Hailing from Bethesda, MD, Tommy Keene is a guitarist and singer/songwriter who plays and writes melodic guitar-based pop/rock. As a child, Keene played classical piano before picking up guitar and drums. He spent his teenage years drumming in a rock trio called Blue Steel, whose original guitar player, Mike Lofgren, was the younger brother of... [+] Read More

Hailing from Bethesda, MD, Tommy Keene is a guitarist and singer/songwriter who plays and writes melodic guitar-based pop/rock. As a child, Keene played classical piano before picking up guitar and drums. He spent his teenage years drumming in a rock trio called Blue Steel, whose original guitar player, Mike Lofgren, was the younger brother of Nils Lofgren. Consequently, Keene's first notable gig was when Blue Steel opened for Lofgren's band Grin. In 1977, while attending the University of Maryland, Keene switched to guitar and formed the short-lived band the Rage with songwriter Richard X. Heyman. During this period, Keene left the Rage to join a popular Washington, D.C. rock band called the Razz, who opened for such notable acts as the Ramones, Devo, and Patti Smith. It was in the Razz that Keene met bass player Ted Nicely, who would work with him throughout the '80s.

After the Razz, Keene embarked on a European tour as a sideman for new wave singer Suzanne Fellini, before co-founding a band called Pieces in New York. Unhappy with the music, Keene decided to form his own group with Nicely and drummer Doug Tull (also from the Razz), plus a guitar player named Michael Colburn, who was soon replaced by Billy Connelly. Using Keene's name, they released Strange Alliance on their own Avenue label in 1982, before being picked up by the Dolphin label out of North Carolina. Keene recorded two EPs there before being signed to Geffen, which released two full albums, Songs from the Film and Based on Happy Times, as well as Run Now, a six-song EP of previously recorded material, before dropping Keene from its roster.

With a new backup band that included bassist/vocalist Brad Quinn and drummer John Richardson, Keene inked a deal with Matador in the early '90s, recording the EP Sleeping on a Roller Coaster and a full-length album entitled Ten Years After in 1996. In 1993, Alias released The Real Underground, a retrospective of Keene's career that included a wealth of unreleased tracks and out of print material from the '80s. In addition to recording and touring behind his records, Tommy Keene spent some of the '90s as a guitarist for hire, on the road with both Velvet Crush and Paul Westerberg. In 1998, Keene released a new studio album, Isolation Party. Four years later, Keene hooked up with his longtime rhythm section of John Richardson and Brad Quinn, Wilco's Jay Bennett, singer/songwriter Adam Schmitt, and ex-Gin Blossoms frontman Robin Wilson to issue The Merry-Go-Round Broke Down in June. In 2004 he switched lineups and released Drowning, and two years later, his tenth solo record, Crashing the Ether, came out on Eleven Thirty Records. ~ Jack Leaver, All Music Guide [-] Hide

Sloan was one of the most successful Canadian bands of the '90s, which was both a blessing and a curse. While they were well-known in their homeland, where their Beatlesque power pop became a radio staple, they had a difficult time breaking into the American market, especially after their label, DGC, decided not to market their hooky pop in the... [+] Read More

Sloan was one of the most successful Canadian bands of the '90s, which was both a blessing and a curse. While they were well-known in their homeland, where their Beatlesque power pop became a radio staple, they had a difficult time breaking into the American market, especially after their label, DGC, decided not to market their hooky pop in the wake of grunge. After spending several years fighting the label, and nearly breaking up, Sloan re-emerged in 1996 with One Chord to Another, a record that became an instant success in Canada and a critical sensation in the U.S. upon its American release in 1997, establishing the group as one of the leaders of the new wave of power pop groups in the late '90s.

