An Evening with Colin and Rod

According to Rod Argent, the Zombies visited Finland last during their very first international tour back in the 60s. We will see if the band will actually return in another 50 years as promised... In any case, the present-day version of the Zombies gave a memorable and heartfelt performance in Helsinki on March the 31st.

The concert was the last of the Zombies' Scandinavian mini tour. It was especially Colin Blunstone whose presence radiated all kinds of positive feelings to the audience. Blunstone's voice was strong and soulful and when he sang more quietly he sounded exactly like himself back in the 60s! Rod Argent delighted the audience with many stories about the band's history and thoughts about the influence that the Zombies have had on pop music.

Argent and Blunstone were thrilled to be performing as the Zombies and it showed. Argent played many fabulous, long solos on the keyboard. Blunstone gave vocal performances both soulful and ethereal. Guitarist Tom Toomey, bass player Jim Rodford and drummer Steve Rodford also enjoyed being on stage and performed with style. Toomey's guitar work was definitely worth mentioning... Everyone on stage was really good!

The set was a nice cross-section of the Zombies' career, from the band's very first singles to their latest 2011 album Breathe Out, Breathe In which Argent and Blunstone were obviously very proud of. The songs sounded really good live, I must say. The most anticipated part of the set was probably the part with songs from Odessey & Oracle. All of the band's hits were also played (Tell Her No, She's Not There, Time of the Season). As a whole, the gig was a lot more than just those most influential baroque pop songs on Odessey & Oracle. It was simply great to hear Colin's solo stuff, music from Argent, and even Alan Parsons Project material! Many of the songs were not familiar to me but well... There is always time to check them out. The important part is that I enjoyed every second of the concert.

It was a great experience to see the Zombies. There are not so many 60s pop bands that come to Finland in the 2010's. I hope to see more!

The Zombies website

The (Phil)harmonic Tampere 2012 so far: From Williams to Glass

So, guess which live act I still prefer in all of Tampere and Finland? It is of course the Tampere Philharmonic Orchestra, one of the very few full-size symphony orchestras in Finland. It seems that it can't get any better now. I have discovered the most skilled musicians and most appreciated works of music that have most definitely stood up well against the test of time!

Here is a small recap of what I experienced during January and February. To keep it short I haven't commented on everything.

Jan 13th: Film music by John Williams
Lead by Peruvian conductor Arturo Alvarado, the Philharmonic played an energetic, sold-out show of John Williams' best-known film music, including themes from Indiana Jones, Harry Potter, E.T., Schindler's List, and of course Star Wars. The most memorable moment to me was the theme from Jaws. Just imagine a huge orchestra playing those two notes... Gee, that was cool! I also loved Harry Potter, as well as Schindler's List which was a lot more stripped-down as a whole but all the more beautiful.

Jan 20th: Vivier, Brahms, Stravinsky
Vivier finished writing his cosmic composition Orion in 1980. Compositions as new as this are often very different from the old classics and Orion was no exception. Anything composed in the 20th century can easily be recommended to fans of progressive rock. As for Johannes Brahms, he was a composer whose music is often performed in Tampere these days. He is a popular ”old-school” guy, and piano concerto #2 was indeed a very impressive, even heavy piece of music.

Jan 27th: Olivier Messiaen: Turangalîla
This time the people at Tampere-talo were introduced to French 20th century composer Olivier Messiaen and his long ten-part Turangalîla symphony. Valérie Hartmann-Claverie played ondes martenot, the first widely used electronic instrument. The wailing sound of the instrument was indeed an important part of some of the more sentimental parts of the symphony. All in all, a lot of this piece of art was somewhat challenging to listen to. Still, somehow I got the hang of it and in the end I felt happy. It was a very rewarding listening experience. Sometimes it can be really worthwile to challenge yourself!

Feb 3rd: Sibelius, Mustonen, Prokofjev
This was the first time I heard music from Finland's most famous composer Jean Sibelius played live. Bardi op. 64 was a small, intimate musical poem. I was thrilled to feel the beautiful Finnish landscape in musical form. The main event was Olli Mustonen's first symphony Tuuri, ordered and performed for the first time by the Tampere Philharmonic Orchestra, conductred by Mustonen himself. Tuuri was a charming work, composed to the famous Finnish poet Eino Leino's poetry (Helkavirret). Great music, great lyrics!

