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Pop-A-Looza TV

Dino, Desi & Billy / I’m A Fool

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Boppin'

POWER POP Q&A (Crib Notes From The Modern Pop Underground)

As mentioned yesterday, my friends (and fellow pop addicts) Bruce BrodeenJohn M. Borack,and I were each interviewed by writer S. W. Lauden for his just-published piece “Notes From The Modern Pop Underground.” For deeper background, here’s the complete text of my conversation with the esteemed Mr. Lauden. And I thank him once again for inviting me to participate.


S.W. LAUDEN: How do you personally define power pop?

CC: I always go back to writer Gary Sperrazza!‘s words in Bomp! magazine in 1978: “Power pop means pop with POWER! Not some whimpering simp in a Beatles haircut.” Guitar, bass, drums, vocals, la-la-las, and CRUNCH, all leaning forward. Infectious pop music with aggressive intent.

How did you discover power pop? Who are three of your favorite all-time power pop artists? Why?

Before hearing the phrase, I already liked AM radio rockin’ pop designed for high volume, especially Badfinger and the RaspberriesBomp! magazine preached a Gospel, connecting the early Who and Kinks to Raspberries and Ramones. I already loved all of these acts, so I was already a power pop fan.

My favorite power pop act is the Flashcubes, who embody the Bomp! power pop equation of Shaun Cassidy + the Sex Pistols = the early Who. Great songs, great excitement, hell of a live band. The rest of my top 2 rotates (unless I just say Beatles, Ramones, Flashcubes).

Looking around the global power pop community—who would you say are 2-3 of the best bands making modern power pop music these days?

Ignoring my strict view of what is or isn’t power pop, there are tons of great, great acts making fabulous new music within the broad parameters of rockin’ pop. The Flashcubes are still recording. The Grip Weeds are still at it. Pop Co-Op is terrific. Just about anything released by Big Stir RecordsKool Kat MusikFutureman RecordsJem RecordsRed On Red Records, and a bunch of other worthy labels is at least worth a listen, and some of it’s freakin’ transcendent.

What are one or two outlets (DJs, authors, platforms, record stores, magazines, labels, etc.) that you rely on to discover modern power pop music?

It’s all internet. A lot of stuff gets sent to us for airplay on This Is Rock ‘n’ Roll Radio with Dana & Carl, and we pay attention to what friends, fans, and other DJs and pundits are saying.

If I use one or more of your quotes (no promises!), how would you like to be credited? 

Example: S.W. Lauden, co-editor of the power pop essay collections Go All The Way and Go Further

Carl Cafarelli, writer, blogger, and co-host (with Dana Bonn) of This Is Rock ‘n’ Roll Radio with Dana & Carl

TIP THE BLOGGER: CC’s Tip Jar!

You can support this blog by becoming a patron on Patreon: Fund me, baby! 

Hey! If you buy from Amazon, consider making your purchases through links at Pop-A-Looza. A portion of your purchase there will go to support Boppin’ (Like The Hip Folks Do). Thinking Amazon? Think Pop-A-Looza.

This Is Rock ‘n’ Roll Radio with Dana & Carl airs Sunday nights from 9 to Midnight Eastern, on the air in Syracuse at SPARK! WSPJ 103.3 and 93.7 FM, and on the web at http://sparksyracuse.org/ You can read about our history here.

The many fine This Is Rock ‘n’ Roll Radio compilation albums are still available, each full of that rockin’ pop sound you crave. A portion of all sales benefit our perpetually cash-strapped community radio project:

Volume 1: download
Volume 2: CD or download
Volume 3: download
Volume 4: CD or download
Waterloo Sunset–Benefit For This Is Rock ‘n’ Roll Radio:  CD or download

I’m on Twitter @CafarelliCarl.

