I first caught onto the Spongetones in the mid 1980s, through Jamie Hoover’s work with Don Dixon and Marti Jones, of whom I was a fan. I never looked back. Spongetones guitarist Steve Stoeckel’s solo album The Power Of And is a nice surprise, and a very good album indeed.

Steve was kind enough to answer a few questions for me.

Andrea Weiss: The Power Of And sounds so different from the Spongetones. How much of the new sound did you have in mind at the outset?

Steve Stoeckel: The Spongetones sound (a mixture of influences from The Beatles, Kinks, Who, Hollies, and other British Invasion groups plus a few 70’s and later bands) is, like those bands, a part of my DNA after this many years. That’s where I got my songwriting experience. With this solo album I deliberately went for new sounds (for me): some Celtic things (“The Emerald Sea”); a male/female duet “Why” with Irene Pena, something really new for me, kind of an Ian & Sylvia/Searchers thing; “Whistling Past Graveyards,” heavy rocker with weird chord changes. The Spongetones-like tune I put in (“Mod Girl” could have been a Spongetones song, which is why the rest of the Spongetones are on that with me) is a nod to those days.That said, in the end, I just write a lot and choose which songs I’d want on the record, without thinking about styles so much.

AW: A lot of these songs seem to be folk or folk/rock based, which I like. Is that another way you wanted to make this album different? 

SS: Ah, you spotted that. I started as a folkie before the Beatles: Peter, Paul and Mary, Kingston Trio,The Weavers, Dylan. I love folk music, and when folk rock hit I was ecstatic. This is another direction the Spongetones didn’t explore, and yes I really wanted to do this.

AW: A lot of the endings are abrupt, as in sudden fade-outs. Did the songs just seem to end that way naturally, or did you want surprise endings?

SS: Ah yes, intros and endings. First, you may have noticed most of these songs are short, many less than 3 minutes. I usually don’t like long intros and outros. I tried to paint a story or mood quickly, let the song say what it needs to, and move on. The process, start to end, is hard to describe. I like short forms in general. Haiku, for example.

AW: I like the cover. Who did the artwork?

SS: That’s a combination of Michael Slawter (the layout) and Issa Ibrahim, an artist friend whose paintings are on the front, back and inside. I’ve used both on Spongetones covers and on other projects I’ve had. They’re very talented, and both are musicians, which helps. I send them the songs and let the tunes guide them. They never fail me. Thanks for noticing!

AW:“The Monsters Under My Bed” is a great and sweet song about childhood and adulthood. Where did the idea come from?

SS: One of my favorites, thanks. I have never lost touch with my childhood. It’s provided me with so many songs and stories. When I first read Maurice Sendak’s Where The Wild Things Are to my kids, I was stunned. The writing, the artwork touched me deeply. I still have that book. I also have all of Shel Silverstein’s poems--another man who completely understands.

AW: “Whistling Past Graveyards” seems to be political. Is it?

SS: Now there is an interesting question. First, the answer is “yes,” very much so. Though I’m a very political person and have written things in the past (I was a newspaper columnist for a bit), I’m a bit wary of putting too much politics/protest into my songs, which are mostly about other things. There’s a risk of turning away listeners, but after this many years, I’m turning loose of that a bit. The presidency of 45 nearly brought my country down, and the song is about him, no apologies. I’m no longer concerned about whom I might piss off in my posts or my songwriting. It’s my music.

AW: Are you planning to tour?

SS: Another good question. I’m retired from my day gig (music electronics repair) and spend most of my time recording music here in my studio. The guest musicians who are on my CD would make a great band, but the thought of hitting the road doesn’t appeal so much. I may do gigs around Charlotte. And ironically (I said I wasn’t touring) I’m putting a band together to go to Liverpool this summer to play at the IPO Festivals at The Cavern Club. I could not turn that down.

AW: And what are the Spongetones up to?

SS: Coincidentally, we are playing live again, locally. Two gigs in Charlotte nightclubs, March and May. No recording plans, but I’ll definitely be using them on my next solo CD.

 Steve Stoeckel 

The Power Of And

Big Stir Records

The guitarist from the Spongetones' first solo album is much more folk/rock than the band and as good as anything he’s ever done with them. Thoughtful lyrics, and good playing from him and those who guest on the album, make a nice album for quiet times.

