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Boppin'

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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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.

Categories
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! 

Categories
Pop Sunday

Star Collector / Game Day

Star Collector

Game Day (Clockwise)

https://starcollectorcanada.bandcamp.com/album/game-day

After a fifteen year sabbatical from recording, Star Collector are back on board and sound better than ever. Weighing in as the Vancouver, Canada band’s fifth album, Game Day picks right up where these guys left off, meaning listeners are in for yet another exciting expedition of dashing pop rock performed at a high-octane level.

Since their inception in 1996, Star Collector has met a variety of personnel changes. The current version of the band features lead singer, songwriter and guitarist Vic Wayne, lead guitarist and vocalist Steve Monteith, bassist and vocalist Adam East and drummer and vocalist Adrian Buckley

Dominated by the hot roar of soaring guitars, beefy drum beats and charismatic vocals blooming with melody and might, Game Day consistently reveals Star Collector’s astounding dynamics and ability to operate in an extra sensory perception manner. Astronomical choruses, supported by ribbons of rich and robust hooks are additional principal factors bedded into the songs.

Star Collector’s single-minded intensity arrives in full force on cuts like the title track of the album, the swaggering sneer of Rip It Off, the heavy-handed Super Zero Blues, Green Eyes and The Silent Type.  For a brief moment of quiet and solitude, there’s Hook, Line & Singer, which is acoustic-based.

Think the arena rock flash of The Who and Cheap Trick, layered with the Britpop of The Jam and Oasis, and that is basically where Game Day is at. Not a bad thing at all, especially when considering Star Collector has both the motivation and energy to make their songs fresh and imaginative. Well-oiled and sizzling with rockstar attitude, Game Day is a power chord fan’s ticket to the promised land. 

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Boppin'

Les McKeown (1955-2021): The Voice Of The Bay City Rollers

Former Bay City Rollers lead singer Les McKeown passed away in April of this year. This memorial piece originally ran at BOPPIN’ (LIKE THE HIP FOLKS DO) on April 23, 2021.

Les McKeown, lead singer for The Bay City Rollers during their 1970s hitmaking heyday, has died at the age of 65. I was and remain an unapologetic fan of the Rollers’ uptempo material; I like a lot of the stuff the Rollers did when McKeown was a member, and I like a lot of what they did after he split from the group in ’79. I don’t have a specific eulogy to offer for McKeown, but I find myself thinking back now on some of what I’ve previously said on this subject of The Bay City Rollers.

My first feature article for Goldmine was a Rollers retrospective called “Rollermania: A Hard D-A-Y’s Night.” The article was published in 1987, and much later updated for the 2001 book Bubblegum Music Is The Naked Truth  (as seen here). When I was in high school, I had a vague fantasy about trying to write a Bay City Rollers movie. More recently, I’ve had a slightly more concrete fantasy about trying to write a book called The Greatest Record Ever Made! (Volume 1), which would include a chapter about the Rollers’ “Rock And Roll Love Letter;” I also made a video about that chapter. 

For all that, I don’t feel that I have anything fresh to add now about McKeown’s life, career, and body of work. Here’s what I’ve had to say in the past about a few of The Bay City Rollers’ songs:


THE BAY CITY ROLLERS: Saturday Night

Never feel guilty for digging a pop song. I reject the ludicrous notion of guilty pleasures in music; you either like something or you don’t like something, and no amount of misplaced hipsterism should be allowed to alter that. Stand your freakin’ ground, and dig what you dig.

I dig The Bay City Rollers. I pretty much always have, at least once I got over the absurdity of them being hyped as the next Beatles. As a teen, I owned the Rollers’ “Rock And Roll Love Letter” and “Saturday Night” 45s. I did not care whether or not my peers approved of the choice. Guilty? Not me, man–your rules do not apply.

THE BAY CITY ROLLERS: Wouldn’t You Like It

When I was in college in the late ’70s, I had a friend named Jane, who was a DJ on the Brockport campus radio station. We hung out together a few times, including one night when I kibbitzed with her in the studio while she did her radio show. And I requested one specific song….

By the end of the Me Decade, former teen idols The Bay City Rollers were persona non grata to the buying public, an embarrassing relic of adolescence for those (mostly female) fans who’d outgrown their puppy-eyed crushes on this Tartan-clad combo. And most music lovers who identified as older, male, hipper, and/or more mature just despised the Rollers all along.

But not me. Once I learned to ignore that ludicrous “next Beatles” notion, I found that I liked some of the Rollers’ records just fine, thanks. I was especially taken with “Rock And Roll Love Letter” and “Yesterday’s Hero.” When I became aware of the notion of power pop, I was delighted to learn that the writers of Bomp! magazine included The Bay City Rollers as at least a tangent to that discussion.

I saw the Rollers lip-sync an album track called “Wouldn’t You Like It” on the Midnight Special TV show, and I was instantly captivated by its power-chord riffs, chugging rhythm, and sheer overall oomph. My interest in the Rollers wasn’t then sufficient to prompt me to buy many of their records, but my girlfriend’s pal Debi was an unrepentant Rollers fan; she had the Rock And Roll Love Letter album, and played “Wouldn’t You Like It” for me. Man, what a great track.