Feb 17th: Liszt, Glass, Sibelius
Liszt and Sibelius were really awesome but Philip Glass hit the jackpot with his violin concerto. It was like hypnosis. Glass's harmonies were sometimes (especially at the beginning) bizarre but mostly the music was all about stunningly beautiful, hypnotic, repeating melodies. Repetition, in general, is not the most common feature in classical music but Glass is the master of repetition. However, the music doesn't get boring at all because Glass's melodies are incredibly memorable and the mood is... hypnotic, as well as really dramatic. Listen to the concerto if you already haven't! The first and third movement are really fast and dramatic, and the second part is slow and incredibly, really incredibly touching... Oh my goodness.

Here it is:
1st mov
2nd mov
3rd mov

Crazy About Secret Powers

I am currently feeling a bit intoxicated because of Secret Powers. In order to become really special to someone a band/artist must have the ability to attract a person to listen to the same music all over again and go back to the old songs after exploring other types of music. Secret Powers does all that and more.

It is no coincidence that I am once again very much drawn to a band labelled as power pop by both the band and the power pop blog community. Most of my all time favorite bands have had an essentially similar approach to music.

Jangly, bouncy, rocking guitar pop, power pop, Not Lame pop... Something that may not be the most innovative music but year after year on gives homage to some of the most cherished melodic pop-rock music of the past decades. Sometimes power pop assimilates features from the current best-selling pop music but power pop is always at its best when it is not trying to develop into anything that doesn't do justice to its guitar-laden, hook-filled, happy/sad mid-tempo magic.

Call it what you like! I call it melodic, bouncy, catchy, sentimental Beatles-influenced non-hipster pop-rock. Or briefly: power pop.

My first contact to Secret Powers occurred only about a year ago. Their second album had gained attention in several blogs that I happened to read at the time when the album came out. It took me a while to find time to check it out. Soon after listening to that album I ended up buying all of the band's albums. I still think there is something strangely magical about the 2nd album (Secret Powers and the Electric Family Choir, 2009) which could mean it is the best Secret Powers album. All Secret Powers albums are equally good but I would say that the 2nd album has an even more special feel to it than the other albums.

Now I find it strange that I wasn't totally convinced about Lies and Fairy Tales (Secret Powers 3rd, 2010) at first. Now I don't seem to have those thoughts anymore. Lies and Fairy Tales has revealed all of its beauty. I am currently drooling over it while waiting for the new 2012 album to arrive.

So, what is great about Lies and Fairy Tales? Ryan ”Shmed(ly)” Maynes, as always, gives us many great songs including Tangerine, Cows, Cracks on the Wall, Opening Band and others. Troy Warling, John Fleming, and Dan Strachan have also taken part in the songwriting. It seems that the other members become more activate little by little which is of course great. Multivoiced songwriting can be a huge asset.

A closer look at Secret Powers music always reveals something added there to make it more interesting as a whole. Something unexpected is very likely to happen in a Secret Powers song. Often that unexpected thing is a cool instrumental solo, a tempo change or, for instance, a lovely part of harmonic oohs and aahs. It could also be a magnificent bridge melody (check out Riding the Shark).

It is stange that you may not even pay much attention to those cool parts even though they are most definitely one of the things that sets Secret Powers apart from your average pop band. These carefully constructed parts spice up the songs and give them new dimensions. Therefore the songs always sound like they were created by people who have vision, style and courage to try new things. Just listen to pretty much any Secret Powers songs and you will hear samples of this creativity. Here are a few examples: the baroque piano solo and the following vocals in Cows, the ”explosion” in Cracks in the Wall, the enormous guitar solo at the end of The Lie, or the very Styx-like part starting at around 2 minutes in Just Might.

I'm So in Love is definitely one of my favourites on the album. The title reveals quite a bit about the song, and I would go as far as to describe the mood ecstatic. The vocal sound reminds a lot of Teenage Fanclub. Don't forget to pay attention to the very nice instrumental bridge.

Ryan Farley's Feels so Good comes with big energy while Troy Warling's New Skin is more peaceful and acoustic. To me, Miss Lonely (also by Warling) might be the most memorable song here. The song indeed is a cradle of peaceful melancholy and harmony and I often find myself enjoying the magical interplay between the drum beat, rhytmic details and the song itself. I think Warling sounds a lot like Glenn Tillbrook which is obviously awesome!

As I said, I am waiting for the new album More Songs About Her to arrive in a couple of days. There is a sampler of the album at secretpowersband.com. Also check out four songs from Lies and Fairy Tales at the band's MySpace.

A Very Good, Good, Good, Good Thing

Being swept away by politics (can you imagine...) and the current Finnish presidential election campaign has occupied a lot of my time lately. Still, I have found the time to listen to some really great stuff.