Andrew Scott (drums), Chris Murphy (bass, vocals), Patrick Pentland (guitar, vocals), and Jay Ferguson (guitar, vocals), formed Sloan in Halifax, Nova Scotia, Canada, in 1991. Ferguson and Murphy had previously played in the local band Kearney Lake Rd., a group inspired by underground American bands like R.E.M. and the Minutemen. Scott and Pentland also played in various local bands, but the group didn't come together until Murphy and Scott met each other while studying at the Nova Scotia School of Art and Design. The group debuted in the spring of 1991, and within a few months, their feedback-laden live shows had gained a sizable audience. By the end of the year, their first recording, "Underwhelmed," appeared on the local Halifax compilation Hear & Now. Early in 1992, they released the Peppermint EP on their own Murderecords, and by the summer, they had signed with DGC. Sloan's debut album, Smeared, a record where Sonic Youth met Beatlesque pop, appeared in October in Canada and in January, 1993, in America, and it was greeted with positive reviews. While the band had a gold album in Canada, the good press didn't translate to sales in the U.S., even as the group supported the Lemonheads and fIREHOSE at several concerts. Nevertheless, the domestic success of Smeared sparked a brief period of interest in "the Halifax scene," with groups like Eric's Trip, Thrush Hermit, the Hardship Post, and Jale all benefiting from the exposure.

For their second album, 1994's Twice Removed, Sloan simplified their sound considerably, concentrating on melodic, hook-laden power pop. DGC wanted the album to be noisier, yet the band won its fight to keep it bright and melodic. Nevertheless, DGC failed to promote the album upon its release, especially in America, even in the wake of good reviews and strong Canadian sales. The band toured relentlessly to support Twice Removed; the record was named "The Best Canadian Album of All Time" in a poll by Chart! magazine and Spin called it one of the "Best Albums You Didn't Hear This Year," but DGC was not giving the band much support. By the end of the year, the group decided to cancel their remaining shows in the new year and decide whether they wanted to pursue a career.

Sloan re-emerged in the summer of 1995, playing a handful of concerts and releasing a single, "Same Old Flame," on Murderecords. During their hiatus, the members pursued various side projects, with Scott forming the Maker's Mark and playing in the Sadies, while Murphy drummed for the Super Friendz; Pentland wrote a handful of songs, and Ferguson worked at Murderecords and managed the Inbreds, as well as co-producing a record by the Local Rabbits. Toward late summer, Sloan decided they wanted to continue as a band, and that winter they recorded One Chord to Another, a record which expanded the power pop approach of Twice Removed on a small budget. Although its origins were modest, the album was a huge Canadian hit upon its June 1996 release. After much negotiation, Sloan signed with the fledgling EMI subsidiary Enclave in early 1997, and One Chord to Another was finally released in the U.S. in the spring of 1997 to overwhelmingly positive reviews. Navy Blues followed a year later. A double-live album, 4 Nights at the Palais Royale was released by Murderecords in 1999, as was a new studio effort, Between the Bridges. Pretty Together arrived in 2001, followed by Action Pact in 2003. The career retrospective A Sides Win: Singles 1992-2005 was released in the spring of 2005. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Jellyfish seemingly had all the right ingredients for success -- catchy, melodic pop songs squarely in the Beatles/Squeeze mold, plus strong kitsch appeal in its retro sound and wildly colorful, clashing wardrobe. Founding members Andy Sturmer (drums, vocals) and Roger Manning (keyboards) previously played in the pop/rock quartet Beatnik Beatch;... [+] Read More

Jellyfish seemingly had all the right ingredients for success -- catchy, melodic pop songs squarely in the Beatles/Squeeze mold, plus strong kitsch appeal in its retro sound and wildly colorful, clashing wardrobe. Founding members Andy Sturmer (drums, vocals) and Roger Manning (keyboards) previously played in the pop/rock quartet Beatnik Beatch; after that group called it quits, the Jellyfish lineup was rounded out with guitarist Jason Falkner and bassist Chris Manning, brother of Roger. Bellybutton, the group's well-received 1990 debut, produced a minor chart single in "Baby's Coming Back," but nothing made a major impact. The follow-up, Spilt Milk, followed the same style, adding more intricate arrangements and harmonies. Despite it being another stellar collection of tasty power pop, the album failed to live up to lofty expectations, and the band split up after an ensuing supporting tour wrapped up.

