Pop With POWER!

This piece was commissioned by John M. Borack and S.W. Lauden for Big Stir magazine # 6, a special edition asking that musical question, IS THIS POWER POP? The magazine is still available and highly recommended, and I was damned proud to participate. Here’s my contribution to the discussion.

Pop With POWER!

By Carl Cafarelli

“After all, power pop means pop with POWER! Not some whimpering simp in a Beatles haircut.”

–Gary Sperrazza!, Bomp! magazine

It was a straightforward sequence of events. I broke up with a girl just before my 18th birthday. Just after my 18th birthday, I saw my first power pop band.

That band was the Flashcubes, soon to be called Syracuse’s own power pop powerhouse, and quickly perched alongside the Beatles and the Ramones in the trinity of my all-time Fave Raves. When I saw them in January of 1978, few (if any) were calling them “power pop,” a phrase which was just beginning to work its way into the lexicon. The Flashcubes were a punk band. A punk band that covered the Kinks, the Who, the Searchers, the Hollies, and the Yardbirds, sure, but still a punk band.

And they were absolutely power pop. Loud, proud, and hook-laden. Pop with power.

Many deny any relationship between punk and power pop. Yeah, punk’s angry clatter is certainly a breed apart from Badfinger. But within punk’s first wave, groups like the Ramones, Generation X, Eddie and the Hot Rods, the Buzzcocks, and the Jam were applying battered hearts to tattered sleeves, running AM radio influences through a primal DIY aesthetic. Some pop fans require jangle and harmonies as power pop prequisites, and dismiss, say, “Sheena Is A Punk Rocker” for its lack of either. But man, it ain’t power pop if it doesn’t have power.

My idea of power pop came from writers Greg Shaw and Gary Sperrazza!, via the power pop issue of Bomp! Magazine in 1978. The phrase predates them; “power pop” was coined by Pete Townshend in 1966, describing what the Who were playing, what the Small Faces were playing, what the Beach Boys had played prior to getting all sober and mature with Pet Sounds. Shaw and Sperrazza! saw the sound of the early Who as the Ur-Example of power pop. Bomp! put forth a simple power pop equation: the punk energy of the Sex Pistols plus the catchy pop of Shaun Cassidy equals the power pop of the Who.

I concur.

(And, whether we start power pop’s shot clock with the Beatles [my choice] or with the Who [Bomp!‘s pick], it’s clear that the style existed in the ’60s. I reject the notion that it was created in the ’70s as an attempt to recapture the excitement of the British Invasion. The latter view reduces power pop to mere revival, no more vital than freakin’ Sha Na Na. Power pop is not a revival. Revivals are well-behaved. Power pop explodes.)

Bomp!‘s power pop issue also extolled the unassailable cred of the Ramones as power pop touchstones. The Ramones wed the promise of AM radio with the 1-2-3-4! ferocity of velocity, pure pop for punk people. When I was corresponding with Shaw in the ’90s, he still maintained that no discussion of power pop could have any meaning if it didn’t include “Rockaway Beach.”

The discussion has continued, long after Shaw and Sperrazza! have departed. As power pop fans, we are passionate and confident in our individual, often contrasting points of view. That’s okay. We’re friends here. Friends can disagree and remain friends. (Except for the guy who called me a ninny for regarding the Ramones as power pop. That guy can take a hike.) Squeeze and Marshall Crenshaw don’t fit within my idea of power pop; I love ’em just the same. You don’t agree that the Ramones are power pop? I won’t let my conviction that you’re wrong prevent you from buying me a beer. Cheers!

My own POV can shift over time. But I have a pretty good idea of how I define power pop, and it goes back to that Bomp! equation: Punk + Pop = Power Pop. Still, there are shades and subtleties to consider. And how many power pop acts are really 100% power pop all of the time? Raspberries did the country-flavored “Last Dance.” Big Star did “The India Song.” The Ramones did “Warthog.” The Who did…well, the Who did a lot of stuff, didn’t they? On the other hand, Styx is certainly not a power pop band, no way, no how…except with “Kiss Your Ass Goodbye,” which is as power pop as anything ever. Musician Marty Ross recently suggested that power pop is an approach rather than a genre. Bomp! said otherwise, but I think Marty’s right on this count. Hey, this means we can have it all!