Currently I have been very excited about Paul Revere & the Raiders, a band I didn't know anything about until I heard the Wondermints cover version of Louise quite a few years ago. I never got round to checking out the original performer's music although I did listen to the original version many times. A breakthrough occured when I found out about a great new Paul Revere & the Raiders compilation CD called Hungry for Kicks: Singles & Choice Cuts 1965-69 and I decided to take a step forward.

It didn't take long for the band to thoroughly convince me. This compilation is a manifestation of superb 60s pop and ass-kicking soul'n roll: catchy songs, often representing pure bubblegum (with soul) or psychedelic pop and rock. It comes as no surprise that Paul Revere & the Raiders were highly successful and scored numerous hit singles in the latter half of the 1960s.

Some of the most distinctly bubblegum-styled songs include Hungry, Let Me, Cinderella Sunshine, Don't Take It So Hard, and Mr Sun, Mr. Moon. I always find it amazing how many familiar, cherished elements I hear in these songs, having previously gotten to know such fantastic things such as Ohio Express, the Archies, and many soft rock baroque gems. Make good 60s-style bubblegum/baroque music and you are pretty much automatically one of my favorites! There are also moments when the Raiders sound exactly like the Monkees. A great version of I'm Not Your Stepping Stone supports this view.

There is also a good bunch of soul to be heard: Stepping Out, Peace of Mind, and We Gotta All Get Together. The psychedelic side contains such gems as I Had a Dream, Good Thing, Why? Why? Why? (Is It So Hard), The Great Airplane Strike, not to mention Observation From Flight 285 (In 3/4 Time) which is awesome, just awesome!

Generally speaking I can't describe how happy I am to once again discover such awesome music. This compilation by Paul Revere & the Raiders makes me feel like life is a party and every nice person in the world is invited to dance, dance, dance (gotta love that hilarious Beach Boys pastiche Action!).

Lastly, here is a quote from We Gotta All Get Together that might even reveal something about my political views. Enjoy!

This world ain't got no room for narrow-minded people
Now you'd better get ready 'cause a change is about to come!

Leaving the Folk Music Behind

What a cool coincidence to notice that my latest post before the very long break was about a Mamas and Papas song. That band has, in fact, become quite a big favourite since then. I had known about the band for years and I enjoyed some of their songs such as Monday, Monday and I Saw Her Again. The harmonies and vocal arrangements always struck a chord with me but it took a while to finally begin to see all of the beauty behind this group of two men and two women.

The Mamas and the Papas were not a very long-lived band but recorded lots of excellent late 60s baroque/kind-of folk pop music. Huge harmonies, baroque elements and sunny California spirit also justify a link to sunshine pop. In my opinion, the Mamas & the Papas stand out best due to their brisk, cheery male-female vocal harmonies, arranged by John Phillips.

Despite the harmonious, well-balanced, often even playful sounds, lyrics and rhythms, there was quite a bit of drama in the band. The members ended up disliking each other and breaking up on more than one occasion. They however became an iconic American band of the late 1960s having released five albums and several successful singles in 1966–1971. The Mamas and the Papas also performed at the prestigious Monterey Pop Festival in 1967.

As usual, I ended up enjoying this band a great deal after the usual getting-to-know period. There is indeed a lot to love: beatlesque stuff such as Straight Shooter, the huge sunshine pop harmonies of Monday, Monday, the band's most famous hit California Dreamin', a non-successful yet awesome debut single Go Where You Wanna Go, Dancing Bear with its great baroque sensibilities, as well as other quieter songs Got A Feelin' and Strange Young Girls. The Mamas & the Papas also show their talent with several versions of good old classics such as Do You Wanna Dance, Spanish Harlem and Dancing in the Street.

I also discovered a song called Twelve Thirty (Young Girls Are Going to the Canyon) and knew immediately there was something quite special about the song. Listen to it on the headphones and you'll hear the pure genius of a vocal harmony. There are different interpretations of the lyrics and I don't know which ones are true but the song is anyway amazing in its baroque melancholy.

A lot of the Mamas & Papas magic comes from Cass Elliot's superb vocal abilities which also play an important role in the band's overall sound. I don't pay attention to female singers all that often but here is one that I really appreciate. There is no denying the power of her impeccable sound and sense of style and dynamics. Check out songs such as Dream A Little Dream Of Me, Words Of Love, and The In Crowd.

The Mamas & the Papas are probably usually remembered by California Dreamin' but there is a lot of other great stuff as well. Their charming music is definitely worth checking out.

Going Back in Time – Centuries for a Change

Sorry once again, folks, for my long-lasting absence from this blog. It's been a busy fall but now the holidays are here once again. While trying to get as much rest as I can I also hope to write down some of my most cherished memories of late 2011.