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Pop Sunday

Tall Poppy Syndrome / Come Some Christmas Eve (or Halloween)

Tall Poppy Syndrome

Come Some Christmas Eve (or Halloween)

https://tallpoppysyndrome.bandcamp.com/album/come-some-christmas-eve-or-halloween

It’s the most wonderful time of the year, and there is no better way to celebrate than with a song by a certified supergroup. 

Comprised of guitarist Vince Melouney (who held membership in The Bee Gees during the late sixties), drummer Clem Burke (Blondie, the Romantics, the Empty Hearts), bassist Alec Palao (The Sneetches, Magic Christian, Strangers In A Strange Land, current version of The Seeds and music historian), Jigsaw Seen multi-instrumentalist Jonathan Lea and singer Paul Kopf (Strangers In A Strange Land and the revamped Seeds), Tall Poppy Syndrome not only looks good in print, but as a whole, they really lock it altogether.

Originally recorded in 1968 by The Bee Gees and initially titled Come Some Christmas Eve Or Halloween, Tall Poppy Syndrome cut a cover of the song in October that set the indie airwaves alight. A holiday mix of the number was suggested, and so here it is, garnished with a festive flair.

Sparked by a drizzle of glistening sleighbells, Come Some Christmas Eve  proceeds to wrap itself in a brightly-colored package of radiant designs and textures. Pithy power chords, anchored percussion, the trill of a Mellotron flute and harmonious rhythms rise to the occassion. Classic garage rock vocals, relaying just the right blend of raw saltiness and melodic muscle, serve to be a faultless fit.

Tapped as Tall Poppy Syndrome’s official debut disc, Come Some Christmas Eve catches the band getting off to a great start. Each individual brings his own special touch to the table, leading towards a smashing display of psychedelic-ringed pop rock. One can only imagine how fantastic an entire album by Tall Poppy Syndrome would be. So give your support to Come Some Christmas Eve and encourage the band to keep at it. 

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Comics

Just Say Uncle

To support the art of Dan Pavelich, please visit http://www.patreon.com/justsayuncle.
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Boppin'

THE GREATEST RECORD EVER MADE: Saturday Night’s Alright For Fighting

This was written for my long-threatened book The Greatest Record Ever Made! (Volume 1), but is not in the book’s current blueprint.An infinite number of songs can each be THE greatest record ever made, as long as they take turns. Today, this is THE GREATEST RECORD EVER MADE!

ELTON JOHN: Saturday Night’s Alright For FightingWritten by Elton John and Bernie TaupinProduced by Gus DudgeonSingle, MCA Records, 1973
Somebody’s gonna get their head kicked in tonight.
In 1973, I had never heard (nor heard of) the song with that title. “Somebody’s Gonna Get Their Head Kicked In Tonight” had been the non-LP B-side of Fleetwood Mac‘s “Man Of The World” single in 1969; for that rockin’ B-side (written by Mac guitarist Jeremy Spencer), the group used the pseudonymous nom du hooligan Earl Vance and the Valiants, perhaps to establish plausible legal deniability for its intent to bash in craniums with mallets aforethought. Years later, it became something of a punk rock standard via a cover by the Rezillos. In ’73, relatively few Americans knew the song. Hell, in ’73, I had barely heard of Fleetwood Mac.
Oh, but I betcha Elton John and Bernie Taupin knew it. They didn’t copy the valiant Mac, but the pugnacious spirit of “Somebody’s Gonna Get Their Head Kicked In Tonight” drinks at the same bar as a song Elton and Bernie wrote and Elton released as a single in 1973: “Saturday Night’s Alright For Fighting.”

