An infinite number of tracks can each be THE greatest record ever made, as long as they take turns. I like that idea so much, I’ve been writing a book about it: The Greatest Record Ever Made! (Volume 1). The long-threatened book remains a work in progress, but what the hell. Work is progressing.

My first public announcement of my plan to do this book was waaaay back in September of 2018. The GREM! concept well predates that announcement, springing from a series of blog posts that commenced in 2016 with a celebration of Badfinger‘s “Baby Blue.” The first proposed Table of Contents was posted in April of 2019, back when I was only planning for the book to discuss a mere 50 songs. 

50…?! How quaint. It’s grown a bit since then. As of the last posted update in November of 2021, the book’s Table of Contents was a collection of 165 songs. It now stands at 175–170 selections plus five bonus tracks–and that’s probably where the number will stay.

The book’s current Table of Contents appears below. But before you dive in to experience its splendor, it’s worth repeating this caveat from one of the book’s introductory chapters:

“This specific disclaimer is worth highlighting in bold and all-caps: THIS IS NOT INTENDED AS AN EXHAUSTIVE LIST OF THE BEST RECORDS EVER MADE! Jesus, no! The chapters in this book cover a number of popular and personal favorites, but it’s nowhere near comprehensive, and it’s not meant to be. It’s a discussion and a celebration of pop’s infinite promise–nothing more, nothing less.”

Ready? Let’s GO!


Table of Contents


DISCLAIMERS AND DECLARATIONS (A User’s Guide To The Greatest Record Ever Made!)

A Fistful Of 45s

OVERTURE THE RAMONES: Do You Remember Rock ‘n’ Roll Radio?