First of all, meet my new favorite live act. They are probably the biggest group of people I have ever seen playing music together. They are the Tampere Philharmonic Orchestra, my home town's very own orchestra. Like probably almost any other orchestra, this one performs mostly old classics from the 18th and 19th century but also “new” music of the 20th century and even brand new pieces every now and then.

The transition from popular music to art music surely feels difficult for a lot of people. Classical music differs from popular music in many ways but I don't think there is much reason to be afraid of going to a classical music concert. The first concert may not be the most pleasant experience you can think of but it will get better every time. Classical music doesn't rely on catchy rhythms, explicit melodies or moving lyrics. Instead, there are complex harmonic structures, wildly twisting melodies and dynamics that require sitting on the right seats to be fully appreciated.

However, I am not saying that classical music is difficult. Enjoying any new type of music requires practice. The brain needs to accustom to new ways in which sounds, rhythms, and dynamics are combined. Any person able to sense the basic elements of music will develop a deeper understanding of classical music while listening to different symphonies, concertos, and other pieces.

The first time I heard classical music live was while still in elementary school, which certainly was too early to understand anything about it. Like any other music, classical music is also best served when you are ready for it. Still, now is as good a time as ever to test if you might be ready for classical music.

My interest in classical music began when my dad wanted to take my heavy metal loving brother to listen to some proper acoustic music last summer. I went along and was immediately incredibly moved by the overwhelming harmonious beauty of the violins, cellos and other instruments. A few months later I went to another concert with some people from the university. Then, I realized I wanted to go every week, so I went as often as I could. I heard Barber, Prokofjev, Brahms, Schubert, Finland's pride Bergman and a fabulous concert with music from Weill, Britten and Bartók on my birthday. The last concert of the year was a beautiful baroque Christmas concert with music from Händel, Telemann, Corelli, and Bach.

After all, classical music is actually not so different from baroque pop – the pop part is just kind of replaced with something else. Usually that results in more complex structures, harmonics and melodies that make it more challenging to hear the music as a whole. In the end, perhaps the challenge results in even more rewarding listening experiences.

Eerie, Yet Terrific

Now let me share with you a childhood memory of mine. Even though it isn't winter yet, this song is just perfect for this moment – despite the fact that the darkening evenings and cold weather rather tend to make me choose my sunniest sunshine pop hits...

A couple of months ago it occurred to me once again that my favorites, the Beach Boys have also made a version of California Dreamin' which was originally performed by the Mamas & the Papas in 1965. When this Beach Boys version first came out in 1986 I hardly had been born but I remember hearing this sometime later, when I was still only a child. It was the early or mid-90s and for some reason this music video was aired on Finnish TV, possibly even a few times, actually. The video seemed to make a huge impact on me because it looked really familiar when I watched it again many, many years later.

I still find this video impressive. It is definitely gothic and eerie, which is always unusual of the Beach Boys. Seeing the guys here is really nice even though it leaves me feeling kind of melancholic. Roger McGuinn makes an appearance with his 12-string Rickenbacker (wow...) and there are also alto sax solos (arguably the coolest instrument there is) by John Phillips. I also enjoy the 80s-styled production, not to mention incredible vocals from Al and Carl! I could listen to this for hours.

Folk Rock Gates Opened

It is starting to look like I have been enticed into a small folk rock craze, mostly thanks to the Association. Listening to the Association was at some point like a learning session aiming at a deeper understanding of the band. Now, every second with the Association is like being in heaven... While getting acquainted with the band, I also learned to appreciate folk rock style, melodies and aesthetics more than ever. Now, when I put on anything that has those folky melodies my mind screams: aah yeah, folk rock, this is the good stuff!

Well, this isn't really the first time I have been interested in folk rock. However, we may have to say something about the term folk rock at first. There are countless different manifestations of folk rock. There is folk rock, folk pop, folk metal, neo-folk and who knows how many other variants of music that is based on folk. There are also local variants of folk and folk rock all around the world. For me, the starting point is the Association, so that defines my current interest. I am mostly talking about music that was inspired and developed from American folk music. Still, I don't wish to limit myself. Instead, I hope to keep an open mind. If I discover a great Arabic folk music band, I will definitely check it out...

Anyway, probably the most famous folk rock band I have listened to before is the Byrds. Both the Byrds and the Association have recorded Bob Dylan songs. If I haven't misunderstood all of this, those jangly and harmonic Dylan covers played a big role in the American folk rock success. Dylan himself also went electric which made him more and more popular.

