Do you like pop music? Probably not. Because if you are like me, you instantly begin associating the term "pop" with nauseating  acts like Britney Spears and the other 99 artists that are more than likely on the Billboard Hot 100 list at this very moment. Shameful sounds soaked with artificial pitch and squeaky-clean production, complements of Pro Tools and other computer software that take the "music" out of music. The kind of abomination, that when perseverated upon, "makes me want to puke in my soup," as George Carlin used to say.

Today's pop music makes it hard for young people to remember that the radio wasn't always trash. The Beatles and The Rolling Stones were known as pop bands in the sixties and they obviously made well-respected music. It was just "popular" music then, and that's all there was to it. But because of the corporate bullshit that ruined the mainstream canvas years ago, pop music is now controlled by "the man" and has lost all the freedom and soul that originally made it popular to begin with.

I could go on for hours articulating my disdain for corporate radio, but we've all heard this song before. You wouldn't want to read such tripe and I'd become redundant rather quickly if I haven't done so already. So instead, I'm going to tell you about a pop-rock band I saw the other night. I know what you're thinking, "After all that bitching about pop music, he went out and covered a pop band?" Read on, it will all make sense by the end of the article. [I hope, anyway. This is a rough draft.]

They call themselves Roslyn [Yes, after the neighborhood in Arlington]. It is a four-piece band consisting of Brooks Cullum [lead vocals, rhythm guitar], Pedro Aida [lead guitar, background vocals], Orice Collins [bass], and Greg Butler [drums]. They've been playing together a little over a year, although Pedro and Greg had some commercial success together with a previous band, River City High, winning the 2004 MTV Dew Circuit Breakout contest in Time's Square.

I met them at McCormack's, upstairs in the green room. After a few handshakes I did not hesitate to ask  why they wanted to be a pop band, when so many pop bands suck.

As Pedro put it, "Well, I wouldn't say we are pop, like Brittany Spears pop.  What people call "pop" has been taken wrongly over the years.  When you first consider pop, the Beatles were a pop band, you know. Buddy Holly was pop, and was also rock and roll. Pop means "popular." So when we say "pop," it means we think something's "poppy." It's like a composite vibe, I guess, say radio friendly in a way. But that's not really the target."

I couldn't help but notice he said the word "pop" at least eight times in his response. I was already getting "popped" out and hadn't even heard a single note yet. But I have to say, their understanding of pop music seemed to fall in line with mine. But trust me, I wasn't sold yet. Who are these guys influenced by? Who should I expect them to sound like? He responded, "When I was growing up it was Green Day, The Clash, The Ramones. Very pop-punk...  I've always been into The Beatles, so that always would drive me."

I like all of those bands, too. [Although Green Day lost me after Dookie.] Maybe these guys are more than a crappy pop band. Maybe they aren't looking to make bad music and sell their souls to a fat man in suspenders.

In fact, they were very humble in their approach to the business. I wondered why they didn't tour more often or move to a larger market where their success could be recognized on a greater scale.

Pedro explained, "We're not gonna drop our lives to do a 3 month tour when we're not going to know how it's going to go. We've gone on tours that are like 5-6 days at a time, but we're not going play where no one knows who we are. Why would Joe Schmo's bar book Roslyn in Birmingham when no one knows who we are there? The whole 'move to L.A. or N.Y. and make it' thing is great when you're 18 and have nothing to lose, but we're at the point, at least in my life, where I can't just move everything. I'm not saying we're not going to get anywhere. We just have to take different routes to be recognized, like internet, social networks, things like that to get our name out there. Licensing and publishing is the best way to do it. If someone wants to put us on a great tour, we won't turn it down, but we're not going to pack up my mom's minivan and go on tour with no money."

But to me, it seems it would be hard to grind it out in a small city like that, especially as a popular band that has already tapped into the commercial airwaves and has a great buzz around town.

"It is hard. We bought the band a trailer so now we have to play enough shows to cover that payment. Being in a band is hard, man. If you want to be in a real band, it's hard. All of us have jobs and lives and spouses or whatever. Between that, our careers, and playing a few bars every now and then just to make a payment, let alone, get ahead, it's hard. But we love playing music. We love playing in the club at night and being on stage and doing it. You have to love it to do it."