So some time later, when I was chilling with miamiga pequeña Jane as she did her radio show, I bugged Jane to play “Wouldn’t You Like It.” Bugged. Begged. Pestered. Pleaded. No, Carl!, she insisted, I’m not playing the freakin’ Bay City Rollers on my show! She finally relented just to shut me up. The song played…and, to her surprise, she liked it, and said so on the radio. Gotta give her credit for that. She went so far as to say that if the Rollers had just come along a couple of years later than they did, they would have been considered part of the new wave.

 It’s been more than forty years. We were pals, and we parted as pals. I still think of Jane whenever I play that song, a Bay City Rollers album track that illustrated the transcendent value of ignoring prejudices, and embodied the enduring strength of friendship. And I dedicate the song once again, as I did on the radio just the other night, to an old comrade. This one goes out to my friend Jane, wherever she is. Thanks again, my friend.

THE BAY CITY ROLLERS: Sweet Virginia


By 1977, teen idols The Bay City Rollers were nearing the end of their hitmaking tenure, but not quite done yet. The It’s A Game album yielded the Tartan-clad group’s final American radio hits, “You Made Me Believe In Magic” and “The Way I Feel Tonight.” I recall my friend Dan Bacich being amazed that a group like the Rollers (whom he normally detested) was capable of making a record he liked as much as “You Made Me Believe In Magic.”

Me, I liked the Rollers’ earlier hits just fine, and thought the new stuff okay, too (if nowhere near as pleasingly exuberant as the previous year’s “Rock And Roll Love Letter”). The album as a whole seemed like an attempt to groom a slightly more mature BCR audience, though our Rollers may have been undecided about exactly what kind of mature audience to target. MOR? Disco? The rock crowd, via a cover of David Bowie‘s “Rebel Rebel?” Album track “Sweet Virginia”‘s tragic tale of a young lesbian taking her own life (Was it really such a crime, to be lovin’ your own kind?) is certainly grown-up in its subject matter, its sprightly, boppin’ arrangement providing an odd juxtaposition with its downbeat storyline.

The Bay City Rollers’ next album didn’t sell, and they wound up hosting a Saturday morning kiddie TV show. The mature audience didn’t materialize.

THE BAY CITY ROLLERS: Yesterday’s Hero

We want the Rollers! We want the Rollers!Released late in 1976, The Bay City Rollers’ single of “Yesterday’s Hero” did not match the American chart success of “Saturday Night,” “Money Honey,” “Rock And Roll Love Letter,” or “I Only Want To Be With You,” missing the Top 40 and peaking at a mere # 54 in Billboard. Nonetheless, I’d rate

“Yesterday’s Hero” with “Rock And Roll Love Letter” and an LP track called “Wouldn’t You Like It” as the best of The Bay City Rollers, vibrant proof that the Tartan-clad poster boys were capable of transcending their teenybop image and delivering genuine, exciting power pop. 

In ’76 and early ’77, I wasn’t aware of the phrase “power pop,” which had been coined by The Who‘s Pete Townshend in the ’60s but was not yet a part of the everyday rock ‘n’ roll lexicon. I heard “Yesterday’s Hero” on WOLF-AM in Syracuse, and I loved it. I was in a transitional period, just starting to transfer my allegiance from AM Top 40 to the wider rock ‘n’ roll vistas of album-rock WOUR-FM. I didn’t know that George Vanda and Harry Young, the authors of “Yesterday’s Hero,” had been members of 1960s Australian pop gods The Easybeats, nor that they had written The Easybeats’ signature hit “Friday On My Mind.” In fact, I didn’t know The Easybeats or “Friday On My Mind” at all; that knowledge would come later. I just knew there was a song on the radio that deserved to be on the radio, but that it disappeared from radio almost immediately.

 I was a senior in high school. Boys weren’t supposed to like The Bay City Rollers, and I don’t think that girls my age were much interested in the Rollers by that point; although the group would bounce back with two big hits in ’77 (“You Made Me Believe In Magic” and “The Way I Feel Tonight”), they were themselves about to become yesterday’s heroes.

We don’t wanna be yesterday’s hero.Not me. Not yet. As I turned 17 in January of ’77, I was already tired of people trying to tell me what I could or couldn’t, should or shouldn’t. Piss off. Whether it was superhero comics or oldies records, The Monkees or The Marx BrothersMarilyn Chambers or Suzi Quatro, if I was into something, the matter wasn’t up for debate. Dig what you dig. AM and FM influences would merge and converge. Catchy singles. Deeper cuts. Varying styles. Folk. Prog. Bubblegum. Metal. Soul. Punk. 
And power pop. We don’t wanna be yesterday’s hero. Haven’t I seen your face before? We want the airwaves. We want the Rollers. When we walk down the street, tomorrow’s gonna take yesterday along for the ride.

 It had better. If it knows what’s good for it.

Rest in peace, Leslie.


TIP THE BLOGGER: CC’s Tip Jar!

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

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

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

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

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

I’m on Twitter @CafarelliCarl.

Categories
Pop Sunday

Bruce Moody / Forever Fresh

Bruce Moody

Forever Fresh! (Counterfeit Records 2020)

https://brucemoody.bandcamp.com/album/forever-fresh

 
Vocalist, songwriter and multiple-instrumentalist Bruce Moody began his professional music career as a teenager in the late sixties. Circus, Walkee Talkee and The Private Numbers are just a brief mention of some of the bands he performed with. His resume further entails a solo career, recording at Norm Petty’s legendary studio in Clovis, New Mexico, and session work with Willie Nelson and Mickey Gilley.

