In the 80s, Glenn Morrow was at the forefront of Hoboken’s burgeoning college rock scene. The musician moved to Jersey while attending NYU and watched as Frank Sinatra’s hometown blossomed into a burgeoning indie rock scene, thanks in no small part to his own pioneering groups, The Individuals and ‘a,’ the latter of which would blossom into power pop darlings, the Bongos. After a few flirtations with major label success, Morrow eventually bowed out from performing, and moved to the other side of the desk, joining forces with Bar/None records. His first task found the label signing Brooklyn upstarts, They Might Be Giants — a fairly auspicious start that eventually led him to rise through the ranks to label owner. This summer, Morrow made a surprise return to recording — his first in 28 years. Glenn Morrow’s Cry For Help is a tight and compelling rock record that shows none of the rust one would expect from a musician who’s spent the better part three decades on the sidelines. Ahead of a show at the Bowery Electric in Manhattan, Morrow and bassist Mike Rosenberg sat down to discuss their return to recording and the embrace of “post-dad rock.”

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