The Jam – All Mod Cons was the third album from the pop-rock trio hailing from Woking, England and released in 1978. Consisting of Paul Weller (vocals and guitars), Bruce Foxton (bass and vocals) and Rick Buckler (drums), The Jam were critically acclaimed and commercially successfully in the U.K. for their short recording career viz. 1977 – 1982.
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Edge of the Nocturne Sea is the new album from Bittersweet Machines, which is now available for download from Bandcamp.
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What’s Yours and Mine is the long awaited and much anticipated third album from seminal Singapore indie rock band, The Oddfellows. Released thirty years on from Teenage Head, the band’s landmark debut album, What’s Yours and Mine is an excellent comeback which while keeping everything The Oddfellows are beloved for but adding also a layer of maturity and confidence to the mix as well.
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Feel Flows: The Sunflower & Surf’s Up Sessions 1969–1971 is the latest retrospective collection of Beach Boys albums which features new track remasters, rare tracks and outtakes from a specific time frame. This time round, the focus is on the two Beach Boys albums that ushered in the Seventies viz. Sunflower and Surf’s Up.
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Continuing our look back at Power of Pop posts published before our move to WordPress in 2008. Here’s a review from 2006 featuring the wonderful David Gilmour solo album, On An Island.
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Elton John Jewel Box is the latest retrospective collection to be released in recent times. As with other similar products, Elton John Jewel Box is not for casual music fans but for the diehard Elton John fans out there.
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Elvis Costello – The Complete Armed Forces is a retrospective collection curated by Elvis Costello himself centred on Costello’s 1979 album with The Attractions, Armed Forces. If nothing else, Armed Forces is a personal landmark as the LP was the first Elvis Costello LP I picked up all those years ago.
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The title of the new album from singer-songwriter-musician Eric Barao is an obvious dig at how some people might view his style of music. Which in itself a tragic commentary on the state of modern pop music, when such densely textured, melodically/harmonically fecund work can be dismissed as irrelevant in 2019.
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