Do the definitions matter? Yes. And no. Yeah, we should have recognized parameters, common ground to understand what the hell we’re going on about when discussing power pop favorites (or ska favorites, rockabilly favorites, et al.). Power pop’s just a label, a tool to help identify sounds that may appeal to us. Recommended If You Like Cheap Trick. Or, as AM radio told me when it turned me on to Badfinger, “These guys sound like the Beatles.”

My favorite music had a name. I didn’t know that name until I was in college.

“Power pop’” is a misunderstood genre, and there will never be a true consensus on its meaning and parameters. It’s my favorite music. It’s not my only favorite music–I adore so many sounds that fall outside my strict definition of power pop, even many that fall outside a broader, nebulous approximation–but it’s my primary boppin’ raison d’être. My awareness of power pop, my understanding of its meaning, began in 1978 with an incredible magazine called Bomp!

I wrote the above a few years back, introducing a reminiscence about how important Bomp! was to me, particularly in developing my understanding of power pop. Bomp! is still my go-to reference in that regard. Greg Shaw’s equation still holds. Gary Sperrazza!’s statement still rings true: “Power pop means pop with POWER!”

Pop with power. Whimpering simps need not apply. No matter what kind of haircut they have.

You can support this blog by becoming a patron on Patreon, or by visiting CC’s Tip Jar. Additional products and projects are listed here.

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 You can read about our history here.

I’m on Twitter @CafarelliCarl

Pop Sunday

David Brookings / Mania At The Talent Show

David Brookings

Mania At The Talent Show (Byar)

The past twenty-odd years have witnessed David Brookings riding wave upon wave of activity. Along with two albums released as David Brookings and the Average Lookings, the San Fernando Valley based singer, songwriter and multi-instrumentalist recently issued his ninth solo album. An engaging effort, Mania At The Talent Show, posts a premium on forward-thinking pop rock. 

Compositions such as Driving To Ojai and Hard Times, whirl and twirl with moody atmospherics, and the perpetually plucky Keep It Real is anchored by the strummy pickings of a ukele. A dark and eerie psychedelic vibe shrouds Hide Your Crazy, where the nagging urgency of Kill Shot, fires off rounds of funky licks and rhythms. 

The title track of the album stems from  memories of when David staged his debut live performance at age eleven at the school talent show. A chipper romp from head to toe, Mania At The Talent Show totally captures the excitement and youthful exuberance of the experience.

Classic power pop elements are pushed to the fore on the impossibly catchy One Of Us Is Crazy (The Other Is Me), which chimes and crunches with impeccably-placed hooks and harmonies. Then there’s the equally fetching Women Of L.A., that frolics to a bubblegummy hot rod surf-styled beat, and recites humorous lyrics regarding Botox, going to the gym, Tik Tok, nannies and hip hop.   

Nothing is repeated on Mania At The Talent Show, as each cut operates from a different angle marked by varied tempos, arrangements and melodies. Radiating with an array of sonic hues, the album competently blends ambition with a fun factor. David really has gone the extra mile here, crowning him first prize winner of the talent show! 

Pop-A-Looza TV

Graham Parker / Local Girls

Pop Sunday

The Successful Failures / James Cotton Mather

The Successful Failures

James Cotton Mather

Founded a decade and a half ago, The Successful Failures have gone on to become one of the greatest and most respected bands on the indie circuit. Unlike most groups that have been around for such a long period of time, these guys haven’t slacked off and taken a nosedive, but just get better and better with every record they release. And that is certainly quite a complimentary remark, considering how impressive the Trenton, New Jersey band was right from the beginning. 

Specializing in a lethal cocktail of power pop and heartland rock, The Successful Failures not only sound spectacular, but enhance their repertoire in the form of cerebral dialogue that encircles witty historical to educational observations. Here on the band’s latest and ninth studio album, James Cotton Mather, we’re zapped back to nineteenth century Maine and guided through the trials, tribulations, turmoil and tragedies of  James Cotton Mather. Aside from the thrilling theme and cool music, the album is lavishly packaged and includes a color poster of The Successful Failures and a lyric sheet.

Each track on James Cotton Mather, is potent enough to stand alone, but the method in which these songs are sequenced and connected lead to a cohesive presentation. Not intended for lullaby lovers, the album is a turbo-charged drama aimed to activate the adrenaline and indulge in some serious air guitar in the process. The urgent energy of the songs perfectly reflect the verse depicting the mental anguish of the young man as he engages in battles on stormy seas and in dark and spooky forests. 