We could now perhaps define folk rock as being folk decorated with elements that make it more appealing for large audiences. A traditional folk song is bare and has little decoration. There isn't much auditory spectacle. A folk troubadour singing alone and playing a guitar can obviously be wonderful, but a band like the Association with its rich full band arrangements and enormous vocals gives the music a whole different treatment.

This question has a lot in common with the dilemma of how much a song needs decorations, different instruments and production. Some people want more, some people want less... And it depends on the song, time, genre, etc. In my opinion, the composition (with its tunes and chords) is the core of any traditional (pop) song. Still, a rich sound with an excellent, carefully conducted arrangement can make a song rise to a whole new level. So, even though the bare song, the idea, is the most important thing and an achievement in its own right, it also helps a great deal to make it sound as appealing as possible.

My next goal is to find out and compare how different bands transform their folk songs into more ambitious arrangements – or decide to stick to more simple arrangements. I have a list of interesting performers. On that list there are the Mamas & the Papas, the Beau Brummels, the (New) Seekers, Donovan, and P. F. Sloan. Finally checking out Bob Dylan would probably be pretty useful, too.

I have to say I don't really know much about folk rock. I only know a few artists and I know who the most influential UK and US folk artists were. So, I could say that the search is now on. The real gems are often hidden I would be more than happy to get recommendations. What are your favorite folk rock bands?

New 60s Favorites, Part Three

A beautiful thing about 60s pop/rock groups is that whenever you decide to take a look at one of them, the band comes across as charming and really good pretty much every time... This time it was an Australian band called the Easybeats.

For music-lovers this band is probably very familiar. The Easybeats have even been referred to as the Australian Beatles. On the other hand, asking any (especially younger) person on the street about the band just might result in ”never heard of” type of answers. For instance, there are probably only one or two Easybeats songs that have been performed by Finnish artists. At first there weren't almost any Easybeats songs I remember hearing on the radio or anywhere else.

I am telling you this just because it plays an important role in my previous knowledge of the Easybeats. Now, just like the Association and the Creation, this band has shown me several sides and styles which really makes the music stand out. The Easybeats especially seem to enjoy the straightforward, groovy rock'n roll songs (Good Times, She's so Fine, Made My Bed (Gonna Lie In It), Wedding Ring, and For My Woman), even throwing in some Motown soul (I Can't Stand It).

There are also some songs that almost sound like they were recorded by the Beatles for some early album (Pretty Girl, It's so Easy). A song like Falling off the Edge of the World is an interesting example of a song that at first sounds a lot like the Beatles – but it still sounds more like the Easybeats after all! Some of my other favorites are the melancholic psychedelic melodies of Land of Make Believe, Remember Sam, and Come in You'll Get Pneumonia. Heaven & Hell, the single that was banned in the US, is also a wonderful slightly psychedelic pop song. It certainly would have been a great follow-up to Friday on My Mind.

River Deep, Mountain High is probably one of the most famous songs in the band's repertoire. It is so good that I don't feel like I need to hear the Ike & Tina Turner version at all... Stevie Wright's lead vocals are superb: he definitely has all it takes to perform soulful songs that also tend to have raw rock'n roll energy. Hello, How Are You is also such a great ballad that I want to mention it. And don't forget The Music Goes Round My Head, a cool baroque piece!

The band was founded in 1964. Children of British and Dutch emigrants, the Easybeats became very successful in their home country and soon were touring Europe and the US with the Rolling Stones. Friday on My Mind was a million-selling hit and a few smaller hits followed. Originally, lead singer Stevie Wright and rhythm guitarist George Young formed the songwriting team, but Wright was later replaced by lead guitarist Harry Vanda as a songwriter. Problems with management, radio airplay and record company support as well as the songwriting team becoming increasingly independent resulted in the band breaking up 1969. The songwriting team continued working on other projects, and there was an Easybeats reunion in 1985.

The Easybeats were a band that had their own unique voice and energy. They definitely weren't just another Merseybeat-styled band or generic 60s rock group. Instead, they sound like a band that took many great things from contemporary music and combined the influences to make a basis for their own music – a method that works even today!

The Joensuu Gospel

Although shoegaze is probably not really mainstream kind of music – definitely not in a small country like Finland – Joensuu 1685 has gained quite a lot success. Due to this success even I decided to check out what it was all about. But as usual, other things got in the way and I never really got round to concentrating on the self-titled debut album, released by Bone Voyage (a record company led by 22 Pistepirkko guys) in 2008.