In the wake of their breakup, the former bandmembers turned up on different projects -- including former bassist Tim Smith's outfit the Umajets, a pair of bands that include Roger Manning, Imperial Drag, and the Moog Cookbook, while Jason Falkner has issued a pair of critically acclaimed solo releases, very much in the style of his former band (Sturmer has appeared to have turned his back on performing and has produced such acts as the Merrymakers and Puffy). Although their career was short, a slew of Jellyfish-influenced bands began to crop up in their wake -- including the aforementioned Merrymakers, Ben Folds Five, the Hutchinsons, and the Excentrics, among others. A 14-track collection of Jellyfish's best-known material (as well as a smattering of rare live tracks) (Greatest) was issued in 1999. ~ Steve Huey & Greg Prato, All Music Guide [-] Hide

During the '80s, Aimee Mann led the post-new wave pop group 'Til Tuesday. After releasing three albums with the group, she broke up the band and embarked on a solo career. Her first solo album, Whatever, was a more introspective, folk-tinged effort than 'Til Tuesday's albums, and received uniformly positive reviews upon its release in the summer... [+] Read More

During the '80s, Aimee Mann led the post-new wave pop group 'Til Tuesday. After releasing three albums with the group, she broke up the band and embarked on a solo career. Her first solo album, Whatever, was a more introspective, folk-tinged effort than 'Til Tuesday's albums, and received uniformly positive reviews upon its release in the summer of 1993. However, the album was only a small hit, spending only seven weeks on the American charts, where it peaked at 127. Nevertheless, Whatever rejuvenated her career -- after its release, critics were praising her songwriting, as were peers like Elvis Costello, Difford & Tilbrook, and Andy Partridge.

Early in 1995, Mann had a modest hit with "That's Just What You Are," a song included on the soundtrack to the television series Melrose Place. Following the success of the single, Mann was set to release her second solo album in the spring of 1995, but her record label, Imago, filed for bankruptcy before its release. She signed a contract with Reprise Records after Imago went under, but Imago prevented her from releasing any records. For most of 1995, Mann battled Imago in an attempt to free herself from the label, eventually winning her independence at the end of the year. After her dispute with Imago was settled, she signed with DGC Records. Mann's second album, I'm with Stupid, was released in England in the late fall of 1995 and in January of 1996 in America. Again, it was greeted with positive reviews yet weak sales.

Mann's career got a kick-start in early 2000, however, when she released her soundtrack for the critically acclaimed film Magnolia; the song "Save Me" was later nominated for an Academy Award. Originally available only at live dates, the solo Bachelor No. 2 received national release in the spring. In the summer of 2002, Mann returned to the forefront with the self-released Lost in Space. Late 2004 saw the release of Live at St. Ann's Warehouse, a CD/DVD package recorded during her summer tour. It was followed in 2006 by the critically acclaimed Forgotten Arm, a concept album built around the return from Vietnam of a drug-addicted boxer. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Combining a knack for infectious melodies with a quirky, bizarre sense of humor and a vaguely avant-garde aesthetic borrowed from the New York post-punk underground, They Might Be Giants became one of the most unlikely alternative success stories of the late '80s and early '90s. Musically, the duo of John Flansburgh and John Linnell borrowed... [+] Read More

Combining a knack for infectious melodies with a quirky, bizarre sense of humor and a vaguely avant-garde aesthetic borrowed from the New York post-punk underground, They Might Be Giants became one of the most unlikely alternative success stories of the late '80s and early '90s. Musically, the duo of John Flansburgh and John Linnell borrowed from everywhere, but their freewheeling eclecticism was enhanced by their arcane, geeky sense of humor. They would reference everything from British Invasion to Tin Pan Alley, while making allusion to pulp fiction and President Polk. Through their string of indie releases and constant touring as a duo, They Might Be Giants built up a huge following on college campuses during the late '80s, switching to a major label in the early '90s. With support from MTV, 1990's Flood became a gold album, and with it, the band began to reap commercial rewards, moving into the status of one of the most popular alternative bands before grunge. However, the group's whimsical outlook became buried in the avalanche of post-grunge groups that dominated MTV and modern rock radio in the mid-'90s, and the group retreated to its cult following.


Flansburgh and Linnell met when they were children in Lincoln, MA. During high school, they began writing songs together, yet they never officially formed a band. Both Johns went to college after high school, with Linnell playing in the Mundanes, a new wave group from Rhode Island. By 1981, the pair had reunited, deciding to move to Brooklyn to pursue a musical career. Taking their name from a George C. Scott film and performing their original material with a drum machine, They Might Be Giants soon became fixtures on the Manhattan underground. Although Flansburgh and Linnell were building a cult following, they had a hard time getting a record deal, so they set up Dial-A-Song -- a phone line that played songs on an answering machine -- as a way to get their songs heard. The gimmick worked. Not only did it lead to a deal with the indie label Bar/None, but over the years it was a successful venture; at one point, the service was receiving hundreds of calls a day.