Flooded with force and fury, yet tempered with layer upon layer of fat hooks and melodies, A Coat For Your Dreams, Let The Power Go Through You, Naval Victories and Freedom Within, are only a quick peek at the ultra- catchy tunes featured on the album. At this point, The Successful Failures have developed their own notable approach, although it’s hard to ignore the double inspiration of the brash bark of The Replacements and the buffed Who-styled chords and rhythms, rimming the material. And of course, there’s also plenty of gritty roots rock moves to be savored. 

Not surprisingly, The Successful Failures have cut yet another thoroughly accomplished album. It is not far-fetched to classify James Cotton Mather a rock opera, and so good are these songs, that you can imagine them being staged on Broadway. 

By Beverly Paterson

Got Any Singles? Quick Spins

Song Of The Year, Dolph Chaney’s “My Good Twin”

No song better illustrates the joyous intent of the Power Pop genre than Dolph Chaney’s My Good Twin. From his excellent This Is Dolph Chaney Lp, which is full of winners, it’s a short blast of the pop caffeine we all crave! OUTSTANDING!!

D. Pavelich

Pop Sunday

Chris Church / Limitations of Source Tape

Chris Church

Limitations Of Source Tape (SpyderPop Records/Big Stir Records)

Early 2021 saw two great labels – SpyderPop and Big Stir – team up as a relaunch imprint. Chris Church is one of the artists receiving a reprise. And here is a look at the Lenoir, North Carolina-based singer, songwriter and multi-varied instrumentalist’s second solo album, Limitations Of Source Tape, which was originally recorded in 2017 and distributed by SpyderPop.

While Chris boasts a background involving a diverse selection of musical styles, Limitations Of Source Tape points the arrow straight towards the guitar-oriented pop rock side of the spectrum. Equipped with a fine voice seated somewhere between the harmonious blush of Todd Rundgren and a rootsy brogue, Chris unleashes his intelligently-composed material with assertiveness and authority.

Certain portions of Limitations Of Source Tape additionally share traits with the likes of Tommy Keene and Michael Penn, placing Chris in very good company indeed.

 Navigated by a tugging rhythm and an equally snaring hook, Bell The Cat stands as one of those ridiculously catchy tunes impossible to shake, whereas Be My Nuisance is glazed with jangling chords and pops with power.

Energetic tempos, tied to solid arrangements and shrewd breaks, command the course on tracks such as Pollyanna’s Going Dark and Fall Into Me, and be sure to also give a listen to Understudy Blues, which charges forth as a tasty piece of hard-rocking ear candy.

No frills and all thrills, Limitations Of Source Tape focuses on strong and melodic songs created from the heart and gut. The crisp and crunchy production of the album provides extra appeal. And speaking of perks – in conjunction with Limitations Of Source Tape – SpyderPop and Big Stir have resurrected Chris Church’s third solo album – Backwards Compatible – which was initially released in 2018 and is highly recommended as well. 



Continuing a look back at my first exposure to a number of rock ‘n’ roll acts and superheroes (or other denizens of print or periodical publication), some of which were passing fancies, and some of which I went on to kinda like. They say you never forget your first time; that may be true, but it’s the subsequent visits–the second time, the fourth time, the twentieth time, the hundredth time–that define our relationships with the things we cherish. Ultimately, the first meeting is less important than what comes after that. But every love story still needs to begin with that first kiss.

This was originally posted as part of a longer piece covering both pop music and comic book characters. It’s separated here for convenience.

Building upon our influences plays a large role in shaping who we are, and what we become. As a kid in the ’60s, and as a teenager in the ’70s, my personality, and my likes and dislikes, were molded in part by the pop culture I absorbed via TV, comic books, movies, and AM radio. A Hard Day’s Night. BatmanThe Monkees. Pulp paperbacks. Jukeboxes. DC ComicsMarvel ComicsGold Key Comics, all kinds comics. WNDR-and WOLF-AM in Syracuse. Throw in some baseball, some random 45s, some more TV (from Gilligan’s Island to The Guns Of Will Sonnett to Star Trek to Supersonic), some books on World War II, some DisneyMarx Brothers, and Jerry Lewis flicks, and some surreptitious glances at Lorrie Menconi and Barbi Benton in Playboy, and you have a partial portrait of the blogger as a young man.

