pop is art. ...In the Beginning... review by alan haber. buhdge

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...In the Beginning... Pop Is Art (2002) The Beach Boys gave us all some great advice all those years ago. Eat, sleep and brush those pearly whites like crazy, they suggested, and they were right, of course. How have you been doing on that score? Scott McGinley, recording with a parcel of pals as Pop is Art, has obviously been taking care of himself, because his pop instincts are sharp, his album is chock full of catchy songs, and I'll just bet his million dollar smile shines like a full moon every time he steps up to the microphone. McGinley has fashioned a hair under an hour's worth of gems, about half of which are of the power pop variety; the other half ditch the power and up the pop ante. All of these gems are like uncut diamonds, as perfect as you would, and should, expect from a modern-day pop pioneer. The power pop tunes are full of ringing, jangling and crunchy guitars, played and sung with oomph and gusto, and blessed with singalong choruses that simply sparkle. The jangly opener, "Baby He Loves You," tells the tale; it's a powerful song that brave radio programmers should immediately place on their playlists; a strong lead vocal, alternately sensitive and aggressive, and pleasing background harmonies--not to mention a stinging lead guitar solo--make a lasting first impression. The universal theme of adoration speaks volumes to the listener. The rest of the upbeat songs, all of which demonstrate McGinley's gift for melody, pop hard and soft simultaneously, such as the melodic "She's the One," the hard driving paean to a girl so desirable her image is put on a pedestal; and the hit-single-worthy, mega-catchy "Relevant" (attention, once again, radio programmers!). And then there are the slower songs. "Dangerous," a mid-tempo, McCartney-esque, piano-based, orchestrated pure pop tune, is one of the hidden treasures on this album; an expressive, treated lead guitar line and dynamic vocals, as well as a gorgeous middle eight that really sings, take this one to the top. "Love Is Only Sleeping" tells its tale of love grown stale against a musical backdrop that bubbles atop a carnival music-tinged base. The closing one-two power ballad punch, "Hey Boy" and "Bye Bye Baby" (the former produced by Keith Olsen), are as ready for prime time as anything here: "Hey Boy," with its decidedly seventies sound, is a real charmer; "Bye Bye Baby" is equally as charming. Notice the similar openings; a nice touch, this pairing. McGinley tells me he's currently recording a new album; I bet it will be as wonderful as this collection, all decked out in pop melodies and music you can't deny. Until then, keep brushing. Alan Haber April 16, 2005
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...In the Beginning...
Pop Is Art
(2002)

pop is art's ...In the Beginning The Beach Boys gave us all some great advice all those years ago. Eat, sleep and brush those pearly whites like crazy, they suggested, and they were right, of course. How have you been doing on that score? Scott McGinley, recording with a parcel of pals as Pop is Art, has obviously been taking care of himself, because his pop instincts are sharp, his album is chock full of catchy songs, and I'll just bet his million dollar smile shines like a full moon every time he steps up to the microphone.

McGinley has fashioned a hair under an hour's worth of gems, about half of which are of the power pop variety; the other half ditch the power and up the pop ante. All of these gems are like uncut diamonds, as perfect as you would, and should, expect from a modern-day pop pioneer.

The power pop tunes are full of ringing, jangling and crunchy guitars, played and sung with oomph and gusto, and blessed with singalong choruses that simply sparkle. The jangly opener, "Baby He Loves You," tells the tale; it's a powerful song that brave radio programmers should immediately place on their playlists; a strong lead vocal, alternately sensitive and aggressive, and pleasing background harmonies--not to mention a stinging lead guitar solo--make a lasting first impression. The universal theme of adoration speaks volumes to the listener.

The rest of the upbeat songs, all of which demonstrate McGinley's gift for melody, pop hard and soft simultaneously, such as the melodic "She's the One," the hard driving paean to a girl so desirable her image is put on a pedestal; and the hit-single-worthy, mega-catchy "Relevant" (attention, once again, radio programmers!).

And then there are the slower songs. "Dangerous," a mid-tempo, McCartney-esque, piano-based, orchestrated pure pop tune, is one of the hidden treasures on this album; an expressive, treated lead guitar line and dynamic vocals, as well as a gorgeous middle eight that really sings, take this one to the top. "Love Is Only Sleeping" tells its tale of love grown stale against a musical backdrop that bubbles atop a carnival music-tinged base. The closing one-two power ballad punch, "Hey Boy" and "Bye Bye Baby" (the former produced by Keith Olsen), are as ready for prime time as anything here: "Hey Boy," with its decidedly seventies sound, is a real charmer; "Bye Bye Baby" is equally as charming. Notice the similar openings; a nice touch, this pairing.

McGinley tells me he's currently recording a new album; I bet it will be as wonderful as this collection, all decked out in pop melodies and music you can't deny. Until then, keep brushing.

Alan Haber
April 16, 2005