Bruce retired from music in 1991 to raise a family, but was never forgotten by his devoted legion of fans. So here it is, three decades on, and Forever Fresh!, a collection of  predominately previously unreleased material from 1979 to 1986 is now available. Bruce’s good friend Terry Carolan – who most of you know from bands like True Hearts, Blue Cartoon and Heirs Of Fortune – assisted in the remastering of the project and appears on a handful of songs.

 Had these tunes been issued at the moment they were produced, there is no doubt they would have volleyed straight to the top of the charts. Bruce’s pitch perfect pipes, matched by plump and pealing guitar chords and clusters of clasping hooks, encompass everything there is to love about classic AM radio. Solid compositional techniques, and the ability to deliver the songs with confidence and conviction also smack of star quality.

 A high energy expedition from start to finish, Forever Fresh! is the kind of album begging to be listened to at maximum volume when cruising the sights on a warm.and sunny Sunday afternoon with the windows wide open. Be it the aching bounce of This Is It, the slapping groove of Survival or the purebred power popping punch of glistening gems such as Don’t Look Back For Me, One Desire and Simple Love, you’ll find yourself humming along with happiness. 

Etched of rounded rhythms, jarring breaks and levitating harmonies, both You Do and Gotta Move Away echo the early efforts of The Who, the finely textured Rainy Day shifts and swerves with ravishing melodies, and Terminally Hip features a jumpy tenor and concludes to a nice little rocking jam.

 Due to the period the songs on Forever Fresh!  were conceived, new wave elements – involving tottering keyboards and a sheen of polish – are additionally part of the program. Following the scriptures of The Rubinoos, The Knack and The Romantics, Bruce wedded his passion for sixties pop to a modern edge, leading towards a repertoire of enduring and exciting sounds. Considering the positive response Fresh Forever! has received, perhaps a fire has been lit under Bruce and we can expect more great music from him in the near future. 

Categories
Boppin'

He Buys Every Rock ‘n’ Roll Book On The Magazine Stands, Part 3: Power Pop Means Pop With POWER! (Not some whimpering simp in a Beatles haircut)

Continuing a look back at the rock magazines I used to read. Part 1 is here, Part 2 is here.

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’m not certain where I first heard this “power pop” phrase. It was coined in 1967 by Pete Townshend to describe his music with The Who: “Power pop is what we play–what The Small Faces used to play, and the kind of pop The Beach Boys played in the days of ‘Fun, Fun, Fun,’ which I preferred.” When the late night NBC talk show Tomorrow did a spotlight on punk rock in October of 1977 (with guests Joan Jett of The Runaways and Paul Weller of The Jam), host Tom Snyder prefaced the discussion by noting that, “This is called punk rock, and is also called new wave music, street rock, or power pop.” I betcha that was my introduction to the term. Roughly contemporary to that, a section in The Record Grove in Brockport (then managed by Bill Yerger, soon to open his own great store Main Street Records) was devoted to this strange noise, and the divider for that section said something like “PUNK, New Wave, Garage, Power Pop, Etc.” In January of 1978, I saw my first Flashcubes show; at the time, I thought The Flashcubes were punk, and I thought they were fantastic. I didn’t know they were power pop. I didn’t know what power pop was.

That specific revelation came in March of 1978.

Bomp! magazine was the brainchild of Greg Shaw, whose work I’d already seen in Phonograph Record Magazine (the rock tabloid that hooked me on the notion of punk rock to begin with), and in the sumptuous liner notes package for the way-fab 2-LP collection History Of British Rock Vol. 2. By ’78, Shaw was ably assisted on Bomp! by a writer named Gary Sperrazza! (always with the exclamation). Sperrazza! rarely gets the credit he deserves in the power pop story, but he was just as essential as Shaw in making Bomp! such a compelling and influential read. Nowhere was that impact more evident than in Bomp!‘s March ’78 issue. The eighteenth issue. The power pop issue.

As noted above: REVELATION!!
Jesus, this wasn’t a rock mag; it was a manifesto, pop advocacy journalism unlike anything I’d seen before. Shaw and Sperrazza! saw power pop (referred to in Bomp! as the single word “powerpop”) as a distinct genre, not a mere reaction or marketing term. They traced the origin of power pop squarely to The Who, and included other dynamic ’60s acts like The Kinks, Small Faces, and Creation (the latter a group I’d not heard of before that point). It continued into the ’70s, with The Raspberries (whom Gary ‘n’ Greg obviously considered the definitive power pop act), The Flamin’ GrooviesThe Dwight Twilley Band, some scattered tracks by The Bay City Rollers, and even into some of the then-current punk stuff like The RamonesEspecially The Ramones! Many years later, when I corresponded with Shaw, he reiterated his belief that you couldn’t conceive of something called “power pop” if it didn’t include “Rockaway Beach” by The Ramones.

Bomp!‘s view of the power pop equation was simple and evocative: the punk of The Sex Pistols plus the bubbly pop of teen idol Shaun Cassidy equals the power pop sound of the early Who. Shaw and Sperrazza!’s power pop timeline specifically excluded The Beatles and Eddie Cochran, whose records they felt lacked the prerequisite explosiveness, and The Rolling Stones, whose records were more plainly grown from R & B roots. The magazine also included coverage of British glam/glitter (seen as a complement to power pop), and a history of some group called Big Star. Hmmm. Never heard of them. But that would change. Man, would that ever change!