Elton John’s big hit singles were among the highlights of my prime AM radio days, commencing with “Crocodile Rock” in 1972. I discovered (and embraced) his previous nuggets “Your Song” and “Rocket Man” shortly thereafter, and rode right along with his subsequent hits “Daniel,” “Saturday Night’s Alright For Fighting,” and “Goodbye Yellow Brick Road.” I hated “Bennie And The Jets”–I still do–but was otherwise all in for whatever our Reg was doing on the radio. There was a TV special called Goodbye Norma Jean to promote his Goodbye Yellow Brick Road album; I loved the documentary and I was intrigued by the album (especially the [then] less-familiar “Candle In The Wind” and the girl-girl enticement of “All The Young Girls Love Alice”), even though I didn’t get around to owning a copy of that album until many, many years later.

No, my sole contemporary EJ artifacts were his Greatest Hits album and later his “Philadelphia Freedom” 45, the latter purchased because my friend Jim Knight told me its B-side featured John Lennon in a live performance of the Beatles‘ “I Saw Her Standing There.” SCORE!! Greatest Hits allowed me the chance to play my Elton favorites again and again. I memorized Bernie Taupin’s lyrics for “Your Song,” and they became among my preferred passages when I was practicing typing, mentally dedicating the sentiment to every pretty girl I ever knew. (On the other hand, my choice for another practice typing piece–a quote from the 1940s comic book superhero the Sandman–kinda illustrates why I didn’t have a girlfriend.) 

“Your Song,” “Rocket Man,” “Goodbye Yellow Brick Road.” But my # 1 was “Saturday Night’s Alright For Fighting,” its rat-a-tat percussive opening and furious tempo oddly presaging the interest I would develop in punk rock just a few years later. That borders on the ironic, since punk is a large part of why I lost interest in Elton John’s music in the late ’70s. Still, other than “Crocodile Rock,” I’ve never relinquished my affection for the Elton John songs I loved in my teens. 

Especially this one. 

I didn’t pay particularly close attention to its lyrics. If I had, I might have been put off by its stated endorsement of drunken bar brawls. But I was 13; what the hell did I know about bar brawls? I had been in my share of fistfights at school, none of them drunken, all of them stupid and ill-advised. No heads were kicked in during the making of my middle school years. Nor was I much aware of the British pub experience, the Us v. Them scene combusted from the volatile mix of football and alcohol. The belligerent approach of “Saturday Night’s Alright For Fighting” was in the tradition of aggressive records by the likes of the Rolling Stonesthe Who, and the Faces. And by Fleetwood Mac, alias punters Earl Vance and the Valiants. Somebody’s gonna get their head kicked in tonight. It is, after all, Saturday night.

So yeah, let’s have a drink, and raise a cheer for our side. Don’t give me none of your aggravation. Get a little action in. Elton John’s alright, alright, alright…!

TIP THE BLOGGER: CC’s Tip Jar!

You can support this blog by becoming a patron on Patreon: Fund me, baby! 

Hey! If you buy from Amazon, consider making your purchases through links at Pop-A-Looza. A portion of your purchase there will go to support Boppin’ (Like The Hip Folks Do). Thinking Amazon? Think Pop-A-Looza.

This Is Rock ‘n’ Roll Radio with Dana & Carl airs Sunday nights from 9 to Midnight Eastern, on the air in Syracuse at SPARK! WSPJ 103.3 and 93.7 FM, and on the web at http://sparksyracuse.org/ You can read about our history here.

The many fine This Is Rock ‘n’ Roll Radio compilation albums are still available, each full of that rockin’ pop sound you crave. A portion of all sales benefit our perpetually cash-strapped community radio project:

Volume 1: download
Volume 2: CD or download
Volume 3: download
Volume 4: CD or download
Waterloo Sunset–Benefit For This Is Rock ‘n’ Roll Radio:  CD or download

I’m on Twitter @CafarelliCarl.

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52 Sellout

Ghostbusters As A 1980’s Drama

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Welcome

Welcome! Welcome!

It’s always a thrill for us to see where our readers are located. In the past few days, we’ve had visitors from The UK, Indonesia, Canada, Sri Lanka, South Africa, The Netherlands, Ireland, China and Germany!