Y’know, it ain’t polite to stare, mister!

And throw in some rock ‘n’ roll magazines, too. I’ve already written at length about the importance of the ’70s tabloid Phonograph Record Magazine, and I will still have more to write about PRM in future posts. I saw an issue of Circus some time in the mid-’70s, and I fell in love with Suzi Quatro when I saw her on the cover of the Rolling Stone. Later on, I’d immerse myself in Trouser PressCreemNew York RockerRock ScenePunkThe Pig Paper, and also a little thing called Goldmine, for which I freelanced for almost twenty years. But the most important single issue of any rock mag I ever read? No contest; that was the February 1978 issue Bomp! magazine: the power pop issue.

The way I read and re-read and re-re-read that issue, it’s a miracle its cover is still attached. I was 18. I was a fan of The BeatlesThe MonkeesThe KinksThe Raspberries, and The Ramones. I’d just seen The Flashcubes for the first time, so I was already a fan of theirs, too. The power pop issue of Bomp! was Heaven-sent, a manifesto for what I already believed, but couldn’t yet articulate. And its pages contained scores of recommendations for more acts I should check out as a nascent power pop acolyte, bands like The Flamin’ Groovies (whom I’d already heard, but needed to hear more), The CreationThe Dwight Twilley Band, and The Nerves; and there was quite a bit of coverage of some band called Big Star, and some group from the ’60s: an Australian band named The Easybeats.

Greg Shaw and Gary Sperrazza!, the auteurs behind Bomp!‘s power pop extravaganza, cited The Easybeats alongside The Kinks and The Who as power pop’s founding fathers. That’s pretty heady company to keep, so I certainly wanted to learn more about The Easybeats. If there were any Easybeats records in print in the U.S. in ’78, I wasn’t aware of them; I don’t think I could even find an Oldies 45 reissue of the group’s lone American hit, “Friday On My Mind.” So Easy Fever had to be deferred for me.

It may seem odd in retrospect that I’d never heard “Friday On My Mind,” but I don’t think I had. I finally heard it in–I think–the summer of ’78. Tip-A-Few, a bar on James Street in Eastwood, specialized in playing oldies while thirsty patrons tipped a few (or, sometimes, more than a few). The DJs at Tip-A-Few were armed with a massive collection of 45s–no need for LPs, because they would only play hit oldies–and I was there with decent frequency, tippin’ a few while requesting singles by Gene Pitney, The Beau BrummelsThe Knickerbockers, and The Fireballs. And, one night, I requested “Friday On My Mind” by The Easybeats.

I liked it, of course, It wasn’t immediately revelatory, but it was catchy rock ‘n’ roll music, and that was fine by me. That fall, I picked up a used copy of David Bowie‘s covers album, Pin Ups, which contained the former Mr. Jones’ take on “Friday On My Mind.” That track was, in fact, the very thing that prompted me to buy my first Bowie album, so yes indeed, thank you, Easybeats! I did eventually score an Oldies 45 of The Easybeats’ “Friday On My Mind,” a record which I grew to love more and more with each easy spin.

It took me a while to expand my Easybeats stash beyond that one 7″ single. In the mid-’80s, Rhino Records‘ The Best Of The Easybeats rewarded me with a glimpse into the true and enduring greatness of The Easybeats. “Friday On My Mind” was their only Stateside hit, and on some days I’ll agree it was their best track. But most days, I’ll dig in my heels, and I’ll insist, Yeah, “Friday On My Mind” is great, but “Sorry” is better!  “Sorry” struck me as the perfect melding of The Monkees and the early Who, so sign me up for a new religion based on those Australian pop gods, The Easybeats. “Good Times.” “Made My Bed (Gonna Lie In It).” “St. Louis.” “She’s So Fine.” “Sorry.” “Friday On My Mind.” Scripture. Chapter. Verse. Easy!


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


My Top Ten Power Pop Acts

Jari Mäkeläinen asked me to contribute a sidebar piece to be used in Manifesti, a fanzine published in Finland. The challenge posed to sidebar contributors: name your all-time top ten power pop acts.