Around this time, “power pop” was also beginning to gather momentum as a marketing term, an opportunity for skittish record-label weasels to offer a diluted form of punk energy in an inoffensive package. It was a million miles away from what Bomp! was preaching. It manifested in bands like The Pleasers, a British combo that looked like a pub-tour version of Beatlemania! I liked The Pleasers, and their records deserve better than just being slagged for not being The Who, The Raspberries, or The Ramones. But they didn’t meet the dynamic ideal of Bomp!‘s power pop vision. Shaw and Sperrazza! pushed back at this co-opting of power pop, Sperrazza! sneering in a subsequent issue, “After all, power pop means pop with POWER! Not some whimpering simp in a Beatles haircut.”

Nonetheless, the moneychangers won this battle with the prophets. The moneychangers gave us The Knack, not that there’s anything wrong with that. The prophets moved on to other things.

Bomp! magazine predated the ’70s discussion of power pop. It had begun in 1970 as Who Put The Bomp, itself an outgrowth of an earlier Shaw zine called Mojo Navigator And Rock ‘n Roll NewsWho Put The Bomp evolved from fanzine format into a slick rock mag, and its focus shifted slightly from a longing look at rock’s past to a more active inclusion and appreciation of ’70s acts that likewise embraced the glory (and lessons) of the ’60s. The Flamin’ Groovies were the first then-contemporary group to grace the cover of Who Put The Bomp (for its thirteenth issue in ’75). Cherie Currie of The Runaways was on the cover of Who Put The Bomp # 15. The magazine’s name was shortened to Bomp! with issue # 16, showing Brian Wilson on the cover. Sperrazza! joined the crew in time for Bomp! # 17, which arrived with the glowering visage of The Sex Pistols’ Johnny Rotten grimacing from its face, a sign that evolution was becoming revolution.

The magazinedidn’t last much longer than its power pop manifesto in Bomp! # 18. Joey Ramone was on the cover of  # 19, but I missed it. I scrambled back to buy it via mail order when I discovered it had featured a short blurb about my Fave Raves The Flashcubes, and I hadda have that! Shaw, in fact, inspired The Flashcubes’ second single, Gary Frenay‘s “Wait Till Next Week.” Shaw had told the lads they would be mentioned in the next issue of Bomp! Time passed, and the issue did not appear, as Shaw kept promising “Wait ’til next week!” An alternate line in the song (as performed live, not on record) addressed that inspiration:

Greg Shaw writes about the music scene
Told us that he’d put us in his magazine
Three months later, it’s nowhere to be seen
He says, “Why don’t you call me next week?”

I was able to grab the next two issues at Main Street Records, content and engaged, still eager for more from what had clearly become my favorite rock rag. But that twentieth issue in 1979 was it; a planned Bomp! # 21 was never published. The beat would not go on.

Well, the beat wouldn’t go on in print, at least not in the pages of Bomp! However, Shaw had started an indie label, Bomp Records, a few years before that, commencing with a Flamin’ Groovies 45 in 1975. The label outlived the magazine, and released a number of incredible singles and LPs by the likes of The RomanticsThe LastNikki & the CorvettesStiv Bators, and The Plimsouls. Somewhat soured by the power pop implosion, Shaw’s interest moved to neo-’60s garage, an interest served by his new label, Voxx Records. By the time of my brief correspondences with Shaw in the ’90s, power pop had long since fallen off his radar. (My email interviews with him were an invaluable resource in crafting my history of power pop, The Kids Are Alright!) Shaw passed away in 2004. The Flashcubes happened to be playing a show that night. I informed them of Shaw’s death, and they played “Wait Till Next Week” as a tribute, its original line about Greg Shaw intact. One more time.

Greg Shaw did get a little bit of recognition for the influential work he did. I don’t believe Gary Sperrazza! ever received his just due. I met Gary when I lived in Buffalo in the mid ’80s (a tale told within a longer reminiscence called The Road To GOLDMINE). That seminal power pop issue of Bomp! had also detailed Gary’s pervasive interest in soul and funk, asking that musical question, “Where are the Sex Pistols of black music?” So it was no surprise when Gary opened a record store specializing in soul, funk, R & B, and hip-hop, Apollo Records on Elmwood Avenue in Buffalo. Apollo also had a back room well stocked with choice garage, rock, and pop platters, so I visited often. Gary died in that miserable year of 2016. I regret he never got the credit he deserved in the power pop story.

Greg Shaw
Gary Sperrazza

Bomp! magazine was about much more than just power pop. It’s an ongoing testament to the sheer prevailing whomp of that lone power pop issue of Bomp! that the magazine remains so umbilically connected to the discussion of all loud things that jangle, buzz, and chime. More than anyone else before or since, Greg Shaw and Gary Sperrazza! defined the parameters of power pop. Many others (me included) have tried to refine the subject, sharpen its definition (and expand it just enough to include The Beatles, ferchrissakes). But no one did it better than Bomp!

Nowadays, our weekly radio show This Is Rock ‘n’ Roll Radio with Dana &Carl  has a nominal power pop format, but we mix Motown and punk with our “September Gurls” and “Go All The Way.” As much as I love power pop, and as much as I want its definition to be clear and distinct, I have absolutely no interest in doing a strictly power pop show. What fun would that be? A more general rockin’ pop framework is way more interesting to me, with The Isley Brothers flowing into The RubinoosThe Velvet UndergroundP. P. ArnoldBadfinger, and KISS. Even though we don’t always remain within the criteria of power pop, we call ourselves a power pop show anyway.

