by a split single with Japans Thee Michelle Gun Elephant a year later on Vinyl Japan.

Then they released two singles and albums on Damaged Goods before calling it a day in 2003.

After the split Fabienne Delsol has gone solo and released two albums so far 'No Time For Sorrows' (produced by Liam Watson at Toe Rag) and "Between Me And You" released in 2007

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Music of Note

2011-09-18T04:48:00.000-07:00

Kris Rogers has played in a lot of the bands with (Kurt Baker, The Connection) and his new album is out this week called "Kris Rodgers and The Dirty Gems". It's old school piano rock n roll/pop featuring some cool doo-wop harmonies and tons of keyboards. Kurt Baker plays bass and sings a few back ups as well. For more information go to krisrodgersmusic

Kris Rodgers: Piano, Organ, Rhodes, and Vocals
Kurt Baker: Bass, Backing Vocals
Wyatt King: Drums
Tyler Johnson: Electric Guitar
Zach Uncles: Pedal Steel
Meg Doherty-Scannell: Backing Vocals

&amp;amp;amp;lt;p&amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://krisrodgersmusic.bandcamp.com/album/kris-rodgers-the-dirty-gems"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Kris Rodgers &amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp; The Dirty Gems by Kris Rodgers&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;lt;/p&amp;amp;amp;gt;

E.D. Sedgwick just put out a new record "Love Gets Lovelier Every Day" on Dischord. The limited edition 3-song single, released August 22, 2011, includes a full-length (11-song) MP3 download.

Customers who purchase the 7 inch in stores will get a coupon to download all 11-songs. If you buy the 7 inch from dischord.com the songs are automatically added to your personal account to download.

The Power Pop Trio "The Perms" from Winnipeg are set to release their 5th album"Sofia Nights" this fall. In an industry where bands are lucky to last past their first single, this group has stood the test of time and continued to find success in creating stick-in-your-head songs. Their friendship and shared passion for making music that matters has been the motivation that drives this band forward.

When The Perm's started writing for the new album, it became clear that the band wanted to push the boundaries of their songwriting while keeping the hooks and energy...
For more Information go to thepermsmusic.com

Fresh out of Sheperdstown, West Virginia RoZwell Kid has arrived on the scene with his self-titled debut release. RoZwell Kid is the stage name of Jordan Hudkins, drummer for his hometown act The Demon Beat. He's taking a little break from his gig as a drummer to step out on his own with this eclectic, electro pop effort that is decidedly different from the genre of music that he's accustomed to playing, and finds a common balance between the two that shows his ability to branch out in different genres with remarkable ease. -Music Box Pete

&amp;amp;amp;lt;p&amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://rozwellkid.bandcamp.com/album/the-rozwell-kid-lp"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;The Rozwell Kid LP by Rozwell Kid&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;lt;/p&amp;amp;amp;gt;

Red Planet - Let's Degenerate - 2001

2011-09-16T04:00:00.000-07:00

The second Gearhead full-length from California's Red Planet finds the boys adorning the cover in coordinated black and red outfits that immediately conjure up preconceptions that the music inside will sound like those other fashion plates the Hives and the White Stripes (which wouldn't seem like too much of a stretch, since Gearhead also served as home to the Hives). Thankfully, looks can be deceiving. Red Planet's crunchy guitar attack and big choruses owe far more to power pop than garage rock, and, odds are, the band's members own more Cheap Trick live albums than Velvet Underground bootlegs. The vocals show traces of the playful snottiness of Robin Zander, but this record has the fingerprints of outfits like the Knack, the Nerves, the Flamin' Groovies, the Raspberries, and the Cars all over it. Although the album hardly changes the group's formula, it's a suitable follow-up to 2000s Revolution 33 and is sure to go over well with fans and select newcomers. This is a fun slab of straight-up, guitar-driven power pop with big vocals for those who find the Loch Ness Mouse too syrupy, Supergrass too British, and Superdrag too indie. It's also a surprising foray into power pop for Gearhead, a label normally associated with punks and garage throwbacks. -AMG

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Cloud Eleven - Cloud Eleven - 1999

2011-09-15T04:00:00.000-07:00

Rising from the ashes of the L.A. retro-pop group Jiffipop, Cloud Eleven is the meisterwork of Rick Gallego, who wrote all but one of the tunes on here and plays almost all the instruments. There's a 60s retro vibe, all swirly and psychedelic, with a strong pop base to everything on here, recalling Sgt. Pepper era pop pastiches. Highlights are numerous, but "Spiral (Come Way Down)," "Tokyo Aquarium," "Take Control," "Rainbow Station" stand out as lush, vibrant tunes with production values equally as forceful. Most clever songwriting award goes to "Look Of Sky," a pastiche of Left Banke lyrics and titles inspired by that group's leader Michael Brown. Light, trippy power pop that really hits the spot, this is one charmer of an album. -AMG

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Colin Clary and the Magogs - Her Life of Crime - 2004

2011-09-14T04:00:00.000-07:00

Simplicity and subtlety are combined with solid songcraft and pristine arrangements to create an achingly poignant album of considerable emotional and lyrical depth all wrapped up and disguised as a sunshine pop record. If you like to make out to the Beach Boys and have ever fallen in love or had your heart broken then we consider you among our peers and this album is about someone like you. You know how Pet Sounds can sound beautiful and break your heart at the same time as it sticks in your head and wraps you in melody and harmony? Well, Colin Clary & the Magogs have taken that template and done their own thing, creating a pop album about small town life and the universal themes of heartbreak and forgiveness. This proves to be a fresh look at the problem of love in the modern era. This album allows the Magogs to apply their studio mastery and knack for mouth-wateringly simple and buoyant arrangements to Colin`s song cycle and the playful vocal interplay of Clary/Wall. The result is 12 tracks that make up one of the most listenably catchy and thought-provoking records of this year. -Not Lame

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