Joensuu 1685 was considered to be one of the most important indie bands in the release year of the debut album. The band was also one of the most popular live acts at Lost in Music festival the same year. I remember attending the gig and enjoying it quite a lot despite the very strange power shortage at the end... The band consists of Markus and Mikko Joensuu who are brothers, and non-related Risto Joensuu who just happens to have the same last name.

For a three man band Joensuu 1685 makes a whole lot of noise – that noise is very pleasant to any open-minded rock lover's ears, though. I have finally been listening to the Joensuu 1685 album properly and I enjoy everything about it. There is a lot of charm in its dynamics, heavy but nice rocking psychedelia and interesting sounds. All in all, I would call it a masterpiece of both modern sound and recording technology. Lead singer-guitarist-Farfisa player Mikko Joensuu is an openly spiritual person which shows in songs like (You Shine) Brighter Than Light and Electric Ocean Sailor. The spiritual aspect definitely gives an interesting vibe to this music.

Crystal Light is one of the most fascinating things here: a seven-minute song of noise, monotonic driving kraut beat and a thick vocal effect. Compared to this song Kill/Shot/Love, Sick City, and Baby, Baby, Baby are somewhat easier to the ear, practically quite catchy pop (or rather rock) songs. Nothingness also has that monotonic kraut vibe but the song is a lot more slow and calm. At first it sounds a bit threatening but soon transforms into one of the most blissful melodies I have heard in some time. The transitions between songs on this album have been rendered very carefully. Amazing, perfected sounds and fascinating songs make this, in my opinion, an A+ album.

Joensuu 1685 has been on hiatus during the past couple of years. The Joensuus have been working on a different project called Siinai and debut album Olympic Games came out in July 2011. Siinai describes its own music as new age, which may not sound all that appealing to some people... In fact, you can just as well describe the music as instrumental kraut rock with massive soundscapes. I was very impressed by Siinai's performance at Monsters of Pop festival a few weeks ago. Mikko Joensuu also played a solo gig (which I sadly didn't see) at the same festival. I hear there was some really good solo material performed. Maybe a solo album is on the way?

For now I will stick to Joensuu 1685 and check out Siinai's album later when I am once again in need of something different and refreshing.

Joensuu 1685 at MySpaceSiinai website

New 60s Favorites, Part Two

Red with purple flashes. That is how guitarist Eddie Phillips has described the Creation's music. The Creation are my latest 60s favorite number two. This band came from the UK and was founded in 1966. The Creation were a short-lived band but achieved quite a lot during their short period of existing as a band. These achievements were not chart-topping hits but instead many excellent mod, garage and psychedelic rock songs that are still living pieces of some of the most energetic British music of the era.

Originally I decided to check out this band due to its alleged influence on power pop music. I had these two compilations, Complete Collection, Vol. 1: Making Time and Vol. 2: Biff Bang Pow, in my possession for some time before the time was right to discover the wonders they contained. These CDs include all music by the band made in the 60s with some different mixes and versions.

I was fascinated by Nightmares from the very beginning. That song is a good example of the certain kind of dark mood that is sometimes present in the Creation's music. I don't know exactly what made it a bit difficult to hear the beauty of this music... Listening to it more was surely the thing that made it open up to me. There is after all a lot to process: a lot of harmonic sound, lots of great songs, lots of different influences.

I have been listening to the first CD more and come to appreciate the stuff very, very much. Everything is solid, well-written and has a pleasant, somewhat heavy garage sound. The combination of melodic British beat music tradition is mixed with rhythm and blues and often psychedelic elements resulting in really impressive, soulful, catchy and memorable music. The mysterious psychedelic feel is also quite enjoyable and there are excellent vocal harmonies.. Check out Making Time, Tom Tom, How Does It Feel to Feel, If I Stay Too Long, All That I Am, the successful single Painter Man, or any other song for the matter! This really is pure kick-ass rocking 60s magic.

The closest counterparts to the Creation are obviously the Who, and perhaps the Kinks. Listening to the Creation can actually momentarily make you feel like you're listening to the Who. The sound can be very similar to the early Who. I think I'll need to dig deeper into this mod music, as well as freakbeat.. and garage.

New 60s Favorites, Part One

I wish I could write more often... For some reason I can't seem to find time to do it. The important part, however, is that I have three new 60s favorites! I often like to think about the 60s as the best time of music: a decade with charm that hasn't been topped by any other decade and probably never will be. The 60s is therefore kind of a project to me: I hope to familiarize myself with as much good 60s stuff as I can during my lifetime. Even though the huge fragmentation of music hadn't progressed all that much in the 60s, by the end of the decade there were already many different types of pop(ular) music and rock.

