Mick Trouble

Reviews

Mick Trouble It’s Mick Trouble’s Second LP

My confession is that I initially took the MICK TROUBLE mythos at face value, gleefully announcing on my radio show that I had found a heretofore undiscovered relic from England circa 1980. I know now that “MICK” is NYC-based Jed Smith, formerly of MY TEENAGE STRIDE and currently doing jangle pop double duty in JEANINES. It’s Mick Trouble’s Second LP is, well, MICK TROUBLE’s second LP (following the first LP from 2019 and an EP from 2017), and it’s another loving pastiche in the tradition of the DUKES OF STRATOSPHEAR, in which the artist clearly has boundless affection for the period being imitated. The most obvious touchpoint here is the TELEVISION PERSONALITIES—the spirit of Dan Treacy shows up all over this record, especially in “MICK’s” earnest and extremely English vocals. Of course, this concept simply wouldn’t work if the songs weren’t good, and they’re great. Ebullient, expertly produced, and with about as many UK pop culture references as a HALF MAN HALF BISCUIT tune. Try “Jim’ll Fix It,” which alone has enough hooks and harmonies to fill your head for weeks. Cracking!

Mick Trouble Here’s the Mick Trouble LP

The long-awaited follow up to 2017’s mysterious It’s the Mick Trouble EP (alleged to have been a long lost recording by an erstwhile DAN TREACY associate, originally slated for release on the Whaam! label but subsequently lost to history) that was later revealed to be the work of Jed Smith of MY TEENAGE STRIDE. The album picks up where the EP left off, with pitch-perfect TELEVISION PERSONALITIES pastiche. If indie pop scientists forced a bot to listen to nothing but the first TELEVISION PERSONALITIES singles and album for a year and then asked it to produce a song, the borrowed riffs, bedroom production, and cod Britishisms of opener “Bloody Blighty” is likely what would emerge. Luckily for the listener, TROUBLE/Smith expands his stylistic scope on the LP while still exhibiting superior songwriting skills and a knack for capturing the essence of the sounds of an earlier era on tape. Songs veer from mod-ish TIMES/O LEVEL territory into junkshop glam and FELT/DENIM indie pop, each one packed with hooks and wit. I believe Smith played all the instruments on the record, which is no mean feat, but I particularly want to call out the nimble, melodic bass playing, which is the secret weapon here (as well as on the JEANINES LP, which Smith also played on this year). What more can be said — I waited over a year for this album and it did not disappoint.