1. BADFINGER: Baby Blue

2. CHUCK BERRY: Promised Land

3. DUSTY SPRINGFIELD: I Only Want To Be With You

4. THE SEX PISTOLS: God Save The Queen

5. ELVIS PRESLEY: Heartbreak Hotel


7. PATTI SMITH: Gloria

8. LITTLE RICHARD: The Girl Can’t Help It

9. NEIL DIAMOND: Brother Love’s Traveling Salvation Show

10. CRAZY ELEPHANT: Gimme Gimme Good Lovin’ 

11. WILSON PICKETT: In The Midnight Hour

12. THE HOLLIES: I Can’t Let Go


14. THE ROMANTICS: What I Like About You

15. SAM COOKE: Chain Gang

16. PETULA CLARK: Downtown

17. ARTHUR ALEXANDER: Soldier Of Love

18. TRANSLATOR: Everywhere That I’m Not

19. LESLEY GORE: You Don’t Own Me

20. THE SHANGRI-LAS: Leader Of The Pack

21. THE SHIRELLES: Will You Love Me Tomorrow

22. THE RAMONES: Sheena Is A Punk Rocker

23. AMY RIGBY: Dancing With Joey Ramone

24. PINK FLOYD: Wish You Were Here

25. GLADYS KNIGHT AND THE PIPS: Midnight Train To Georgia


27. MERLE HAGGARD: Mama Tried

28. THE TEMPTATIONS: Papa Was A Rollin’ Stone

29. BUDDY HOLLY: Peggy Sue/Everyday

30. ROBERTA FLACK: Killing Me Softly With His Song

31. JOHNNY NASH: I Can See Clearly Now

32. ELTON JOHN: Saturday Night’s Alright For Fighting

33. SUZI QUATRO: I May Be Too Young

34. ALICE COOPER: School’s Out


36. ARTHUR CONLEY: Sweet Soul Music

37. OTIS REDDING: (Sittin’ On) The Dock Of The Bay


39. THE MONKEES: The Girl I Knew Somewhere

40. THE MONKEES: Porpoise Song (Theme From Head)

41. PRINCE: When You Were Mine

42. THE 13th FLOOR ELEVATORS: You’re Gonna Miss Me

43. THE ROLLING STONES: Get Off Of My Cloud


45. BOB DYLAN: Like A Rolling Stone

46. THE KINGSMEN: Louie, Louie

47. BARON DAEMON AND THE VAMPIRES: The Transylvania Twist

48. THE MARVELETTES: I’ll Keep Holding On

49. THE WHO: I Can’t Explain

50. TODD RUNDGREN: Couldn’t I Just Tell You

51. SHOES: Tomorrow Night

52. THE FLASHCUBES: No Promise

53. TELEVISION: Elevation

54. DONNA SUMMER: I Feel Love


56. JUDAS PRIEST: Heading Out To The Highway


58. THE NEW YORK DOLLS: Personality Crisis

59. MILLIE SMALL: My Boy Lollipop

60. THE EASYBEATS: Friday On My Mind

61. IKE AND TINA TURNER: River Deep Mountain High

62. THE RONETTES: Be My Baby


64. BRUCE SPRINGSTEEN: Girls In Their Summer Clothes

65. KISS: Shout It Out Loud

66. THE LEFT BANKE: Walk Away, Renee

67. THE BAY CITY ROLLERS: Rock And Roll Love Letter


69. THE WONDERS: That Thing You Do!

70. THE GO-GO’S: We Got The BeatINTERLUDE The Tottenham Sound Of…The Beatles?!

71. THE DAVE CLARK FIVE: Any Way You Want It

72. JAMES BROWN: Please, Please, Please

73. GRAND FUNK: We’re An American Band

74. THE VELVELETTES: He Was Really Sayin’ Somethin’

75. THE FIRST CLASS: Beach Baby

76. THE ISLEY BROTHERS: Summer Breeze

77. THE RUBINOOS: I Wanna Be Your Boyfriend

78. THE PANDORAS: It’s About Time

79. THE MUFFS: Saying Goodbye

80. BIG STAR: September Gurls


82. LINDA RONSTADT: You’re No Good

83. P. P. ARNOLD: The First Cut Is The Deepest

84. THE NEW PORNOGRAPHERS: All For Swinging You Around


86. THE BEATLES: Revolution

87. YOKO ONO: Kiss Kiss Kiss

88. THE MC5: Kick Out The Jams

89. THE CHAMBERS BROTHERS: Time Has Come Today

90. MARVIN GAYE: I Heard It Through The Grapevine

91. SAMMY AMBROSE: This Diamond Ring

92. THE MYNAH BIRDS: I Got You (In My Soul)

93. RICK JAMES: Super Freak


95. THE FLAMIN’ GROOVIES: Shake Some Action

96. THE DANDY WARHOLS: We Used To Be Friends

97. THE CARPENTERS: Only Yesterday

98. MATERIAL ISSUE: Kim The Waitress

99. THE 5TH DIMENSION: Medley: Aquarius/Let The Sun Shine In (The Flesh Failures)

100. THE JACKSON FIVE: I’ll Be There

101. SLY AND THE FAMILY STONE: Everybody Is A Star

102. LOVE: 7 And 7 Is

103. THE BANGLES: Live

104. THE SEARCHERS: Hearts In Her Eyes

105. THE FLIRTATIONS: Nothing But A Heartache

106. THE SPINNERS: I’ll Be Around


108. THE PARTRIDGE FAMILY: I Woke Up In Love This Morning

109. EDDIE COCHRAN: Somethin’ Else

110. DAVID RUFFIN: I Want You Back

111. LED ZEPPELIN: Communication Breakdown


113. THE BANDWAGON: Breakin’ Down The Walls Of Heartache


115. DON HENLEY: The Boys Of Summer

116. THE CLASH: Train In Vain (Stand By Me)

117. BEN E. KING: Stand By Me

118. GENE PITNEY: Twenty Four Hours From Tulsa

119. RUFUS: Tell Me Something Good  

120. THE SPONGETONES: (My Girl) Maryanne

121. THE TRAMMPS: Disco Inferno


123. GRANDMASTER AND MELLE MEL: White Lines (Don’t Don’t Do It)

124. THE VELVET UNDERGROUND: I’ll Be Your Mirror

125. DEL SHANNON: Runaway

126. THE EVERLY BROTHERS: Gone, Gone, Gone

127. THE COCKTAIL SLIPPERS: St. Valentine’s Day Massacre

128. SAM AND DAVE: Soul Man

129. T. REX: 20th Century Boy

130. HEART: Kick It Out

131. THE RUNAWAYS: Cherry Bomb

132. AMERICA: Sister Golden Hair