They Might Be Giants released their eponymous debut in 1986, and the album became a college radio hit; it also made waves on MTV due to the inventive video for "Don't Let's Start." Two years later they released Lincoln, which expanded their following considerably. Featuring the college hit "Ana Ng," Lincoln climbed to number 89 on the charts, earning the attention of major labels. They Might Be Giants decided to sign with Elektra Records in 1990, releasing Flood later that year. Flood worked its way to gold status, thanks to the singles "Birdhouse in Your Soul" and "Istanbul (Not Constantinople)," which both had popular videos directed by Flansburgh. In the wake of the group's success, Restless/Bar/None released the B-sides and rarities compilation Miscellaneous T in 1991.


Apollo 18, released in 1992, wasn't quite as successful as Flood, yet it consolidated the group's cult. For the album's supporting tour, They Might Be Giants performed with a full backing band for the first time, hiring former Pere Ubu bassist Tony Maimone and drummer Brian Doherty. The shift toward a full band coincided with the dominance of grunge rock in alternative rock. Though they were strengthened by the powerful sound of a full band, They Might Be Giants failed to receive much attention from MTV, mainstream modern rock radio, or college radio when they released John Henry in the fall of 1994. Recorded with the full band, John Henry lost the group several fans, yet the group's concerts remained popular attractions, especially on American college campuses. Still, the band's next album, 1996's Factory Showroom, was virtually ignored by the press, MTV, and radio. The live Severe Tire Damage followed two years later.


They Might Be Giants maintained their "hardest working men in show business" status in 2001 when they issued Mink Car, a stunning follow-up to Factory Showroom that boasted collaborations with M. Doughty, Adam Schlesinger, and the Elegant Too. They celebrated their 20th anniversary in summer 2002 with the release of their first children's album, No! Rhino also celebrated the band's tenure with the first-ever They Might Be Giants retrospective, Dial-A-Song: 20 Years of They Might Be Giants. A year later, Flansburgh and Linnell joined Canadian artist Marcel Dzama for the children's book and CD set Bed, Bed, Bed. The Indestructible Object EP arrived in spring 2004, just a few months before the band's eighth full-length album, The Spine. Early in 2005, Here Come the ABCs and its accompanying DVD were the band's first releases for Disney Sound. Later that year, They Got Lost arrived ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

There's no denying that Fountains of Wayne know how to craft a great pop record. They know how to write a hook, they can pull of mild rockers and sweet ballads with equal aplomb and they write melodies that feel like half-forgotten favorites. They have all the elements of a classic power pop band but they suffer from that peculiar '90s ailment... [+] Read More

There's no denying that Fountains of Wayne know how to craft a great pop record. They know how to write a hook, they can pull of mild rockers and sweet ballads with equal aplomb and they write melodies that feel like half-forgotten favorites. They have all the elements of a classic power pop band but they suffer from that peculiar '90s ailment -- detachment. For all their flair, talent, and craftsmanship, the band doesn't really dig deeper than the surface. Of course, that doesn't mean they make bad records and their second album, Utopia Parkway, if anything, is every bit as good as their fine debut. All the songs immediately make a connection and all of their melodic attributes simply strengthen with repeated listens. However, those repeated listens reveal that Fountains of Wayne don't have a lot to say. That's not a cardinal sin in guitar-pop, since most bands simply recycle the same lovelorn themes, but the Fountains choose to have fun with cliches, throwing in goofy asides even in their ballads. Throughout the record, they seem like the well-read, pop culture-saturated kids who sat in the back of the classroom, cracking jokes that only they can understand. Depending on your view, this either enhances the fun or keeps the record at a distance, because if you don't share their disdain for hippies, laser shows, proms, malls, and bikers, it will be a little hard to sing along with those glorious melodies. For some, this may be a minor point, but consider this: emotional depth is what lifted Matthew Sweet's Girlfriend to classic status and what keeps Utopia Parkway from truly soaring, despite its many virtues. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Jason Falkner's second album is another set of pop gems given his own wildly inventive production support -- besides playing each of the instruments heard (except for a few strings and reeds), Falkner also co-produced the record with Nigel Godrich. Sweeping pop epics like "Author Unknown" and "Holiday" are quite solid -- even while sounding... [+] Read More