In the words of Micky Dolenz: okay, I will.


by Carl Cafarelli

For me, the challenge of naming my all-time top ten power pop acts is in deciding what parameters of power pop I wanna play within. While many view power pop as strictly a post-Beatles phenomenon, I agree with the view expressed by writers Greg Shaw and Gary Sperrazza! in Bomp! magazine’s epic 1978 power pop issue: power pop began in the ’60s. Greg ‘n’ Gary traced power pop back to the early Who, while I go a little bit further back to the Beatles’ “Please Please Me” in 1963. I’ve begun to entertain the notion that power pop predates even that; I don’t think the music of Buddy Hollythe Beach Boys, or the Everly Brothers is quite power pop, but it’s difficult to dismiss the power pop gravitas of some of Eddie Cochran‘s singles, especially “Somethin’ Else” and “Nervous Breakdown.”

But I wouldn’t list the Beatles or the Kinks among my all-time Fave Rave power pop acts, if only because so much of their work falls outside my idea of power pop. The Who were 100 % power pop until Tommy, and really not power pop after that. 

So my power pop Top Ten doesn’t go back to the ’60s. By default, and for different reasons, I wind up agreeing with those who won’t move power pop’s Ground Zero to any date before John, Paul, George, and Ringo settled on separate and individual long and winding roads. I’ve also come to accept the idea that power pop isn’t so much a genre as it an approach, which means relatively few acts are strictly power pop all of the time. With all that said, this list offers ten dynamic rock ‘n’ roll combos I’m comfortable referring to as power pop acts.


Yeah, I was lying. Upon further review, you can’t talk about power pop without talking about the early Who, “I Can’t Explain” through The Who Sell Out. It’s not just because Pete Townshend coined the phrase; it’s because he and his band embodied it. Everything the Who did before Tommy is at least peripheral to power pop, and much of it is the power pop Gospel.


Power pop on the radio, where it belongs. The horny singles–“Go All The Way,” “I Wanna Be With You,” “Tonight,” and “Ecstasy”–plus the dreamy “Let’s Pretend” (also covered by the Bay City Rollers) and album track “Play On” combine for a compact summary of the Raspberries’ power pop c.v.


A consistently controversial choice for a power pop list, but I side with the Bomp! writers who considered the Ramones an essential part of the power pop story. The first four albums tell the tale: RamonesLeave HomeRocket To Russia, and Road To Ruin, with a little extra oomph provided by the irresistible in-concert document It’s Alive!


This gets back to the idea that some (many, most) power pop bands aren’t power pop all of the time. Badfinger certainly wasn’t, but then I’ve also gotta get back to that idea of power pop on the radio, where it belongs. “Baby Blue” may be my all-time # 1 favorite track by anybody.


On the other hand, the Romantics are generally power pop regardless of their intent. It’s their DNA. They tried to make a hard rock album, Strictly Personal, but it came out as hard-rockin’ power pop, and I mean that as a compliment. If you do just one Romantics album, you’ve gotta go with the eponymous debut, which includes “What I Like About You” and “When I Look In Your Eyes.” Their early indie singles are likewise essential, especially “Little White Lies”/”I Can’t Tell You Anything.”


I continuously waffle on the question of whether or not the Go-Go’s can be considered a power pop act. Their debut album Beauty And The Beat comes close at the very least, and its power remains undiminished forty years on. It’s not just that album’s great singles “We Got The Beat” and “Our Lips Are Sealed,” but also album tracks like “Can’t Stop The World” and “This Town” that make the case on behalf of the Go-Go’s. Add in subsequent tracks from “Vacation” to “Head Over Heels” to “The Whole World Lost Its Head” to “La La Land,” and it’s difficult to deny the truth that this is pop with power.


Cheating, but I don’t care. The Nerves’ eponymous 1976 EP inspired Blondie with “Hanging On The Telephone” (written by the Nerves’ Jack Lee), but Lee’s fellow Nerves Paul Collins and Peter Case went on to have significant and prevailing impact on power pop with their post-Nerves work in Paul Collins’ Beat and the Plimsouls, respectively.


Big Star’s story also sprawls, spills, and bleeds beyond power pop territory, and I’m sympathetic to those who claim the group’s records didn’t have the pure power one would expect from power pop. Nonetheless: “Back Of A Car” delivers, and “September Gurls” transcends our silly little labels to assume the description a rock journalist bestowed upon it decades ago: “Innocent, but deadly.” First two albums, # 1 Record and Radio CityThird, however, is most definitely not power pop.


North Carolina’s phenomenal pop combo the Spongetones have always taken their love of rock and pop and Beatles and British Invasion and channeled it into something unerringly Fab. You know that can’t be bad.