The Association, one of the three new favourites of mine, is a band that represens sunshine pop, baroque pop, folk rock, and soft rock. Even though surf music is not on the list the Association is a perfect path to take after the Beach Boys. The vocal arrangements are huge!

The band debuted with And Then... Along Comes the Association in 1966, produced by Curt Boettcher. Windy was the band's first number one hit, selling a million copies. Other million-selling hits followed (Cherish, Never My Love) but the biggest commercial success ended after a couple of years. The Association was the lead-off performer at Monterey Pop Festival and remained a popular live act during the rest of the decade. The group never disbanded for long even though there weren't many new albums or singles produced after the first half of the 1970s. The Association is still around, and the group toured the United States with several original members in the summer of 2011.

One of the Association's secrets of success has definitely been the vocal arrangements that turn soft pop songs into something a lot bigger... There are also recognizable lead vocalists. When it come to the biggest differences between the Association and the Beach Boys, the Association sounds somewhat more adult all the way. Even though the Association applies hooks like any other pop band (such as the Beach Boys) there is a somewhat clear difference in style. Doo wop and r&b influence is not very obvious but instead there are elements of folk rock tradition. However, the Association is certainly not too different from other psych-baroque sunshine pop bands, such as Curt Boettcher's projects. Musically speaking the Association is still probably a bit more down-to-earth than its more psychedelic sunshine pop counterparts. I bet no one would blame the Association for being too psychedelic.

So, the Association likes to focus on the songwriting and effective vocals and not paying too much attention to the fanciest, weirdest new psychedelic sounds and innovations. The Association's music is rewarding to especially those who appreciate traditional soft rock songwriting and the nuances of elegant multipart vocal harmonies.

As far as I know, the Association are quite unknown in Finland. Many people of the younger generation would surely recognize Windy due to a Finnish group Ultra Bra plagiarizing the melody for their song Jäätelöauto back in 1999.

It actually took really long for me to find the essence of this band. It was probably because the Association is not really famous for the cathciest possible songs – you are not going to hear anything like I Get Around here... Instead the music of the Association is about getting into the band's own style and the music as a whole. The band becomes familiar and recognizable and soon you will enjoy everything from the catchier songs (Forty Times, Enter the Young, Time for Livin', Six Man Band, Yes I Will) to the mellowest of mellow ballads (Under Branches, Birthday Morning, Barefoot Gentleman, Along the Way). How could I resist the cheerful sunshine pop of Come on in, the incredible wall of vocals in Just about the Same or the stunningly emotional folk ballads Look at Me, Look at You and What Were the Words?

Pop'n Roll Energy from the Past

Now here is a real gem! I have been listening to this CD many, many times during the past few days and don't mind at all hearing it several times in a row. Skipping tracks is not necessary at any point! Sorrows were a New York band, formed in 1977. Half of the band (Arthur Alexander and Jett Harris) had been members of the Poppees before. With Joey Cola and Ricky street added the band rocked both live and on vinyl.

Guitarist/vocalist Arthur Alexander described his band's sound as “ABBA meets the Sex Pistols”. This description sounds quite good even though you could also describe Sorrows having a typical late '70s/early '80s power pop sound. Beatles influence is obviously strong and some of the more hard rocking material reminds of the Undertones or Cheap Trick, while the music also sounds like Paul Collins Beat and other power pop bands of the era. Also the Flamin' Groovies and even Sparks come to mind occasionally.

This is the first time any music by Sorrows has been released on CD. Bad Times Good Times is a worthy addition to any collection of good pop-rock music. Even though some of the material was, in fact, rescued from a demolition dumpster, the sound of this release is perfect. Even the demo/live stuff sounds good. The songwriting is of great quality, every song is catchy, and a real kick-ass pop'n roll spirit is present. Get it now, while it still is easy!

Gardening Tips

As I already wrote about the Secret Powers and the Electric Family Choir album I don't think I need to talk more about it. Listen to it, I guarantee it is some of the best 21st century power pop you can find.. If not some of the best 21st century music. I think I will have to skip Lies and Fairy Tales (2010) for now and maybe get back to it later. Today it is time to talk about What Every Rose-Grower Should Know, a 2011 release, the very latest album by Secret Powers. When it comes to this band I think their most strangely-named albums might also be their best.

I like to think about the first album as stylewise the most coherent Secret Powers album and the Electric Family Choir as the most versatile album. What Every Rose-Grower Should Know lies somewhere between these two albums: the soundscape is quite coherent all the way but there are clearly also songs performed in different styles.

