This Boston-based rocker's collection of infectious melodic jangle pop and swamp folk is actually a combination of two self-released EPs from the late '90s. Divided into two distinct sections, part one finds Mellin plowing through the groovy sounds of the British Invasion and mid-'60s American pop with guitar arpeggios, falsetto harmonies, handclaps, Farfisa organ textures, and a backbeat worthy of Ringo Starr's hearty approval. Cuts such as "Frankly Babe," "Shocked at First," and "Wilson Squared Airport Disaster" utilize primitive studio trickery such as canned applause, spoken word vignettes, and the crackling pop of vinyl to add an additional smattering of authenticity. Part two could be sub-titled "Mellin's Music From Big Pink" as the singer/songwriter opts for acoustic guitars, upright bass, accordion, and echo-laden vocals which give the cuts an aura of desperation and loneliness. Mellin's rootsy persona shines best on "Half-Moon in 4/4," a tongue-in-cheek country dirge that bemoans the perils of romance. Though he wears his influences on his sleeve, Mellin is never derivative and his songs are well crafted. The musicians on this album are among the cream of the crop of New England's underground pop coalition, including Andy Pastore and John Clarke (Charlie Chesterman & the Legendary Motorbikes), Suzi Lee (Coronet Premiers, Slide), brother Joel Mellin (the Oscillators), and Jake Guralnick (the Eddies, Tuffskins).
                            Read more...
                        

                            
Mellin has rattled around the fringes of the New England bohemian music scene playing in a variety of configurations, so it comes as no surprise that his first solo release reveals a pop sensibility that blends many influences. The result is a catchy and diverse musical package. While the 10 cuts are undeniably filtered through Mellin’s ear, a listener can’t help but hear snatches of Crowded House, a ’60s Turtles vibe, a cheery side of the Velvet Underground, a bit of Paul McCartney bass and even some Dylanesque vocals and lyrical images.... Mellin’s songwriting and his way with a tune show he’s headed in a promising direction.
                            Read more...
                        

                            
This is sweet-natured, temperate, classic pop with obvious antecedents in '60s groups like The Turtles, the Hollies, and the Beatles and even The (more obscure, LA-based) Merry Go Round. For instance, "Lever Big Enough to Move the World," despite its glad-making Turtles homage, has the same dreamy and somewhat peppy melancholy of Merry-Go-Round b-side "Clown's No Good (Unless He Laughs)." Also compare  "Where You Goin'" to Get Happy!-era Elvis Costello & the Attractions. 

Well, that's a mostly astute assessment, but the influences can only take you so far. An almost appalling inventiveness is the keynote quality here. There might be a certain patina of facile slickness on display, but that, of course, is an occupational hazard of (a) pop, and (b) super- competence. If I had to reach for a comparison, I'd refer to Tracy Santa and the Idlewiles, who's "Maybe Tomorrow" (found on the I BURIED RINGO ep compilation) and "Liquor Wagon" are sadly lost classics of modern pop. The canniness of this ensemble's referents (compare the artsy brazenness of the bass line of "Shocked (At First)" with that of the, in no way similar, "Taxman") continues to amaze me me with every new listen. This demo is great--not only is it a definite keeper: it is also one of the most outstanding demos we've gotten in ten years. My pick for Tape of the Month
                            Read more...
                        

                            
a tour de force... a great retro pop/rock sound that [Mellin] makes very much his own... enviable songwriting... inventive, original, retro and refreshing... Pinch me, I must be dreaming! Let's hope this is not one of the most overlooked albums of the year. It would be a shame forears everywhere! (Top 10 of 2000)
                            Read more...