Why? Because power pop means pop with powerBomp! said so. Don’t argue with Bomp!

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Boppin'

THE EVERLASTING FIRST: Not Brand Echh

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. It’s separated here for convenience.
Never underestimate the transcendent power of just being silly.

When you’re a kid, “funny” and “silly” are pretty much the same thing. As we mature, our sense of humor may expand to embrace wit, sarcasm, irony, the sardonic, the acerbic, the caustic, the blackest of black. But if we retain some lasting connection to the inner child that understands how to have fun, we may also retain a fondness for broad slapstick, painful puns, exuberant goofiness, and the thrill of inane, delirious giggling. Silly is eternal. Silly is immortal. Silly can help to keep us young.

Most American kids in the ’60s and ’70s read Mad magazine at some point. Mad was more than merely silly; it was funny, and it occasionally achieved fleeting brilliance. It was also silly, willfully so. That anarchic, chaotic spirit was flashy, infectious; it inspired many, many attempts at the sincere flattery of imitation. Brilliance is difficult to copy convincingly. But silliness? Silliness is easy.

Not Brand Echh was brilliantly silly.

In 1967, the growing success of Marvel Comics continued to gather steam. Marvel had begun the ’60s as a lower-tier comics publisher; it would be the undisputed # 1 by the early ’70s, and it would never look back. As Marvel sought to expand its line, writers Roy Thomas and Gary Friedrich suggested to Stan Lee the idea of a book devoted to parodies of other comics. Thomas and Friedrich wanted to channel the freewheelin’ free-for-all of the earliest issues of Mad in the ’50s, when Mad was itself still a color comic book needling other comics in such classic stories as “Superduperman,””Batboy And Rubin,” “Melvin Of The Apes,” and “Starchie.” They chose the name Not Brand Echh, utilizing Stan Lee’s familiar twist on the dismissive phrase “Brand X” when referring to other comics publishers, and pitched it to Stan as a series of take-offs on DC ComicsGold Key, and other four-color rivals. Lee insisted that the book needed to parody Marvel’s own line instead, but the concept was otherwise a go. With the tag line “Who says a comic book has to be GOOD??,” Not Brand Echh # 1 hit the stands with a cover date of August 1967.

The first issue’s dynamic and silly Jack Kirby cover subtly recalled the cover of Mad # 1 from 1952 (perhaps the only time anything was ever subtle in Not Brand Echh). It depicted The Fantastic FourThe Silver Surfer, the evil Dr. Doom, and a random scared kitty cat recoiling in horror before the advancing figure of Forbush Man, a Marvel in-joke based on the supposed mishaps of a hapless, fictional Marvel staffer named Irving Forbush. Ol’ Irv was a fixture of Stan Lee’s fan-friendly Bullpen Bulletins and Stan Lee’s Soapbox hype pages in all of the Marvel books, regular features that did as much to sell the Marvel image to eager acolytes as the stories themselves did. Turning Irving into a costumed figure–albeit one who appeared only on the issue’s cover–conveyed the message to Marvelites that this new book was guaranteed good fun for you, the discerning True Believer in this, The Marvel Age Of Comics. Excelsior!

Inside, Lee and Kirby parodied their own work, as The Fantastical Four tangled with Doctor Bloom and the stolen cosmic power of The Silver Burper. Subtlety? No time for that now! This was the broadest of broad humor, the artwork loaded with sight gags and chicken fat, the script laden with strained puns and wordplay. It was certainly silly. And, to a kid like me, it was freakin’ hilarious.

But I didn’t catch up to it until later. I may have seen Marvel’s house ads for the first issue, but I don’t recall seeing either the first or second issues on the racks at the time of their publication. The first issue I remember seeing was # 3, sitting on the spinner at Sweethearts Corner in North Syracuse, its cover hawking parodies of The Mighty Thor (“The Mighty Sore!”), Captain America (“Charlie America!”), and The Incredible Hulk (“The Inedible Bulk!”). I was probably intrigued, and also likely confused. I put it back on the spinner, and bought DC’s The Spectre instead. I couldn’t risk wasting my twelve cents on this uncertain tomfoolery, could I?

Could I?

Well, maybe I could. The image of Not Brand Echh stayed in my mind. When the fourth issue appeared at Sweethearts the following month, I was ready to take the ever-lovin’ plunge, make that furshlugginer leap of faith.

Silly. And absolutely captivating to this seven-year-old.

With a theme of “The Bad Guys Win!,” this issue showed off-kilter versions of Marvel heroes Daredevil (Scaredevil), Sub-Mariner (Sunk-Mariner), and The X-Men (The Echhs-Men, of course) being defeated by their arch-enemies, cracked view reflections of Electro (Electrico), Warlord Krang (Krank), and Magneto (Magneat-O). The humor was broad, manic, fast-paced, and as far removed from subtlety as The Three Stooges from The New Yorker. It made me laugh, man.

