Monday, 24 April 2017
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.
Interesting pop/power pop album. Different arrangements who fits very well to the particular songs and a very good songwriting by Doug Powell. Also he's a very expressive vocalist. The productionis not made for winning any MTV awards. And that's the best what Powell had done for this fine album
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The band formed in 1966 as The Sentrys, when the members were teenage classmates at the American School of Paris. They developed a following among the local American community by playing cover versions of contemporary hits. They came to the notice of recording scouts, and eventually signed with CBS, who marketed them as Les Irrésistibles. The arrangement included British carmaker Triumph as a corporate sponsor, and the company's TR5 roadster featured prominently in the group's first video and early publicity photos.
This was a great sixties pop band who had outstanding great singles back then. They are nearly all gathered here. 25 tracks all.
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"Sugar Man" leads off Keith's follow-up to his debut album. Written by Sandy Linzer and Denny Rendell, producer Jerry Ross seems to be pulling out all the stops. Out of Crank is a good Keith record, but not as strong as the album that preceded it, nor as listenable as his highly experimental The Adventures of Keith that followed this release. "Candy" feels like his hit "98.6" with a bit of show tune flavor. "Easy As Pie" also has that "98.6" vibe, producer Ross knowing a good thing and clearly trying to capitalize on earlier success. The cover of Spanky & Our Gang's "Making Every Minute Count" doesn't have the strength of the hit version, also on Mercury. Keith has a radio-friendly voice for pop, and he had enough edge to keep him from falling into the Brian Hyland/Tommy Roe zone of teeny bop. The Renzetti/Ross "There's Always Tomorrow" is one of the highlights, as is "Daylight Savin' Time," Ross knowing how to write a good hook. The verses are distinct enough but the chorus is pure "98.6." When you talk about typecasting, this album is a perfect example. Still, the sequel to Keith's biggest hit is great, albeit blatant. "Times Gone By" is a pleasant departure, co-written by Ross/Gamble, the team that composed Bobby Hebb's "You Don't Know What You Got Until You Lose It." Keith's own "Happy Walking Around" is his first original to show up on either this or the earlier recording, and it is the most innovative thing on this disc, a good indication of the substantial path he would set out on. "Be My Girl" by Spector/Sands is in the same style as the rest of this album, very pop, and nothing to be ashamed of.(allmusic.com)
To me all what Keith had released is very very good popsike. His music is completely underrated.
If you like sixties popsike/sunshine pop this guy is right for you. Five paisley button down shirts out of six for this album.
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There's some sort of pop culture Rorschach test to be constructed around the question of whether a fan of esoteric '60s pop records would be intrigued or thoroughly repelled by the notion of an album of polished pop songs, with overtones of psychedelia and sunshine pop and starring a vocalist who was all of 11 years old when she did the recording sessions. But Lisa Miller wasn't an ordinary child entertainer; she cut some sides for Motown's VIP subsidiary when she was only eight, and by the time she turned 15, she was the voice of Mary Magdalene on the original recording of the Christian rock opera Truth of Truths (interesting casting, that).
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