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Comics

Just Say Uncle

To support the art of Dan Pavelich, please visit http://www.patreon.com/justsayuncle.
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Boppin'

THE GREATEST RECORD EVER MADE: The Girl Can’t Help It

In memory of the great Little Richard, we present this chapter from my forthcoming book The Greatest Record Ever Made! (Volume 1). The chapter was previously shared with my paid patrons on August 1st of 2019. This is its first public appearance.

LITTLE RICHARD: The Girl Can’t Help It
Written by Bobby Troup
Produced by Bumps Blackwell
Single, Specialty Records, 1956

Rock ‘n’ roll and the movies have been joined in hot connubial bliss ever since the 1955 release of The Blackboard Jungle catapulted Bill Haley & his Comets to sudden, unexpected stardom by using the group’s then-obscure B-side track “Rock Around The Clock” as a musical shorthand for teen rebellion. “Rock Around The Clock” went one-two-three o’clock-four o’clock-ROCK! to # 1, seemingly out of nowhere, establishing the starting point for what Billboard would eventually refer to as The Rock ‘n’ Roll Era. As Buck Owens would later note, the movies could make you a big star.

In 1956, The Girl Can’t Help It became the first great rock ‘n’ roll movie, and it’s still one of the greatest rock ‘n’ roll movies of all time. It has comedy and chops far beyond the reach of any quickie jukebox flick, sex appeal courtesy of the gorgeous bombshell Jayne Mansfield, and a steady barrage of rock ‘n’ roll luminaries (Eddie CochranFats DominoGene freakin’ VincentThe PlattersJulie London…?!). It’s highlighted by simply incandescent turns by the right Reverend Richard Penniman, the one and only Little Richard. The sight of Little Richard belting out the title tune during the film’s opening sequence is nothing short of rock ‘n’ roll history boppin’ on before your very eyes (and tappin’ feet).
ElStranded in this conservative, straight-laced world of the 1950s, Little Richard was The Georgia Peach, a wild and effeminate black man, flamboyant, a strange visitor from another planet with powers and abilities far beyond those of mortal men. His performances were electrifying, pounding, an irresistible symphony of WOOOOO! A wop bop a loo bop a lop bam boom. In the late ’50s, only Jerry Lee Lewis could match the sheer fervor of Little Richard. Little Richard was as bright a star as this dull world had ever seen.

And he was certain that he was going to Hell.

Richard was raised by the Gospel, a believer in The Good Book and its spiritual music. The God that made him made him different. He liked flash. He liked attention. He was drawn to sing what would be called The Devil’s Music. And he was drawn to other men. Salvation. Sin. This was the tug of war that would play out in his consciousness, his conscience: a gay rock ‘n’ roll star who believed in the promise of a Heaven for the righteous, but who knew (or thought he knew) that who he was and what he did would condemn him to the pits for all eternity.

He did it anyway. The boy couldn’t help it. Damned. Torpedoed. Full speed ahead.

The dichotomy of Little Richard’s raucous hedonism and his belief in a wrathful God simmered tensely in a string of records that helped define the best of 1950s rock ‘n’ roll. With showmanship patterned after equally-flamboyant predecessor Esquerita and talent bestowed upon him by a deity perhaps more understanding than Richard would have hoped, Little Richard’s records burned with passion and verve. “Tutti Frutti.” “Long Tall Sally.” “Slippin’ And Slidin’.” “Rip It Up.” “Ready Teddy.” “Lucille.” “Jenny, Jenny.” “Keep A-Knockin’.” “Good Golly Miss Molly.” Boogie-woogie as rock ‘n’ roll, all released within a magic, manic burst of sweat from 1955 to 1959. As a new decade dawned, Little Richard had already repented. He cast aside the sound of Lucifer, renounced who he was and whom he loved, though both would continue to tug at him. He could never be just a God-fearing man. He was legend. He still is, and forever will he remain. Can’t help it.