That made plenty of sense to me. And it didn't really sound like a pop band's response, either. It sounded more like a well-respected, blue-collar rock band that plays for the love of music. In fact, many songs are written about bands like that... by bands like that.

Brooks, low in his chair, quietly moved forward, "I write stuff about my life. My situations. That's really the only thing I think you can take anything seriously from." 

"Brooks always writes about what's going on in his life. You can tell. When he goes through something, and comes to practice with a new song, you know already about his previous three weeks," Pedro added.

Interesting.  The whole time, I was under the impression that Pedro was the frontman, with his extremely talkative and outgoing demeanor. I was taken by surprise to see Brooks, so reserved and lethargic, come forward as the lead singer/songwriter. But then again, never judge a book by its cover. Judge it by its... songs... right?

They kicked off the set with "Everything Changes," an upbeat tune that showed how well Pedro and Brooks harmonized together. They bounced around the stage effortlessly, and that once-lethargic frontman came to life.

"Everybody's Waiting" and "Ghost" came across very reminiscent of mid-90's pop-rock. Brooks really let go and became increasingly alive as a showman while Pedro did not miss an opportunity to dive into his guitar breaks. And Orice's stellar bass deserved much of the credit for allowing such on-stage freedom between Brooks and Pedro possible.

As the set moved on, I became somewhat unmoved by the lack of variety, I suppose. I began feeling those anti-pop thoughts creep back again. Although I was hearing their Beatles influence shine through, I was missing the Clash and Ramones vibe I was hoping to pick up on. I felt as though the novelty of live music was wearing off. I was getting sleepy and began feeling how Brooks looked when I was talking to him backstage.

If anything was going to wake me up, it was going to be six more PBR's. I went over to the bar for a few minutes, and upon returning to my table, I noticed a change of scenery. The previously empty dance floor was now completely packed with a Roslyn following. And I don't know if it was a coincidence or what, but as the crowd got going, the music seemed to get better.

Toward the end of the set, the crowd was packed with no shortage of young blond women, the target audience for any rock band.  They belted out their song, "Last Call," to which Pedro prefaced, "This song is called 'Last Call', but it's not last call. Don't take it the wrong way." It was probably their strongest song, actually. Then, they finished with their hit, "Suicide Girl," the old fashioned and extremely catchy tune that has been hitting the local airwaves.

Personally, I can't say I needed to hear any more of Roslyn that night, but I can say that they are a very tight unit on stage and know how to entertain an audience once it shows up. It seems as though they became a reflection of the energy that was before them. Energy in, energy out. The songs are very catchy and contagious, and I see why they have a loyal following around town.

They came off as very musically mature and after chatting with them and watching the show, I began to understand the whole pop-rock thing a little differently. Perhaps it's not to be looked into so deeply or taken so seriously. Perhaps it's just about innocent fun. Roslyn doesn't consist of four puppets doing a song and dance so that a business man can get a promotion. They are business men. As well as husbands and fathers alike. And the people at their shows are all very happy and loose. They sing along and want more when it's over. Who knows, maybe if I wasn't such an uptight cynic, I'd be at all of their shows dancing and singing along, too.  

Rosyln Links:

iLike Rosyln!

Rosyln on MySpace

Rosyln - Main Site

You can buy their CD here at CD Baby:

By Author and VP: Ben Cokeley

Ben was born in Pittsburgh during the summer of 1983 (the year Roxy Music disbanded). He has since inhabited Chicago, New York, and several Virginian cities including Richmond, where he prefers to spend the majority of his time. His interest in music sparked at age three when he began taking piano lessons. A passion for theatre and film would soon follow; he was known for acting in high school and college productions while focusing on the independent film scene in Richmond. Nowadays, you’re likely to catch him at a bar in the Fan or commuting to Fredericksburg where he works as a high school teacher/behavior specialist. Ben enjoys a variety of music, some long-time favorite musicians/bands include: Tom Waits, Elvis Costello, The Doors, The Isley Brothers, Buddy Guy, Tom Petty, David Bowie, and George Clinton.

 

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