Jason Falkner's second album is another set of pop gems given his own wildly inventive production support -- besides playing each of the instruments heard (except for a few strings and reeds), Falkner also co-produced the record with Nigel Godrich. Sweeping pop epics like "Author Unknown" and "Holiday" are quite solid -- even while sounding quite similar to songs from the debut album -- but the highlight proves to be the bitter-toned downtempo number "I Already Know," which reveals a bridge complete with a heart-wrenching jagged guitar line. There's a (barely) perceptible drop in the songwriting quality from his practically flawless debut, but Can You Still Feel? is overall a worthy follow-up. ~ John Bush, All Music Guide [-] Hide

Including lead singer/guitarist Andy Sturmer, bassist Jason Falkner, and keyboardist Roger Manning, the San Francisco band Jellyfish released their 1990 debut Bellybutton to critical raves. Despite the kudos and some play at video outlets, the album failed to make much of a commercial impact. It was truly unfortunate because Bellybutton, despite... [+] Read More

Including lead singer/guitarist Andy Sturmer, bassist Jason Falkner, and keyboardist Roger Manning, the San Francisco band Jellyfish released their 1990 debut Bellybutton to critical raves. Despite the kudos and some play at video outlets, the album failed to make much of a commercial impact. It was truly unfortunate because Bellybutton, despite obvious influences, was a breath of fresh pop air. "The Man I Used to Be" kicks off the album as a catchy song about domestic failure wrapped in nautical metaphors. The single "The King Is Half-Undressed" is a slice of effervescent power pop whose melody runs counter to the lyrical theme of loneliness. In fact, behind the bounce and breeze of Bellybutton's engaging songs is a recurring theme of melancholy and longing like "She Still Loves Him," with its stirring vocal harmonies and a blistering guitar solo, and the punchy "All I Want Is Everything." Better yet is the second chance the singer delights in on the joyous "Baby's Coming Back," which is accentuated with handclaps. Delightful. ~ Tom Demalon, All Music Guide [-] Hide

Sticktoitiveness comprises a good number of tracks from the Super Friendz' Murderecords releases, starting with a few selections from Mock Up, Scale Down and then moving onward -- since there's very little inconsistency in straightahead pop tunes which make up the band's catalog, the compilation comes out steady and stocked with three-minute... [+] Read More

Sticktoitiveness comprises a good number of tracks from the Super Friendz' Murderecords releases, starting with a few selections from Mock Up, Scale Down and then moving onward -- since there's very little inconsistency in straightahead pop tunes which make up the band's catalog, the compilation comes out steady and stocked with three-minute gems. The record's probable goal is to clue Americans to the excellent work of this domestically successful Canadian band, and it does this perfectly -- there are more snappy harmonies, crisp guitar constructions, and hooky melodies on Sticktoitiveness than can be found on entire shelves at most record stores. ~ Nitsuh Abebe, All Music Guide [-] Hide

Expanding on the hook-laden songcraft of their eponymous debut, the Ben Folds Five turn in another glitzy array of Todd Rundgren-esque, piano-driven pop on their second album, Whatever and Ever Amen. Though it isn't as consistently tuneful and clever as their first record, Whatever and Ever Amen has a snazzy sense of popcraft -- the hooks of... [+] Read More

Expanding on the hook-laden songcraft of their eponymous debut, the Ben Folds Five turn in another glitzy array of Todd Rundgren-esque, piano-driven pop on their second album, Whatever and Ever Amen. Though it isn't as consistently tuneful and clever as their first record, Whatever and Ever Amen has a snazzy sense of popcraft -- the hooks of "The Battle of Who Could Care Less," "Brick," and "Fair" sink in nearly as effortlessly as Billy Joel, Elton John, or Joe Jackson -- which makes the record enjoyable ear candy. Occasionally, Folds' smug humor -- whether it's the alternative rock skewering of "The Battle" or the borderline misogynist humor of "Song for the Dumped" -- can undercut his melodic gifts, but Whatever and Ever Amen is confirmation that the showy pop pleasures of his first record were no fluke. ~ Thom Owens, All Music Guide [-] Hide