In the opening of the film The Girl Can’t Help It, Little Richard embodies both the threat and the liberation of rock ‘n’ roll with greater potency than any other performer could have, including Jerry Lee Lewis, including even Elvis, including any subsequent Johnny Rotten-come-lately. Won’t you kindly be aware: The Georgia Peach had a lot of what they call The Most. It wasn’t a curse, and it wasn’t sacrilege. It was a blessing from a benevolent God who wants us to sing, and wants us to love. The Devil has no music to call his own; music comes from Heaven, no matter how earthly or earthy its expression. Can I get an amen?  

WOOOO…! 

Same thing, really. Rest in peace, our Georgia Peach.

TIP THE BLOGGER: CC’s Tip Jar!

You can support this blog by becoming a patron on Patreon: Fund me, baby! 

Hey! If you buy from Amazon, consider making your purchases through links at Pop-A-Looza. A portion of your purchase there will go to support Boppin’ (Like The Hip Folks Do). Thinking Amazon? Think Pop-A-Looza.

This Is Rock ‘n’ Roll Radio with Dana & Carl airs Sunday nights from 9 to Midnight Eastern, on the air in Syracuse at SPARK! WSPJ 103.3 and 93.7 FM, and on the web at http://sparksyracuse.org/ You can read about our history here.

The many fine This Is Rock ‘n’ Roll Radio compilation albums are still available, each full of that rockin’ pop sound you crave. A portion of all sales benefit our perpetually cash-strapped community radio project:
Volume 1: downloadVolume 2: CD or downloadVolume 3: downloadVolume 4: CD or downloadWaterloo Sunset–Benefit For This Is Rock ‘n’ Roll Radio:  CD or download

Carl’s writin’ a book! The Greatest Record Ever Made! (Volume 1) will contain 134 essays about 134 tracks, each one of ’em THE greatest record ever made. An infinite number of records can each be the greatest record ever made, as long as they take turns. Updated initial information can be seen here: THE GREATEST RECORD EVER MADE! (Volume 1).

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Pop Sunday

Underwater Sunshine / Suckertree

Underwater Sunshine

Suckertree (Futureman)

https://futuremanrecords.bandcamp.com/album/suckertree

Music fans residing in the Vancouver, British Columbia area during the mid to late nineties were no doubt aware of Underwater Sunshine. A hot live attraction, the band put money earned from gigs towards recording an album.

A major label expressed interest in signing Underwater Sunshine, but unfortunately things did not proceed as planned. The band dispersed, and the album cocooned in the can. Yet the story has a happy ending. Having not been in contact since dismantling nearly twenty-five years ago, the band members reconnected in 2020. The tapes of the album were retrieved, and now Suckertree is available. Containing all original material and recorded in a basement, the album serves as a totally self-sufficient affair. 

Treading the fine line between power pop and stadium rock, Suckertree is coated front, center and back with buzzing  guitars, solid drumming and stimulating hooks. Pure and tidy vocals, bolstered by muscular amplification, allow some of the songs on the album to sound like a heavier version of Shoes. Reflections of The Posies also can’t be missed, not to mention Oasis and Sloan.

While Suckertree may be a product of its time, these songs still hold up extremely well. From the opening cut – Verse 2 to the final number – Spin Around – the album bristles with energized instrumentation and hard-hitting melodies that go on and on. Gripping arrangements, sweeping rhythms and insistent breaks further characterize Underwater Sunshine’s vision. 

Along with the already noted songs, Backward Glance, Shine, It’s You and Smoke & Mirrors lock in as other electrifying efforts emphasizing the band’s harmonious chemistry. Less rocking, but equally effective, there’s the crisp shimmer of Baby Blue and the absolutely unforgettable Rusted Crown, which burns with a moody intensity. 

Had Suckertree been released when intended to be, Underwater Sunshine would have surely set the charts alight with their catchy brand of industrial-strength guitar pop.