133. THE KINKS: Waterloo Sunset

134. THE KINKS: You Really Got Me

135. HOLLY GOLIGHTLY: Time Will Tell

136. THE SMITHEREENS: Behind The Wall Of Sleep

137. THE COWSILLS: She Said To Me

138. ELVIS COSTELLO AND THE ATTRACTIONS: (What’s So Funny ‘Bout) Peace, Love And Understanding?

139. THE FOUR TOPS: Reach Out I’ll Be ThereINTERLUDE Old Time Rock ‘n’ Roll

140. THE BOB SEGER SYSTEM: 2 + 2 = ?

141. THE JIVE FIVE: What Time Is It?

142. LULU: To Sir, With Love [Museum Outings Montage]

143. FREDA PAYNE: Band Of Gold

144. THE CONTOURS: Do You Love Me

145. WHAM!: Freedom

146. THE COOKIES: Wounded

147. THE SUPREMES: You Keep Me Hangin’ On

 148. THE BEACH BOYS: God Only Knows


150. THE SELECTER: On My Radio

151. TRACEY ULLMAN: They Don’t Know

152. MANNIX: Highway Lines

153. THE DRIFTERS: On Broadway

154. FIRST AID KIT: America


156. SOLOMON BURKE: Everybody Needs Somebody To Love

157. THE JAM: That’s Entertainment

158. THE COASTERS: Yakety Yak

159. CHEAP TRICK: Surrender

160. TEGAN AND SARA: Walking With A Ghost

161. DAVID BOWIE: Life On Mars?

162. THE O’JAYS: Put Your Hands Together

163. THE GRATEFUL DEAD: Uncle John’s Band


165. EDDIE AND THE HOT RODS: Do Anything You Wanna Do

166. JOAN JETT: Bad Reputation

167. STEVIE WONDER: I Believe (When I Fall In Love It Will Be Forever)

168. MARYKATE O’NEIL: I’m Ready For My Luck To Turn Around

169. EYTAN MIRSKY: This Year’s Gonna Be Our Year

170. THE JAYHAWKS: I’m Gonna Make You Love Me

An Infinite Number

INTERLUDE Underrating The Beatles


ENCORE!! THE T-BONES: No Matter What Shape (Your Stomach’s In)

Cruisin’ Music

CODA THE RAMONES: Blitzkrieg Bop


Repeating the disclaimer
: These selections are not ranked in any way, and this is most definitely NOT intended as an inclusive list of the all-time best songs. There are an infinite number of worthy prospects; these are the one I choose to write about in The Greatest Record Ever Made! (Voume 1).

At this writing, the book is only two chapters shy of a complete first draft. The completed chapters total just under 153,000 words, though that tally may shrink once I start revising the text. It is certainly possible that I will make further changes to the Table of Contents, but this is getting closer and closer to the final line-up.

I hope to complete those two remaining chapters in short order. Then, I’ll finally get to the revision process, tightening the prose and reducing redundancies. Somewhere in there, I’ve gotta start looking for an agent.

I have a different book due out by the end of 2022, but the principal work for that one is already done. Which means it’s finally time for The Greatest Record Ever Made! (Volume 1)
Wish me luck.


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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
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I’m on Twitter @CafarelliCarl.


THE OTHER SIDE OF THE HIT (B-Side Appreciation): Take It Or Leave It

By Carl Cafarelli

Before mp3, CD, and cassette singles, a hit record was always a 45. The A-Side had the hit. The B-Side? Sometimes it was a throwaway. Sometimes it was something more.

THE BARBARIANS: “Take It Or Leave It”
Laurie, 1965; A-SIDE: “Are You A Boy Or Are You A Girl”

A rock ‘n’ roll paradox, impossible but true: a vulnerable swagger.

When one discusses ’60s garage or punk or vintage grungy nom du jour, one tends to focus on the surlier aspects. We don’t think of The SonicsThe Chocolate Watchband,or The 13th Floor Elevators as particularly tender souls. But there are certainly flashes and hints of a more fragile emotion within, say, “Sometimes Good Guys Don’t Wear White” by The Standells, and there are garage pop masterpieces like “It’s Cold Outside” by The Choir and “I Wonder” by The Gants. None combine pride and pathos with quite the effective passion of “Take It Or Leave It” by The Barbarians.

The Barbarians were a quartet from Cape Cod: guitarists Bruce Benson and Jeff Morris, bassist Jerry Causi, and drummer Victor Moulton, aka Moulty. Moulty had lost his left hand in an accident when he was 14, and his hook-handed percussion style served to emphasize The Barbarians’ badass image. In 1964, The Barbarians played in The TAMI Show–my choice for the greatest rock ‘n’ roll concert film ever made–alongside the likes of Chuck BerryJames BrownThe Rolling StonesThe Beach BoysThe MiraclesThe SupremesMarvin GayeLesley GoreGerry & the PacemakersJan & Dean, and Billy J. Kramer & the Dakotas. Within that stellar line-up, maybe the members of The Barbarians asked themselves the same rhetorical question much later asked by guitarist Lenny Haise of The Wonders in the 1996 movie That Thing You Do!How did we get here…?!