I missed the next two issues of Not Brand Echh (including the debut of the now-hyphenated Forbush-Man as a character [rather than just a cover joke] in NBE # 5), and returned for the seventh issue’s hysterical betrayals…er, portrayals of the origins of The Fantastical Four and the Distinguished Competition’s Stuporman. References in the latter story to DC’s Mort Weisinger and E. Nelson Bridwell (Mort Wienieburger and Birdwell) sailed over my head faster’n a speeding bullet, but were still funny, just ‘cuz. I was particularly taken by the image of a window washer who looked a lot like Ringo Starr, gazing up and shouting, “Look! Up in the ever-lovin’ sky! It’s a goony-bird! It’s a Jefferson Airplane! Naw! It’s nothin’ but Stuporman. Him we gotta look at every day. I wuz hopin’ it wuz maybe a goony-bird!”

Forbush-Man returned in the next issue, chronicling his efforts to join a super team, and getting into misadventures with The Flighty RevengersKnock Furious and the Agents Of S.H.E.E.S.H., and The Echhs-Men. On that issue’s final page, a dejected Forbush-Man decided that no really famous group would ever want him as a member, and so he walked away from a chance to join The Beatles. This was, incidentally, the first time I recall ever seeing The Beatles in their Sgt. Pepper’s Lonely Hearts Club Band garb. The story concluded with the nonsensical moral, “The Byrds in the hand are worth The Who in the bush!” Awrighty….

Not Brand Echh switched to a 25-cent Giant format with its ninth issue, and expanded its scope to lampoon movies (Boney And Claude) and TV shows (The Mean Hornet), as well as Archie comics (“Arch And The Teen-Stalk”) and the familiar Marvel parodies (The Inedible Bulk versus The Sunk-Mariner, and Captain Marvin). But for me, the best was yet to come.

Best?

Worst!

It took two chapters (here and here) in my ’60s memoir Singers, Superheroes & Songs On The Radio to recount my memory of 1968.  Comic books were among the highlights of ’68 for me, and one of those highlights was Not Brand Echh # 10. For this was an all-reprint issue, The Worst Of Not Brand EchhWith this blockbuster, I had the chance to catch up on some of the Brecch blechh I’d missed: The origin of Forbush-Man! Spidey-Man versus Gnatman and Rotten the Boy Blunder! The origins of Charlie America and Mighty Sore! Knock Furious versus The Blunder Agents (my first vicarious exposure to The T.H.U.N.D.E.R. Agents)! There was only one story I’d seen before, The Ecchs-Men versus Magneat-O tale from NBE # 4, which I appreciated here like a reunion with an old friend. But the prize among prizes for me was “The Silver Burper!” from Not Brand Echh # 1.

For this inaugural Not Brand Echh story, Stan Lee and Jack Kirby pulled out all the stops for a jackhammer take-off on their own epic Fantastic Four classic, wherein the unspeakably evil Dr. Doom appropriated The Silver Surfer’s power cosmic. Chicken fat sight gags and goofy side comments pummeled the reader mercilessly, and I would recite many of the lines for decades thereafter. I can rule the world! The universe! DISNEYLAND! Or, How joyfully he frolics and gambols in the noonday sun! Such innocence should be rewarded! SHOOT HIM!
And, of course, my favorite of all–this exchange between Mr. Fantastical and Dr. Bloom:

DR. BLOOM: I have far more power than you!

MR. FANTASTICAL: But I know more big words!

DR. BLOOM: But I can SPELL them better!

MR. FANTASTICAL: My hair is wavier!

DR. BLOOM: My nose is shinier!

DR. BLOOM: I own a hundred suits of armor!

MR. FANTASTICAL: I own a hundred pairs of stretch socks!

DR. BLOOM: I’m the boss of a whole complete country!

MR. FANTASTICAL: I own a hundred pairs of stretch socks!

DR. BLOOM: But here’s the clinker, big mouth–Do YOU have your very own magic surfboard? Hmmm??

MR. FANTASTICAL: I own a hundred–URKK!

DR. BLOOM: Oh, shuddup with the socks already!

I believe I just snorted, and milk came out my nose. Again. Fifty years later, the memory still makes me chuckle, and smile.

Not Brand Echh only lasted for three more issues, finally succumbing to Forbush fatigue after its thirteenth issue. Marvel tried a more general parody comic book called Spoof in the early ’70s, and even tried a magazine called Crazy to compete directly with Mad magazine. I sampled both the short-lived Spoof and the longer-lasting Crazy, but found neither to be of interest to me.

Most of us are only kids once. The oddball things that tickle our fancies at a specific age, a particular flashpoint in our lives, can assume greater resonance in our emotion and memory than some other random thing that doesn’t enjoy the benefit of nostalgia or cherished recollection. By any attempted objective measure, Not Brand Echh really wasn’t exactly Proust, nor Swift, nor even Bennett Cerf. Well, maybe that last one. I think much of the artwork is beyond easy reproach–Marie Severin, in particular, was practically peerless in her mastery of humor comic visuals–but neither Stan Lee nor Roy Thomas was quite a natural at writing comedy. Much of the humor is forced. Nearly all of the parody names are awkwardly, painfully strained (and therefore a huge influence on my early, inept attempts at writing humor). But I was seven and eight years old when I first read these. This is explanation, not excuse. I adored this stuff, and no invasion of rational thought will ever change that enduring fact. Oh, shuddup with the socks already! Who says a comic book has to be good? Well…who says this isn’t good? Make mine Brand Echhs! Sometimes silly can offer all the satisfaction a kid could ever need.