Generation Ship has already been declared as “the closest to ELO you can get” or something like that. The song definitely reminds of ELO, though not so much that you wouldn't be able to hear a strong Secret Powers signature in the song. Maybe needless to say, I enjoy this song so much that I used to listen to it many times in a row... There are however other great songs on this album as well. Tarantula comes next, changing the mood to beatlesque – I love it! Then follows Secret Powers' Styx moment (yeah!): What Every Rose Grower Should Know. If anything that riff reminds me of those cool fuga-inspired things that Styx/Dennis DeYoung have occasionally used. The drums in this title track are awesome, as well as the psychedelic background vocals in the chorus.

Candy is real candy. Just give me bouncy bubblegum rock with gentle vocals – and resistance is futile. The same is pretty much true of Crocodile, but instead of bubblegum there is real ear-melting harmony heaven, a definite romantic song for romantics. They got me, I confess...

I'll Be Home sounds like an ultimate Ringo Starr homage. The topic of the song is very serious but the performance always brings a smile to my face. It Should Have Been Me, a joined Secret Powers songwriting effort (a really catchy one, too), has a slightly harder edge. Still, despite its rocking feel the sound is not very hard-rocking. I love the psychedelic organ.

Objectively you might say that the songs in the end of the album are not the strongest material Secret Powers has to offer. However, I enjoy those songs a great deal. Well, yeah, My Idea is not the best Secret Powers song ever but I don't dislike it. It is OK. Besides, the guitar solo is cool!

There you have it, another awesome Secret Powers album. Now that I think about it, is just seems to get more and more difficult to decide which album I like best. I used to listen this album dozens of times while riding my bike all around in the sunshine. There is more to this album that just music... Wonderful memories and charm, too.

Explorers of Greatness

Now, something I was planning to write months ago but everything else got in the way. Secret Powers caught my attention with their second album ..and the Electric Family Choir (2009) already in the spring. Soon the band earned a place in my heart and all I could listen to was that strangely named album... I had to get more stuff from the band so I ordered everything the band had released. After a recording career of four years there are already four albums available which is admirable in its own right. Not only are Secret Powers prolific, they also create high quality pop suitable for anyone who enjoys traditional '60s-influenced pop music.

Secret Powers mix elements from the Beatles and ELO with genuine songwriting talent, really good lyrics and gorgeous sounds and arrangements. Explorers of Solar Eclipse (2008) is the first album by Secret Powers and it is indeed a great debut album. The cover is snowy and arctic and it somewhat describes the mood of the album: fresh, bright sounds with a melancholic, yet hopeful feeling. I often find myself comparing Secret Powers to Wondermints. In a way the Wondermints debut album comes to mind, even though Secret Powers music is not equally dreamy. Still, there are similar cleverly constructed Beatles references – it also has to be pointed out that the band's own voice is also very strong.

Compared to the later albums this one is more Shmedly-oriented. Band leader Ryan “Shmed(ly)” Maynes is responsible for all composing work with the exception of Kitty on the Brain (written by Troy Warling). He also sings lead most of the time and does a good job with his gravelly yet melodic voice. Smedly's piano is also one of the dominant elements on the album, making the music even have some similarity to Keane's piano pop at times (just listen to Jenny). There are of course guitars, too, and actually the piano/keys make a very balanced combination with guitars.

We Are Alone is a perfect opener with lots of bouncy groove, ELO-like piano and sounds layered with style. Awfully Nice and Place I Can Breathe are all strong, catchy songs that explore the ever so interesting world of semi-happy, semi-melancholic music. Counting Stars (hear that drive!) represents Smedly's interesting way of occasionally writing songs that, in my opinion, don't seem to have very conventional choruses. Therefore the chorus of Counting Stars sounds to me more like a bridge. Anyway, this bridge-like chorus is really cool and makes the song all the more interesting – not to mention the long instrumental solo with cool background vocals in the end!

Rose repserents the typical Secret Powers ballad. Magical it is, indeed.. Similar, possibly even more lovely and gentle ballads can be heard on the later albums. There is strong material even at the very end of the album. Funniest Girl in the World is a melancholic schlager with accordion and jazzy piano. The final song Walking with That Doll has the magical, soft Secret Powers harmonies that I bet anyone would enjoy.

Generally speaking, Explorers of the Polar Eclipse is a strong album with great songwriting and impeccable pop/rock sounds. I enjoy sensing the mood changes as the album progresses as well the overall coherence and continuity that the album has from beginning to the end. Musically, the album feels like a continuing story. It is always a joy to hear this album. Sometimes I have found myself thinking if this is actually my favorite Secret Powers album. The Electric Family Choir is a tough competitor, I have to say...

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