Or maybe The Barbarians didn’t ask that question. They were punks, after all. ’60s punks, sure, but punks nonetheless.

The Barbarians never had any really big hit records. Their debut single “Hey Little Bird,” which they performed on The TAMI Show, was a Stonesy slice of lasciviousness that did not dent the pop charts. Second single “Are You A Boy Or Are You A Girl” was their closest brush with success at radio and retail, a triumphantly sneering little number about not being able to tell the boys from the girls:

You’re either a girl or you come from Liverpool
(Yeah, Liverpool!)
You may look like a female monkey but you swim like a stone
(Yeah, a rolling stone!)
You may be a boy, but
You look like a girl

That was good enough for # 55 in Billboard, and it was far and away the biggest seller The Barbarians ever had. It’s rightly considered one of the defining classics of ’60s garage punk.

And I like its B-side even better.

It’s difficult to articulate the why of that. “Take It Or Leave It” (which is not the Rolling Stones tune with the same title) maybe isn’t all that distinctive as a song or as a performance. It’s a simple lament over a “Louie Louie”-inspired riff, a would-be lover’s last stand, as the singer pleads with the girl of his dreams to ditch her loser (but presumably moneyed) boyfriend and find true romantic happiness with a Barbarian instead. On “Take It Or Leave It,” the punk sheds his pride and begs:

I want you (I want you)
Whoa, baby
I need you (I need you)
I can’t stand this feeling of being alone
Got little to offer
But you got all that I own…
I ask you (I ask you)
Is it right? (Is it right?)
To laugh with me all day
And cry with him all night?
I’m promising you
A love guaranteed true
Diamond ring
Whoa, take it or leave it
Take it or leave it
Take it or leave it
(Take it! Take it! Take it! Take it!)
Take it or leave it

Okay, I guess he tries to grab back a bit of his pride with those last lines. But man, this guy has it bad for this chick, all but screaming in sheer desperation for the elusive validation of her love. Most of us have been there, or some approximation of there, regardless of gender. There’s that one guy or gal who means everything, but just can’t see what he or she means to you. If the situation isn’t quite universal, it’s pretty damned close.

My experience with this track was on a 45, playing loud and distorted the way a rock ‘n’ roll record oughtta. Subsequent reissues were namby-pamby by comparison, though a Barbarians CD compilation from the Sundazed label captures it pretty well. But that 45? It ached and pounded with passion unrequited. Even among the discerning few ’60s garage enthusiasts hip to The Barbarians, most would likely prefer the protopunk snarl of “Hey Little Bird” and “Are You A Boy Or Are You A Girl,” with an honorable mention for “Moulty,” the drummer’s musical story of persevering through the loss of his hand, a track immortalized by its inclusion on Lenny Kaye‘s seminal ’60s garage punk compilation Nuggets. I dig all of that, too. Still, my go-to Barbarians track remains “Take It Or Leave It,” a B-side that aspires to greatness, an all-or-nothing garage ballad that takes a leap for love’s brass ring with near-suicidal determination. Life. Love. Everything. Take it or leave it.

“Are You A Boy Or Are You A Girl” (D.Morris-R. Morris)
“Take It Or Leave It” (D. Morris-C. Clark)


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.

Pop Sunday

The Silvers / Back To Basics

The Silvers

Back To Basics (Revlis)

If you resided in Iowa during the seventies and were tuned into music, you were surely hip to Silver Laughter. The band kept incredibly busy on the gig circuit and released a couple of albums and a few singles. Although Silver Laughter’s vinyl efforts fell through the crevices  – but have recently been rediscovered and highly praised – their legacy as a great live act remained and they were inducted into the Iowa Rock and Roll Hall of Fame in 2014.

Silver Laughter retired as the seventies were winding down, but several years ago, vocalist and bassist Mick Orton revived the band’s spirit under the name The Silvers. Cemented by guitarist and vocalist Dain Bedford-Pugh, keyboardist, guitarist and vocalist Steve Farac, and drummer Carl Upthegrove, the Northern California-based band recently issued Back To Basics, which posts as their fifth full-length album.