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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.

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Pop Sunday

Jim Basnight / Jokers, Idols & Misfits

Jim Basnight 

Jokers, Idols & Misfits (Precedent Records) 2020

https://powerpopaholicproductions.bandcamp.com/album/jokers-idols-misfits


Actively involved in music since the mid-seventies, Jim Basnight has certainly made great strides throughout his ongoing journey. Having fronted noted acts such as The Moberlys, The Rockinghams, The Jim Basnight Thing and The Jim Basnight Band, the Indianola, Washington based singer, songwriter and guitarist also boasts a very rewarding solo career.


Although recognized for his excellent original material, Jim chose to compile an album of covers for his latest release, Jokers, Idols & Misfits, which stages an A-grade job of paying homage to his wide-ranging influences. Recently issued as a single on the Big Stir label, Prince Jones Davies Suite is an industrious medley of Prince’s Sometimes It Snows In April,” David Bowie’s Win and World Keeps Going Round by The Kinks.

Instrumentally, the track is rather sparsely furnished, but Jim’s impassioned delivery lends a fierce intensity to the moody movement. 
The Kinks are saluted again on the crisp and crackly This Is Where I Belong, while the hypnotic blush of Jim (aka Roger) McGuinn and Gene Clark’s You Showed Me – which The Turtles scored a hit with in 1969 – contains a splash of cool brass work, supplying the song with a bit of a jazzy touch.

Subsequent jazz inspirations appear on a slowed down version of  Brother Louie that The Stories took to the top of the charts in 1973. Horn arrangements, as well as gospel-flavored harmonies, add an extra layer of inventiveness to Happiness Is A Warm Gun, which is just as potent as the recording we are all acquainted with by The Beatles
T.Rex’s stomping Laser Love locks in as another ace cut on Jokers, Idols & Misfits, along with a wicked reprise of The Who’s classic I Can See For Miles. True Believers are acknowledged with care and respect on the hooky power pop of Rebel Kind, and the sounds of the sixties Pacific Northwest style arrive in the shape of the swaggering Good Thing (Paul Revere and The Raiders) and the brooding teen folk rock of It’s You Alone (The Wailers).

In honor of The Lurkers, there’s the kinetic kick of New Guitar In Town, where She Gives Me Everything I Want revisits the popping rockabilly of The Hollies.


What sets Jokers, Idols & Misfits apart from most albums of its type is that the majority of songs are not merely paint-by-number doodles, nor are they misty-eyed nostalgic sojourns. Jim’s own personality and identity figure strongly in each entry, permitting the material to shine with a reinvigorated spirit. The artists celebrated on Jokers, Idols & Misfits would be mighty proud to hear these fine tributes.

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Boppin'

LP Cover Cavalcade #2

THE GO-GO’S: Beauty And The Beat

The Go-Go’s do not get anywhere near the level of respect they deserve. A self-contained rockin’ pop combo that wrote nearly all of their own material, The Go-Go’s scored hits in the early ’80s, and released three fantastic albums before splintering in the acrimony that claims many a great group. They’ve reunited a few times since then for concerts and additional fine recordings. They should have been a shoo-in for induction into The Rock And Roll Hall Of Fame years ago. They have never even been nominated.

Their debut album Beauty And The Beat was my favorite new album in 1981. Nearly four decades later, I remain as fond of it now as I was then. It is very nearly a perfect album, with the cold-sounding, dispassionate new wave number “Automatic” the only track I don’t like. The rest? “How Much More,” “Lust To Love,” “Skidmarks On My Heart,” “This Town,” “Fading Fast,” “You Can’t Walk In Your Sleep (If You Can’t Sleep),” “Can’t Stop The World,” and “Tonight” are all engaging as hell. The first single “Our Lips Are Sealed” was one of the two best things on the radio in ’81; the other best thing on the radio that year was also by The Go-Go’s, also from Beauty And The Beat, and it was their signature tune “We Got The Beat,” a magnificent single that earns its own entry in my book The Greatest Record Ever Made! (Volume 1). Gotta respect The Go-Go’s.

HERMAN’S HERMITS: Hold On!

Although I did indeed see Herman’s Hermits in their 1966 movie Hold On! when it was still in theaters, let’s forget about that. And believe me, it’s an easy movie to forget. Instead, let’s move ahead by a decade and change, to when I was an 18-year-old college freshman in 1978. That’s when I scored a truly beat-up copy of the Hold On! soundtrack LP, a record that was a lot more interesting than the cinematic trifle that spawned it.

One may be tempted to likewise dismiss the album as a trifle, but it was at least an interesting trifle; I loved some of it, and I wasn’t much put off by the rest. If I could take or leave (mostly leave) “The George And Dragon,” “Leaning On A Lamp Post,” and Shelley Fabares‘ “Make Me Happy” (which skipped on my copy anyway), I had more enthusiasm for “Hold On!,” “Wild Love,” “All The Things I Do For You Baby,” and “Gotta Get Away.” My biggest go-to tracks on Hold On! were “Got A Feeling,” “Where Were You When I Need You” (which I heard and loved here before discovering that it had later been a hit for The Grass Roots), and “A Must To Avoid.” “A Must To Avoid” quickly became my favorite Herman’s Hermits (at least until I heard “No Milk Today”). My local heroes The Flashcubes used to cover “A Must To Avoid” in their live sets, and that was okay by me.

