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THE EVERLASTING FIRST: The Easybeats

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!

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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.

MY TOP TEN POWER POP ACTS

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.

THE WHO

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.

THE FLASHCUBES

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.

THE RAMONES

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!

BADFINGER

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.

THE ROMANTICS

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.”

THE GO-GO’S

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.

THE NERVES

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

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.

THE SPONGETONES

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.

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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

The Weeklings / In Their Own Write

The Weeklings

In Their Own Write (JEM Records 2021)

http://www.jemrecordings.com/


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! 

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Boppin'

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.

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

Categories
Pop-A-Looza TV

The Toms / One Man Girl Parade

Categories
Pop Sunday

Nick Piunti & The Complicated Men / Heart Inside Your Head

Nick Piunti & The Complicated Men

Heart Inside Of Your Head/One Of The Boyz (JEM Records 2021)

https://nickpiuntimusic.bandcamp.com/track/heart-inside-your-head

Although the members of Nick Piunti & The Complicated Men have been mainstays of the Detroit, Michigan music scene for many years, the band itself is a fairly new entity.  Made up of lead singer, songwriter and guitarist Nick Piunti, bassist Jeff Hupp, keyboardist Kevin Darnall and drummer Ron Vensko, the band issued its debut album, Downtime, in 2020.

Five-star reviews were delivered in droves, and the guys are set to return to the spotlight once again in the form of not one, but two smashing singles.  

Despite the name, there is nothing the least bit complicated about the band. In terms of classic power pop, Heart Inside Of Your Head clearly exemplifies such a genre. Nick’s radio-rich vocals sound like a less rootsy version of Tom Petty, while the instrumentation is rock solid and to the point. Navigated by a riveting rhythm, Heart Inside Of Your Head is further layered with muscular melodies and grooving harmonies. Great lyrics as well, which are universally-themed and executed with passion.

 On One Of The Boyz, Nick Piunti & The Complicated Men crank the volume to maximum decibels and turn in a fist-pumping anthem that combines the throbbing beat of Slade with the modliness moves of The Jam and the rebel bite of The Clash. Bouncing with intent, the rousing song contains a shouting chorus impossible not to sing along with. 

Both these singles fully express Nick Piunti & The Complicated Men’s expertise for composing and playing the sort of hook-packed pop rock that refuses to go out of style. 

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Boppin'

The Flamin’ Groovies: The Power Pop Hall of Fame

“1975 will be the year of The Flamin’ Groovies!”–Greg Shaw, Who Put The Bomp magazine
“It wasn’t, but it shoulda been.”–Groovies fans ever since then

It could be argued that no rock ‘n’ roll act was ever so good and simultaneously so ignored as San Francisco’s legendary Flamin’ Groovies. Throughout their long history and many personnel changes, the group was consistently out of step with the times. While contemporaries were properly freaking out and endlessly jamming in a tedious soundtrack to an emerging counterculture, the Groovies drew on unfashionable rock ‘n’ roll roots, alternately purveying good-time jug band music á la The Lovin’ Spoonful and rockin’ the motherlovin’ house down with a ferocity to rival The Rolling Stones and The Stooges. By the time reduced-frills rock started making a comeback in the ’70s, a new incarnation of The Flamin’ Groovies was dressed up in Mod clothing and playing polished power pop as if it were 1965 and the band was some mythic combination of The BeatlesByrdsBeach Boys, and Rolling Stones heading into the studio for a session with Phil Spector. And by the time “jangly pop” became a buzz phrase, The Flamin’ Groovies were so far underground that no amount of excavating could bring them to the surface, let alone to the pop stardom that should have been their divine right.

As it is, The Flamin’ Groovies produced some unforgettable work, including three oft-covered classics: “Slow Death,” “Teenage Head,” and the incomparable, booming “Shake Some Action,” which sounded like the eleventh-hour announcement of pop-rock Armageddon. Groovies fans are generally divided into two camps: those who favor the manic-rockin’ original Groovies fronted by Roy Loney, and those who prefer the pop perfection of the Sire years (1976-79) with Chris Wilson. In both incarnations, guitarist Cyril Jordan and bassist George Alexander kept the flame burning brightly.

It’s the Sire era that puts The Flamin’ Groovies into The Power Pop Hall Of Fame. That’s not a knock against the earlier stuff, much of which is just fantastic, but an acknowledgement that we wouldn’t be talking about the Groovies as a power pop act if judged solely on the basis of “Teenage Head” and “Second Cousin;” as irresistible as those tracks are, they’re closer to the cantankerous grandeur of, say, The Pretty Things than to anything one would call power pop. The Flamin’ Groovies’ three albums for Sire–Shake Some ActionNow, and Jumpin’ In The Night–radiate a catchy cool, combining the bop and swagger of a solid rock ‘n’ roll foundation with a swoon-worthy dedication to the giddy, visceral thrill of pure pop pursuits. Shake Some Action is one of the defining albums of the genre, loaded with exquisite tracks–“I Can’t Hide,” “You Tore Me Down,” “Yes It’s True,” “I’ll Cry Alone,” and the nonpareil title tune–that shimmer with conviction and glory. Now and Jumpin’ In The Night have been less celebrated by pundits, but nonetheless gave the undeserving world such pop gems as “Good Laugh Mun,” “All I Wanted,” “Yes I Am,” “Tell Me Again,” and the magnificent “First Plane Home.”