Being the seasoned pros they are, The Silvers have absorbed a variety of sounds throughout the decades, while adeptly assimilating these influences into their own stellar material that continuously connects and flows. Masters of radio-friendly fare, the band floods Back To Basics with punchy and precise hooks, aided by snug and refreshing arrangements.

The first track on the album, Gravity, crackles to a subtle intensity tempered by steady and reassuring rhythms. Snappy drumming and a brief and bracing guitar solo also solidifies the REM-ish flavored cut. Threaded with the bouncy chime of an accordian, Nothing Left To Say glides in as a smooth and smart Merseybeat-styled winner, where Out Of This World also surveys the band’s prowess for crafting a perfect pop rock song.

Lush and breezy harmonies sharing similiar characteristics as the likes of The Beach Boys and America, are a common factor found on Back To Basics, which duly bodes well with the band’s melody-driven approach. And then there’s the polished textures and relatively jazzy perks of Stand Up and Stay With Me (This Is The Place), that combine Steely Dan ideals with a power pop awareness. 

Switching to different scenarios, The Silvers expose a taste for gritty garage rock on It’s Such A Shame and I’m Dancing is rooted in a funky boogie groove tinted with choppy Chuck Berry-inspired licks.

It’s every band’s dream to produce an album as enjoyable and accessible as Back To Basics. Simply stated, The Silvers write, play and sing songs that are so catchy you’ll be whistling them for days on end. Proving to be impressively prolific, the band is already working on their next album. 



An infinite number of rockin’ pop records can be the greatest record ever made, as long as they take turns. Today, this is THE GREATEST RECORD EVER MADE!


Can a pastiche touch the divine? Can a copy become more than it is? Can mere imitation transcend its mundane genesis, and live on its own as something great?

In rock ‘n’ roll? Yeah. It happens all the time.

“Beach Baby” was intended as commerce, not art. It conjured the classic, elegaic sound of The Beach Boys, without ever calling to mind any one specific Beach Boys track. Perhaps there were hints of “In My Room,” or “Don’t Worry Baby,” or “California Girls,” or other lush, luxurious, mid-tempo hits from the pride of Hawthorne, but we’re just grasping at straws in the sand to say so. Really, “Beach Baby” sounds like none of these. And yet it sounds like all of them, all at once. Gloriously, triumphantly, all at once.

And the record was made by a studio group, a band that didn’t exist. The lead voice belonged to Tony Burrows, an accomplished singer who had already graced the Billboard pop charts as the voice of Edison Lighthouse (“Love Grows [Where My Rosemary Goes]”), White Plains (“My Baby Loves Lovin'”), Brotherhood Of Man (“United We Stand”), and The Pipkins (“Gimme Dat Ding.”) Like The First Class after them, each of these combos was an imaginary entity; with the success of “Beach Baby,” Burrows earned the distinction of becoming the first and only artist to be a One Hit Wonder five times.

If that seems snarky, lemme assure it’s not intended to be. These were all bona fide hit records. Maybe I won’t have much to say on behalf of “Gimme Dat Ding,” but the other three were fine examples of pop radio songcraft. “Love Grows (Where My Rosemary Goes)” is still a staple of This Is Rock ‘n’ Roll Radio today. The relative anonymity of the principles takes nothing away from the quality of the work.

“Beach Baby” is the crowning achievement. Wafting breezily from AM radios across the country and around the world in 1974, it sounded almost–almost–like a lost hit from somewhere in the vast mobile pop terrain of 1963 to 1966. Yet it doesn’t really sound like a ’60s track, either. Its production, its spirit, its good vibrations were all audibly, palpably of the ’70s. It would have ultimately sounded weird, out of place, in between Jan & Dean and Sunrays hits on Your Fave Rave station in 1965. But in 1974, “Beach Baby” sounded like a welcome communique from a warmer, sunnier place.

And it was not Brianmania; it wasn’t The Beach Boys, but nor was it an incredible simulation. Burrows’ voice (or voices) didn’t sound at all like Brian Wilson or Carl Wilson or Dennis Wilson, not Al Jardine nor David Marks, and for damned sure nothing like Mike Love. No one with ears would mistake it for a Beach Boys record. But the homage was clear and true, the tribute seemingly sincere, the result unerringly effective and moving. It was sad, like a memory of summer love long gone. It was celebratory, like the songs shared as one by revelers gathered around the fire as the moon lit the sand, and the promises of the stars above were reflected in the irresistible spark you could swear you saw in the eyes of someone you just might want to love for ever and ever.