Every song has something to recommend it, but a few deserve extra mention. “Laura Lynn” is a fast-paced look at unrequited love. “Mod Girl” is a rocker about an odd couple encounter that really did happen to Steve. “Whistling Past Graveyards” is a political song. “The Monsters Under My Bed” is a bittersweet tribute to Maurice Sendak, childhood, and growing up. “Skippy’s Parade” is an instrumental, and “Hummingbird” is about an encounter with one that really did happen.

This album is good to think to, and it’s nice to see him step out from the long- running North Carolina band and make something this fun, sweet, and contemplative.

Andrea Weiss

 Popsicko

Ashtray Mouth/Same Old Me (Single)

Big Stir Records

This Santa  Barbara, CA band made only one album, in 1994. These are the singles from the upcoming album re-release.

Both songs are reminiscent of Nirvana, but “Ashtray Mouth” also sounds like Weezer, and “Same Old Me” sounds like Green Day. They’re really good, and hint at what might have been if their frontman Keith Brown hadn’t died in a car crash in late 1995.

If, like me, you like the thought of Nirvana and the other bands in a power pop context, then these singles should appeal to you. The full length album will be out in the spring.

Andrea Weiss

 Super 8 Featuring Lisa Mychols

On The Radio (Single)

Self Released

Imagine if the Velvet Underground’s “Rock and Roll” was very soulful, like something that could’ve been released on Stax. That’s what’s so fun and good about this song, imagining that. If you can imagine it too, pick up this single and have a lot of fun with it.

Andrea Weiss

 Chris Church

Going 'Til We Go (Single)

Big Stir Records

Chris returns with a new sound that is the best of very early 80s new wave: think Men At Work, The Fixx, and Missing Persons. For once, drum machines and synths are used the right ways, as one of many instruments, not just the only ones. Good guitar playing too. If this is the way his upcoming album Radio Transmission sounds, it’s going to be good.

Andrea Weiss

 The Weeklings return, in advance of their new album, with a new, great take on "I’ve Just Seen A Face." I’m always up for a Beatles cover, especially if it reinvents the song, which happens here.

Rocky Weekling (John Merjave), lead guitarist of The Weeklings, was kind enough to answer a few questions for me.

Andrea Weiss: Why did you cover this particular Beatles song?

Rocky Weekling: Rubber Soul is one of our favorite albums. And, yes, we know "IJSAF" was on Help! in the UK. but growing up in the States in the 60s and 70s, that's how the US version of RS opens. When approaching the Beatles' music, we always feel a bit hesitant trying to re-imagine a Beatles classic, especially knowing how beloved the catalog is. But Lefty (Glen Burtnik) had an idea to change it up a little - to come in with a drum loop, start with the verse instead of the little guitar interlude that's on the original, and rock it up a bit. He changed the overall feel of it from a country two-step to a straight-ahead driving rock groove, so it really changes the vibe of the tune. From there, all four of us just cobbled away in the studio, but most of the interesting bits, including that nice vocal-in-the-round near the end, came from Lefty.

AW: Will this be on your upcoming album?

RW: Most definitely. In fact, we're working on the new album right now!

AW: Will there be more singles released from it?

RW: That’s the plan. We want to get new music out every few months and lead up to the new album. It's the way of the music industry at the moment, very singles driven.

AW: Do you feel this is a good introduction for people new to the band? Is it a good lead-in for young people just discovering the Beatles?

RW: The way things are nowadays, with the amount of music that's being created, from both signed acts and independent ones, anything that can get you noticed is a major plus. If someone is a Beatles fan and sees our version of "IJSAF," they might say, "What is THIS?" After that, their ears will have to judge it. Hopefully they'll like it and dig deeper into our catalog (it's all out there on all the streaming services).  As for the younger audience who is just now discovering The Beatles, it's hard to say. As long as it's out there - a new version with a brand new 2023 release date stamped on it - they might be a little more curious and click on it.

 ’ve Just Seen A Face (Single)

The Weeklings

Jem Records

To make this Beatles classic move from folk/country rock to something hard charging, psychedelic, and a real rush musically, took daring, but that’s what great about power pop. It can make the old new again. If you are a Beatles fan, you will enjoy this, even if it might take a bit of adjusting, but if the Beatles are new to you, or you’ve heard a bit, or just heard of them, this is a good way in. Originally this was on the US version of Rubber Soul, which is another way into this band; in the UK it was on Help!. But any way you want it, this song is the way to go. So, happy listening to new or old fans.

Andrea Weiss