The CD title refers to Don W. Seven (dONW7 ), who produced this home recording & is also known as the one-man band S. Fievet (composer/performer of the songs). Somewhat a jack of all trades Roy Wood (former multi-instrumentalist with the Electric Light Orchestra) – who did it all. Fievet even resembles Wood.

Another unorthodox effort. Peculiar & satisfying. It sounds like the remarkable infectious melodic pop of the independent band The Shoes (“I Don’t Miss You”) who still survive today.

“Things,” kicks off pop personified. Definitely not in vogue on commercial 2021 radio. As you listen there are bits & pieces of Wreckless Eric (“Whole Wide World”), & LA’s The Weirdos (“Happy People”). This is Americana because it’s strictly garage band USA. Loved throughout the world by aspiring teenagers who sleep with guitars. Not everyone starts off as ELO or Pink Floyd.

“Wind Up Happening,” is a grungier Jan & Dean/Shoes hybrid. Vocals are drenched in early pre-Beatles 60s. It’s better than raw garage rock. It’s well-recorded. But, if not for the novelty quality it’s not going to shake up the music industry’s standard apples & oranges retreads. With “Know,” this comes off far more attractive. Sewn with colorful threads. Had it been sung by a Lesley Gore or Shangri-Las type vocalist it would’ve had the necessary juvenile angst to put this over…in 1967.

A nice guitar intro to “Living Tide,” with more Shoes tradition & Cars’ Ric Ocasek energy. Mixed with liberal doses of an edgier Dictators led by a vocalist from the early ’70s 1910 Fruitgum Company or Lemon Pipers (“Green Tambourine”). This is interesting.

“Anything,” suggests that if the bubblegum bands of the early 70s had gone serious this could be what they’d sound like. “Flicker Goat,” comes close to a Knickerbockers/Buckingham’s pop appeal with its acoustic guitars & bubblegum band intonations. Too much of this, however, & you’ll get cavities.

whatNOP dONW7 (Drops July 16 – babysue) offers 16-brief songs spiked like a punch bowl at a fraternity party. The songs are clever & indulgent. “Blurry,” has all the 60s guitar gimmicks, cute lyrics, maraschino cherry vocals. “Venus Blind,” is good retro — done well. No socially redeeming value but a rollicking 2 minutes.


The artist apparently wanted to see how much mileage he’d get using every early 70s gimmick bands of that time decorated their music with. Then disco came & evicted everyone. Each song, though not a favorite, has an element of likeability. NYC 1970’s keyboardist Richard Termini (now a studio musician) played like this. He had excellent ideas (“Dangerous Games”) is in a similar vein.

A name like LMNOP is not memorable. It doesn’t mean anything to consumers. A CD called whatNOP dONW7 isn’t very marketable. It takes the humor too far. Reconsider that it’s not fair to the well-played pop music vignettes laid out.

The 40-minute CD is available @ Bandcamp + https://www.lmnop.com/whatNOP-NEWS.html













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