Long hot days
Cool sea haze
Jukebox plays
But now it’s fading away

It seemed so long ago, if it ever really existed in the first place. But it also seemed real and immediate, perhaps just beyond our ability to grasp and hold on, but with us still, with us always. Give me your hand, give me something that I can remember. The authenticity of its origin is immaterial. Brian Wilson himself is said to have been certain that The First Class was an American group, rather than a bunch of British session players channeling a mythic beach scene that never was. Just like before, we can walk by the shore in the moonlight. It may not be too late to fall in love, all over again.

Pop Sunday

Bill Lloyd /Working The Long Game

Bill Lloyd

Working The Long Game (SpyderPop Records/Big Stir Records 2021)

As one half of Foster & Lloyd, Bill Lloyd experienced a run of success on the country charts in the late eighties. Based in Nashville, Tennessee,  the acclaimed singer, songwriter and mercurial instrumentalist has further enjoyed a gratifying solo career as a pop rock artist.

Originally distributed by the SpyderPop label in the fall of 2018, Working The Long Game marked Bill’s ninth solo excursion. Earlier this year, SpyderPop joined forces with Big Stir Records, resulting in a partnership focusing on reissuing select albums, with Working The Long Game rolling in as the third release in the series.

 If there is any album worthy of a reprise, it is definitely Working The Long Game. Musically and lyrically, every song radiates spirit and substance. Bill’s lucid and lilting vocals, paired with in-the-pocket performances, equals dose after dose of melodious brilliance.

 A number of notable friends were also recruited to lend their craft to the sessions. Among these familiar figures are Cheap Trick bassist Tom Petersson, Freedy Johnston, Scott Sax of Wanderlust, Buddy Mondlock, Aaron Lee Tasjan, and Graham Gouldman, whose credits involve authoring hit singles for The Hollies and The Yardbirds, as well as playing in his own renowned bands, such as The Mindbenders, Hot Legs and 10cc

Guitars that simultaneously chime and crunch man the punchy Satellite, and the title track of the album shuffles to a merry vaudeville- inspired beat, which sounds kind of like a collaboration between The Kinks and Paul McCartney. A pinch of swagger and crackling power chords  stand as the engaging elements behind Yesterday, where the jagged riffage and rustling rhythms of Interrupted produces a bit of a funky tenor.

 Sealed to the seams with bracing hooks and a perky chorus, the slightly-country seasoned Make That Face, and the haunting glare of What Time Won’t Heal are additionally accented by sharp and spacious arrangements. Another attention-grabber on the album is the incredibly catchy Go-To-Girl, which romps to a youthfully exuberant bounce that crosses the sunny harmonies of The Beach Boys with the bright polish of The Smithereens

If you missed Working The Long Game the first time around, now is your chance to score a copy and sink your ears into a groovy guitar pop extravaganza. Nothing but the best is expected from Bill Lloyd, and here’s an album that delivers the goods on all counts.

By Beverly Paterson

Pop Sunday

Mike Browning / Class Act

Mike Browning

Class Act

At an age when most people are preparing to retire, Mike Browning launched a new career – as a recording star! The North Carolina based singer, songwriter and multi-varied instrumentalist’s debut effort – a six track EP aptly called Never Too Late –  was released in 2020, ensued  by a single, Another Bite At The Apple. Both of these endeavors received rave receptions, which duly celebrated Mike’s indelible talent for composing, arranging and playing hook happy pop rock to the hilt. 

However, Mike’s current collection – Class Act – was not intended to be an album. The project was initially conceived back in 2018, when Mike was enrolled in a recording and production program taught by Jamie Hoover of the famed Spongetones. Students were assigned to pick tunes of their choice to record, and the numbers on Class Act are those Mike selected. 

Exclusively covers, the material basically sticks to the same structure and tempo of the original recordings. But Mike’s bubbly harmony-laden vocals, attended by his earnest passion for the music, stamps a fresh feel onto the songs. 

Considering The Beach Boys are one of Mike’s key inspirations, it is only appropriate that Class Act opens the session with the sunshine-soaked doo-wop of Do It Again. In fact, the album focuses heavily on the sounds of the sixties. 

The Beatles are saluted on Norwegian Wood, while Picture Book by The Kinks, and the Spencer Davis Group’s keyboard-driven Gimme Some Lovin’ are also revisited in fine form. 