With a limit of ten acts in this exercise, I can’t go on to tell you about the RubinoosPezbandHolly and the Italiansthe Flamin’ Grooviesthe RecordsShoesthe BuzzcocksGeneration XDirty Looksthe Shivversthe ScruffsSorrowsArtful DodgerBlue Ashthe Knack, and dozens more, then and now. Good thing that, in real life, we’re not limited to just ten favorite power pop acts, right? Play on.


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 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.

Pop Sunday

The Weeklings / In Their Own Write

The Weeklings

In Their Own Write (JEM Records 2021)

Live albums are the next best thing to being there, especially when brought to you by a group as great as The Weeklings. Recorded on the stages of the Strand Theater in Lakewood, New Jersey and Daryl’s House in Pawling, New York, In Their Own Write truly does capture the widely adored combo in all their energetic and exciting splendor.

 Because The Weeklings are so adept at composing and playing heritage genres, you would swear on a stack of vinyl that their songs were platinum-plated hit singles from the golden age of pop rock. 
Bobbing with jingling guitars and cheery choruses, Little Tease, Don’t Know, Don’t Care and Little Elvis mimic the mop-topped Liverpool Class of 1963, where Morning, Noon And Night projects a stirring folk rock feel, accompanied by the tremor of a bluesy harmonica. 

Wrapped in rotating rhythms, surrounded by power chords  and drum drills snapping like rubber bands, In The Moment bears a potent Who presence, the chugging roll of 1,000 Miles Away rests firmly on Chuck Berry turf, and the melodic shimmer of Leave Me With My Pride would have been right at home on a Raspberries album.

No Weeklings’ gig is complete without greeting The Beatles. That said, In Their Own Write contains a pair of John Lennon and Paul McCartney covers, but rather than recycling the songs note for note, The Weeklings offer treatments that are far different from the original versions. Both The Word and Baby You’re A Rich Man are shaped of  a stately stance,  marked by weighty arrangements, a measured intensity and harmonica interludes, resulting in very unique and imaginative takes.

The Weeklings flex their stadium rock muscles to maximum momentum on the pulsing Running Away, which climaxes to a whirring jam, as well as the ultra-catchy 3, that bucks and bounces with stabbing hooks, elevated harmonies and a powerful and gritty lead vocal reminiscent of John Waite during his Babys days.

Intended to be experienced to at ear-splitting volume, In Their Own Right will have listeners clapping their hands, stomping their feet and singing along with these nifty tunes. The Weeklings have passed the audition. Here’s to a standing ovation and an encore! 


BRIGHT LIGHTS IN JAPAN: The Choosers Cover The Flashcubes

The world needs more cover versions of songs originally done by Syracuse’s own power pop powerhouse the Flashcubes. There have been a few, though not many (and not enough). A local band called Eclipse used to cover ‘Cubes bassist Gary Frenay‘s “It’s You Tonight” in live sets in the ’90s; around 1980 or so, Central New York group the James L. Cortland Band was thinking of adding ‘Cubes guitarist Paul Armstrong‘s “I’m Not The Liar” to their set lists, I was living elsewhere by then, so I don’t know if the fabulous Cortlands followed through with that plan; but I was there, at the Firebarn, when they discussed it with PA, and I can vouch for that much as true.

The highest-profile ‘Cubes cover to date was the Slapbacks‘ cool rendition of Gary’s “Make Something Happen” on the 2017 compilation album This Is Rock ‘n’ Roll Radio, Volume 4. You can read all about that here (or as part of a longer account here). While you’re at it, you can still get TIRnRR # 4 as a CD from Kool Kat Musik or as a digital download from Futureman Records. GO!!! This pop gig doesn’t pay for itself, y’know.

And now, Japan’s phenomenal pop combo the Choosers have released a video of their own minty-fresh and fabulous take on “Christi Girl,” the song that served as the Flashcubes’ first single in 1978. Written by ‘Cubes guitarist Arty Lenin, “Christi Girl” is a pure pop ballad that should be a standard by now, and it retains all of its panache in the capable hands of the Choosers. It goes a little something like this:

MORE!! More Flashcubes covers, and more from the Choosers, please. And really, shouldn’t there already be a Flashcubes tribute album by now? Get the Choosers on the phone. We should all have a special place where nobody else can go.

And then, y’know, invite everyone there anyway.


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 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