Beginning his professional musical career in the early ’60s as drummer for the New Jersey-based Doughboys, Richard X. Heyman has remained active and visible throughout the years, creating an artistically rewarding body of work in the process.
After the Doughboys dispersed at the dawn of the ’70s, Heyman went the solo route. Now having a vehicle to put his multi-instrumental skills to use, he further had the opportunity to showcase his stellar songwriting and vocal abilities.
A series of well-received albums awarded Richard X. Heyman a hardcore fan club, and in 2000 the Doughboys reunited, raising his profile even higher. Between recording and gigging with the Doughboys, Heyman continued to release his own consistently excellent albums.
Pop Circles (Turn-Up Records) marks Heyman’s 13th solo album, and as expected the results are nothing short of fabulous. In typical fashion, Richard X. Heyman plays nearly every instrument on the album, ranging from guitar to piano to sleigh bells to harpsichord, while his wife Nancy handles bass and harmonies. Cellist Julia Kent and violist Chris Jenkins also appear on the album.
Propelled by Heyman’s rich and confident lung power, each track on Pop Circles is executed in a clear and determined manner. Sweeping piano patterns, accompanied by rivers of ringing guitars, engaging choruses and celestial string arrangements supply the material with an appealing balance of pop art sophistication and riveting rock and roll.
Stitched of plucky poses and smart breaks, “If You’re So Inclined” and “Guess You Had to Be There” weigh in as quintessential slices of pop rock godliness, and the haunting “Where Circles End” is laced with a blurry-eyed psychedelic finish.
A melancholic vibe, stamped with blinking melodies, magnifies “Everything Must Go” and the piss-and-vinegar “Action Screams Louder Than Words” reels, roars and rumbles with driving rhythms. Snapped tight with sharply focused hooks and crafty construction, “Hope,” “In a Sunlit Room” and “Upside and Down” serve as other top picks featured on the album.
As an extra treat, Richard X. Heyman tossed in a clutch of songs initially intended for the Doughboys. Classified as “Richie’s Three-Chord Garage,” these cuts duly sizzle and smoke with primal passion. “Route 22,” “Long Way Down” and “Until the Clock Strikes Doom” retool and restore a Nuggets-styled mentality with dignity and integrity.
Solid and exciting performances, paired with thoughtful and honest lyrical content, make Pop Circles an ear-pleasing event. Heyman’s appreciation of music from decades past, with nods to folks like the Zombies, the Byrds, Love and Todd Rundgren can’t be denied, yet his tunesmith sensibilities, production and delivery cast a timeless feel. A flawless collection of pop rocking shapes and sounds, Pop Circles portrays Richard X. Heyman in his element all the way.
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