As well, the garage rocking (I’m Not Your) Steppin’ Stone – which was popularized by The Monkees and Paul Revere and the Raiders – and Just Like Romeo And Juliet from The Reflections, appear on the album. 

Then there’s a couple of Bob Dylan essays, which are delivered in the manner mainly recognized by the versions by The Byrds. Among these songs are the countrified You Ain’t Going Nowhere and the ringing folk rock of My Back Pages.  Further folk rock pieces include the quirky nursery rhyme prose of The Little Black Egg (The Nightcrawlers) and the bright and beautiful I’ll Never Find Another You, that The Seekers scored a hit with in  1965. 

XTC fans will rejoice when hearing Mike’s spot on treatment of the paisley-appareled Dear Madame Barnum, along with Tommy Tutone’s 867-5309/Jenny, which bounces to a cool new wave vibe.

It is a good thing Mike decided to make these cuts available. Lively and sparkling with enthusiasm, the album certainly deserves an A-plus. Class Act will tide us over until Mike’s next album of his own great songs rears its head. 


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.


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Pop Sunday

Richie Mayer / The Inn Of Temporary Happiness

Richie Mayer

The Inn Of Temporary Happiness

Back in the late seventies and early eighties, Richie Mayer fronted Loose Lips – a band that was a key component of the fertile Chicago music scene – and released a critically appraised EP called Hung Up On Pop.  After four decades of silence, Richie has surfaced with his first solo album, The Inn Of Temporary Happiness, which is nothing short of dazzling. 

A self-contained effort, the thirteen-track set flashes on the singer, songwriter and multi-instrumentalist’s flair for playing a mercurial selection of styles that skillfully results in a concerted collection. Richie’s poised and evocative vocals are also wide-ranging, encompassing pure pop, roots rock and even a touch of soul and progressive rock.

Picking up pointers from both The Beach Boys and Jellyfish, the cheery She Is Why  swirls with round and ripe melodies, complemented by a contagiously hummable chorus of “ba ba ba’s,” where the punchy Todd Rundgren influenced pop rock of You Don’t Get Me High Anymore is laced with a cool and breezy falsetto. 

Signing on as a prime demonstration of Richie’s gift for crafting enterprising hooks and arrangements is Dangerous Rhythm. The song starts off on a tick-tocking beat, then ultimately swells into a sampling of electrifying guitar flourishes and exciting orchestration altogether. 

As for the title cut of the album, a stately folk presence directs the course, and the frisky Sunshine Blues is simply a great pop song featuring radio-friendly assets by the pound. Get ready to click your heels and snap your fingers to the vaudeville inspired How Can I Leave When I’m Already Gone, while Sometimes I Feel Like I’m One Kiss Away plugs in as an epic performance, burning with power, heated emotions and cracking riffs. 

Additional attractions heard on The Inn Of Temporary Happiness are Love Will Find A Way and Warmth Of The Sun, but each number truly possesses its own pleasing personality. By melding conventional pop values with just the right balance of other assorted genres and left-field turns, Richie has fathered an album where not a single moment is wasted.

Now that The Inn Of Temporary Happiness is on the decks and gleaning rapturous reviews, perhaps such acceptance will encourage Richie to keep the creative juices flowing. To think we’ve been robbed of his talent for all these years is a real pity.  Not only should you buy a copy of The Inn Of Temporary Happiness for yourself, but purchase the record for your friends and family as well. 

Pop Sunday

JEM Records Celebrates Brian Wilson

Even those with a casual interest in music are aware The Beach Boys sit at the top of the totem pole, as one of the most successful and influential bands of all time. This year marks the sixty year anniversary of the birth of the band – which was founded by visionary leader Brian Wilson – and in honor of the milestone, JEM Records has put together a terrific tribute album starring a sea of familiar faces from the indie community.

 Although JEM Records Celebrates Brian Wilson mainly focuses on well-known songs rather than deep cuts, a fair share of these tracks are rendered in unique ways. As an example, The Weeklings turn in an a cappella adaptation of The Warmth Of The Sun, while their cover of Help Me Rhonda approximates a raspy-throated blues approach. Then there’s Nick Piunti’s gritty and grungy take of Hang Onto Your Ego and a loud and stomping version of Do It Again from The Midnight Callers

The Grip Weeds tackle the cartoonish progressive pop of Heroes And Villians with form and finesse before diving headfirst into the hard rocking intensity of Roll Plymouth Rock, then flipping the switch right back to Heroes And Villians again. 

