Joy Buzzer – Pleased To Meet You (Wicked Cool Records)
As long as there are power chords, good singers and harmonies, well-crafted melodies – together with an endless supply of girl’s first names and relationships – both good and bad….there will always be power pop.
And, with this strong debut release from New York’s Joy Buzzer Pleased To Meet You, lovers of power pop have something to write home about. From the attention-getting, smile-inducing cover art – itself a play off of the graphics from the Jim Dickinson-produced 5th release by The Replacements – to the beefy 32 minutes that follow, Pleased To Meet You is an absolute treat. Veteran taste meister, Steve Van Zandt, knows what he likes and these songs (released on his Wicked Cool label) are the brainchild of an amalgam of New York bands who have united to champion what remains, for many of us, a wholly viable religion.
Nothing shy about the high energy kick-off track, which features a robust collection of vocals and instruments critical to the category. This instant ear-worm instantly establishes the band’s signature sound. Although the liner notes are slightly unclear as to who is doing what, Joy Buzzer consists of Kevin Lydon on lead vocals (The Lord Calverts), key songwriter Jed Becker, on guitar (The Lord Calverts), Mark Brotter on drums, KG Noble on guitar and vocals (Slyboots) and Michael Lynch on bass and vocals (together with a few related guests). And while the song’s title – “Judy Judy Judy” might harken back to the old Cary Grant expression, it is – instead – a shining example of near pop perfection and a showcase for their elastic musical abilities. Hooks-aplenty. Muscular guitars. Animated bass (in this instance, Christopher Peifer’s). Chorus-friendly. Taut percussion.
But lest you think you have them pegged, the following track, ”You’d Be Surprised”, taps into a slightly more Beatle-esque approach adding a harder edge, thanks to its driving, ringing guitars (and blistering solo).
“Jeanette” showcases Lydon’s spectacular vocal ability with a slightly lighter touch. Pay special attention to Lynch’s animated bass and drummer Brotter’s seemingly innate ability to transcend time-keeping adding even more to the band’s overall personality. While the guitars plot a steadfast course, the band’s ability to harmonize lifts the song even higher. A slight detour on synth adds another element to the mix as we realize Jeanette’s overall inability to get her act together (you’ll soon realize that the lyrics are worth paying special attention to, throughout each of these tightly-wrapped compositions).
“The Secret Word” chronicles the mistrust and suspicion inherent in a relationship going sour. A tougher, more aggressive attack suggests this couple is done for already. The musical break at the midpoint – marked by a guitar solo – keeps things moving while offering up some relief in its part to mutate this dark situation into something that’s actually fun to follow.
A key musical highlight is found in the stunning love ballad, “Mamaroneck” – in the spirit of trying to reclaim lost love. Bemoaning special moments spent across clearly memorable summers in Westchester County, New York, this song features the best of everything this band has to offer. Tender lead vocals are augmented by better-than-Beach-Boys harmonies and the blending of acoustic guitar to a somewhat muted, gentler sound to the lead guitar. Even the notion of misplaced love and yesteryear’s lovers seem secondary to the bands’ skill at conjuring this bewitchingly seductive flashback.
The hard-edged “You Don’t Even Know My Name” is a solid group effort – an amalgam of unified vocals, brawny guitars that snake their way throughout, together with a pulverizing rhythm section which, for this listener, is reminiscent of the majesty of Illinois’ Shoes from many years before – and in a good way.
“Vicki Loves A Garden” proves another rich showcase for Lydon’s vocal strengths, as ringing electric guitars blend with acoustic, an ever-bulletproof rhythm section and butter-smooth harmonies, painting a portrait of horticultural bliss with a landscaper’s gift of blending complimentary colours.
Unleashing the ultimate party song – if not T-shirt of the year – “Try Not To Be An Asshole (for a Little While)” speaks volumes for love/lovers gone bad. In truth, its’ message sneaks up on the listener during what is – otherwise – a mellow, Beatles-like delivery replete with keyboard, dual guitars and those killer harmonies. You don’t even see it coming. Very XTC-like in its dagger-like subtlety.
The hard-hitting rocker which is “Peggy’s House” is another highlight track which begs wanting to see this band perform it live. It also serves as warning enough to never want to get to know Peggy. Trying to follow the flight path of skilled bassist, Lynch, as guitars swirl above, below and all around him, help solidify this fiercely snarling testament to the wisdom of running in the opposite direction.
The final track is yet another tastefully melodic song which seems a celebration of life itself. Keys, guitars, bass and drums embrace Lydon’s exceptional lead with a positive message which deals with the value of keeping one’s feet on the ground. As such, it also serves as an appropriate toast to this impressive and compelling debut release by a band who clearly have fun playing together. And, yes – it’s something you can actually hear.
If there is a god of Power Pop, may Joy Buzzer’s Pleased To Meet You serve as but a fresh beginning for the genre.
Find more details here on their website: https://joybuzzerband.com/
Musicians on the album are Kevin Lydon on lead and backing vocals; Jed Becker on guitars, keys, and vocals; KG Noble on guitars and vocals; Michael Lynch on bass and vocals; and Mark Brotter on drums. Additional vocals were courtesy of Nick DeMatteo, Vincent Frederick and Richard Dev Greene; with additional instrumentation by Askold Buk, and bass on “Judy Judy Judy” by Christopher Peifer.
The album was produced by Askold Buk and Jed Becker; engineered by Josh Salant, Geoff Sanoff, Sam Palumbo, Askold Buk and Jed Baxter; recorded at Salant Sound, Renegade Studios, Smash Studios, Poto Kabango and ITC Studio; and mixed by Carl Glanville (tracks 1-3,7,10) and Eber Pinheiro (tracks 4-6, 8,9). It was masteredd by Scott Craggs of Old Colony Mastering.
The front cover photo was by Doug Field, the backcover photo was by Linda Rizzo @girl_of_gotham, with graphic design by Areta Buk.