A different line-up of the Groovies (still including Jordan and Alexander) emerged in the late ’80s, releasing the Rock Juice album in 1992 before returning to the shadows. Eventually, Cyril Jordan and George Alexander reunited with Roy Loney for live gigs as The Flamin’ Groovies. Chris Wilson even joined in for an encore at one show, an event that had once seemed, y’know, really unlikely. Credit to all parties for transcending the accumulated baggage of the past.

Both Jordan and Wilson remain in the current edition of The Flamin’ Groovies, and they released an album called Fantastic Plastic in 2017, 24 years after Rock Juice, 38 years after Jumpin’ In The Night. George Alexander plays on some of the album, but Chris von Sneidern has occupied the bass spot for recent live shows. Is this finally The Year Of The Flamin’ Groovies? No, it is not. And that’s okay. To fans, every year is another year of the Groovies. Let us bust out at full speed, ’cause love is all we need to make it all right.

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You can support this blog by becoming a patron on Patreon: Fund me, baby! 
Our new compilation CD This Is Rock ‘n’ Roll Radio, Volume 4 is now available from Kool Kat Musik! 29 tracks of irresistible rockin’ pop, starring Pop Co-OpRay PaulCirce Link & Christian NesmithVegas With Randolph Featuring Lannie FlowersThe SlapbacksP. HuxIrene PeñaMichael Oliver & the Sacred Band Featuring Dave MerrittThe RubinoosStepford KnivesThe Grip WeedsPopdudesRonnie DarkThe Flashcubes,Chris von SneidernThe Bottle Kids1.4.5.The SmithereensPaul Collins’ BeatThe Hit SquadThe RulersThe Legal MattersMaura & the Bright LightsLisa Mychols, and Mr. Encrypto & the Cyphers. You gotta have it, so order it here. A digital download version (minus The Smithereens’ track) is also available from Futureman Records.

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Boppin'

THE GREATEST RECORD EVER MADE: Ever Fallen In Love (With Someone You Shouldn’t’ve)?

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!

This piece is a modified version of what I wrote for This Is Rock ‘n’ Roll Radio when Pete Shelly passed away in late 2018, repurposed as a chapter for my forthcoming book The Greatest Record Ever Made! (Volume 1). Ultimately, however, the Buzzcocks chapter didn’t quite fit in with my plans for the book. It be that way sometimes. Nonetheless, the chapter is presented here for your enjoyment.
THE BUZZCOCKS: “Ever Fallen In Love (With Someone You Shouldn’t’ve)”
Single, United Artists Records [U.K], 1978

Singles Going Steady was my introduction to the music of The Buzzcocks. Although it was really just a compilation of the group’s singles, it was the first Buzzcocks album released in America. I cherished it from that day forward. “Ever Fallen In Love?” “What Do I Get?” “I Don’t Mind.” “Orgasm Addict.” “Love You More.” “Everybody’s Happy Nowadays.” “Harmony In My Head.” “Promises.” Classics, all of ’em. And that was just Side One!

I’m sure I read about the band before that visit to the record shop, but I can’t remember whether or not I’d heard any of the songs before snapping up my copy of Singles Going Steady. Either way, I knew: My music. My kind of record. My kind of band. Music firmly rooted in the example of the 1960s British Invasion, music that couldn’t have existed without British punk (and American Ramones) making it possible. 

Other than Steve Diggle’s “Harmony In My Head,” all of those amazing tracks on Side One of Singles Going Steady were written or co-written by Pete Shelley. Shelley and Diggle were inspired by The Sex Pistols, but informed by a working knowledge of hooks and harmonies, the power of pop, the sheer thrill of what a 45 rpm record could do when played loud, when played on the radio. Some called The Buzzcocks the punk Beatles. To me, another touchstone seemed closer to the mark: The Buzzcocks reminded me of The Kinks.

I can’t explain exactly why. Maybe it was a vague similarity in the quirky nature of the lead vocals. Maybe it was the shrugging off of any pretense of perfection, the casual embrace of its own ragged glory. For whatever reason: God save The Buzzcocks. Now and always, God save The Buzzcocks.

Although The Buzzcocks’ “What Do I Get” has shown up (incongruously) in American advertising–one still awaits the day when “Orgasm Addict” will appear in a TV commercial for ED drugs–the group’s signature tune has to be “Ever Fallen In Love (With Someone You Shouldn’t’ve)” (shortened to just “Ever Fallen I Love?” for the American LP). The song’s lyrics reflect a same-sex relationship, though the notion of falling in love with someone we shouldn’t have transcends the specifics of sexuality and gender politics. Few of us have been fortunate enough to avoid that trap entirely, to never find ourselves ensnared with a boy or a girl who ain’t nothin’ but trouble, however that trouble manifests its ornery self. The Buzzcocks’ recording is convincing and commanding, making what may be a really bad romance sound really good, at least on the stereo. Where it’s safe!

Ever fallen in love? With a guy or gal who just isn’t right for you, or perhaps with a style of music that will mark you permanently out with the in crowd? Testify, brothers and sisters. The pundits said punk wasn’t built to last. Pete Shelley passed away suddenly in December of 2018. The music outlasts us. It will outlive us all. It’s okay to fall in love with that.


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Pop-A-Looza TV

Cheap Trick / Dream Police

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Pop-A-Looza TV

Jude Cole / Baby It’s Tonight