Another left-field offering includes Lisa Mychols and the Super 8’s Pet Sounds (Story), which quotes lyrics from select Beach Boys songs over ethereal textures and spacey instrumentation. The Golden Needles additionally strive for the unusual, as the band plucked Love And Mercy from Brian Wilson’s 1988 self-titled solo album and expanded the piece into a big and bold production of polished pop glory.

The Anderson Council’s harmonious jangle of Girl Don’t Tell Me is nearly as good as the original recording, and Richard Barone’s delivery of the emotionally effective In My Room is highly impressive. Richard also teams up with Johnathan Pushkar on the perpetually perky I Get Around, and as for Johnathan himself, his reprises of the heart-tugging Please Let Me Wonder and the endlessly energetic Dance Dance Dance shine with reverence and enthusiasm.

 Albums such as JEM Records Celebrates Brian Wilson can be a challenge, especially when saluting a band as phenomenal as The Beach Boys. But here’s a homage that works by presenting both the expected and unexpected, not to mention a crew of artists whose respect and understanding of the music they’re playing can’t be denied. Long live The Beach Boys and these great musicians who contributed their talents to the album. 

Pop Sunday

The Palace Guard / All Night Long: An Anthology 1965-1966

The Palace Guard

All Night Long: An Anthology 1965-1966 (Omnivore Recordings)

 These days, The Palace Guard are either a footnote in history or primarily remembered as the band that included Emitt Rhodes on drums (later to be replaced by Terry Rae) who went onto front The Merry Go Round, then launch an influential and critically acclaimed solo career. But the Hawthorne, California based group actually enjoyed a great deal of regional stardom and deserved to be heard on a far wider scale.

The other original members of The Palace Guard were the Beaudoin brothers – John on vocals and keyboards, Don on vocals and rhythm guitar and  David on vocals and tambourine – along Mike Conley on background vocals, lead guitarist Chuck McClung and bassist Rick Moser. A job as house band at the Hullabaloo Club in Hollywood, complemented by appearances on local television programs, granted the group a high profile in and about the area.

During their tenure, The Palace Guard released half a dozen singles that were as solid as anything their chart-topping contemporaries were peddling. Each side of these forty-fives have been compiled onto All Night Long: An Anthology 1965-1966, which offers rare photos and liner notes by Rick Moser

Synchronized harmonies – couched in the  seam of The Beach Boys, The Beatles, The Beau Brummels and The Byrds – were  key compotents in the Palace Guard’s repertoire. Not only could these fellows carry a tune, but they proved to be quite a tight team in the instrumental department.

 As well, The Palace Guard had the initiative to pen a few of their own songs instead of relying on cover material, which was pretty much the norm for many bands at the time. Jingly guitars and plucky rhythms, magnified by a cute and chirpy chorus of “coochie coochie coochie coo,” energizes the insanely catchy All Night Long, while rolls of spinning carnival-styled organ chords underline Calliope and the moody Greed is peppered with exotic Middle Eastern psychedelic-scented motifs.

Also a self-composed piece, Oh Blue (The Way I Feel Tonight) possesses a curious appeal, touching on plaintive  teen idol crooning, shifting tempos, ringing folk pop and ending with a snappy Yardbirds– inspired rave up. 

Each song on All Night Long: An Anthology 1965-1966 has merit, but the crown jewel of the set is perhaps Falling Sugar.  Taking in The Palace Guard’s strong and melodious vocal prowess, a spirited arrangement, chiming licks a plenty, spiffy breaks and a dash of wheezy harmonica playing, the infectious cut fuses Mersey-minded pop instincts with West Coast folk rock sensibilities in an immediate and direct manner.

 Don Grady, who held the role of the eldest son on the hit TV show, My Three Sons, joined The Palace Guard on a pair of numbers – the breezy Little People and the Tijuana Brass flavored Summertime Game, where an adaptation of Wilson Pickett’s If You Need Me examines the band laying down a slow burning soulful groove. Authored by future Bread master David Gates, the bouncy Saturday’s Child is no stranger to fans of sixties music, as the version by The Monkees is the one that we’re familiar with.

 In an alternate galaxy, The Palace Guard would have seized the airwaves with their hooky singles. But good songs refuse to die, and All Night Long: An Anthology 1965-1966 contains such evergreen entries. There’s no doubt this fine collection will spark a renewed interest in The Palace Guard.