The sharp-eyed among you will notice some scribbling near the photos on my LP cover. The Herman-less Hermits played a bar called The Gin Mill in Liverpool, NY that very same summer of ’78, and you’re damned right I was there. The Hermits put on a swell show, after which I solicited autographs from bassist Karl Green, guitarist Derek Leckenby, and drummer Barry Whitwam, plus guitarist Frank Renshaw, who had replaced Keith Hopwood in Hermitdom. I saw original Herman’s Hermits lead singer Peter Noone on several subsequent occasions, including one show with his fab early ’80s new wave group The Tremblers, but have never had an opportunity to get him to add his signature alongside those of his erstwhile co-workers.
THE KINKS: The Great Lost Kinks Album

About a year before The Who‘s vault-raidin’ 1974 compilation Odds And SodsThe Kinks‘ by-then-former American label Reprise issued The Great Lost Kinks Album, a collection of 1966-1970 recordings that The Kinks would have preferred to leave as lost. Gentlemen, start your lawyers! 

I associate this album with The Vinyl Jungle, a small and short-lived record shop in my college town of Brockport in the fall of ’77. I remember seeing the album for sale at The Vinyl Jungle, but I passed on it and instead bought a Kinks compilation called The Pye History Of British Pop Music. I didn’t get my copy of The Great Lost Kinks Album until many years later, when I was considering (and finally deciding against) writing a book about the 500 definitive albums of the ’70s. This LP wouldn’t have been among the records discussed in That Great Lost Carl Book, but I scooped it up at the same time I was grabbing cheap-cheap-cheap vinyl by Lynyrd SkynyrdFoghatZZ Top, et al. for research. Far out, dude. The Great Lost Kinks Album was of much more interest to me anyway, and I especially fell for “This Man He Weeps Tonight.” All of its once-rare tracks are now readily available, the lawyers all paid and satisfied.

THE RUTLES: The Rutles

My introduction to the fictional Prefab Four The Rutles came when Eric Idle of Monty Python’s Flying Circus hosted Saturday Night Live (then still called NBC’s Saturday Night) in October of 1976, when I was a high school senior. Idle played a clip of his faux Beatles mugging through “I Must Be In Love,” and I was hooked. When The Rutles’ TV special All You Need Is Cash appeared in March of 1978, I was all in. I reveled in the promo clip of “Ouch!” that was shown on Midnight Special the week before All You Need Is Cash, and was one of several floormates crammed into the dorm room across from mine to watch the TV special itself when it aired.

Alas, I was the only one among my group who dug it.

Undeterred, I bought the 45 of “I Must Be In Love”/”Doubleback Alley,” and gratefully accepted a gift of the companion album The Rutles, brought home from England by my sister Denise. Number one, number one…!
VARIOUS ARTISTS: The Motown Sound Vol. 6

My very first Motown record? Could be, though my lovely wife Brenda thinks this was her LP rather than mine. If only we’d kept better track of stuff prior to the matrimonial merging of our collections. Either way, I do remember that we picked it up on a visit to the weekly flea market at Syracuse’s Regional Market, probably in 1979. It would have been around the same time (if not the same weekend) that Brenda snagged her flea-market copy of The Kinks’ Greatest Hits!, and/or when I got my 35-cent copy of The Who’s Meaty Beaty Big And Bouncy. We were frugal shoppers. In spite of many, many cullings of the collection over the years, all three of these LPs still remain in our vinyl library.

And it certainly could have been either one of us who grabbed this Motown sampler. Brenda had grown up listening to soul and R & B on the radio, and this would have been a natural thing to add to her personal stash. I was just beginning to appreciate how great all that stuff was, and would have been drawn to my favorite Supremes song “Stop! In The Name Of Love,” my favorite Four Tops song “It’s The Same Old Song,” and my favorite Stevie Wonder song “Uptight (Everything’s Alright),” and probably to The Miracles‘ “Going To A Go Go.” The rest would have been a history lesson waiting to happen. So: Brenda’s record? My record? 

C’mon.
Our record now.

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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:
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Carl’s writin’ a book! The Greatest Record Ever Made! (Volume 1) will contain 155 essays about 155 tracks, each one of ’em THE greatest record ever made. An infinite number of records can each be the greatest record ever made, as long as they take turns. Updated initial information can be seen here: THE GREATEST RECORD EVER MADE! (Volume 1).

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Boppin'

The Greatest Record Ever Made: “You Really Got Me”

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!
This post was originally published privately, for Boppin’ (Like The Hip Folks Do) subscribers only, on January 4th, 2017. This is its first public appearance. For as little as $2 a month, supporters of Boppin’ (Like The Hip Folks Do) on Patreon receive one exclusive bonus post each month: Fund me, baby!

THE KINKS: “You Really Got Me”
The record had no precedent.

Link Wray was the closest thing it had to a prototype; the growling, cantankerous power chords of Wray’s “Rumble” sounded like a force of nature, a monolithic, lumbering whamwhamWHAM! pouncing through cheap speakers to devour unsuspecting radio listeners in 1958. “Rumble” influenced anything loud and threatening that was ever played at 45 rpm from that second forward. And one imagines it must have influenced The Kinks, as well. Nonetheless, even six years later in 1964, there had still never been another record quite like “You Really Got Me.”

It’s not just a matter of velocity; “You Really Got Me” seems faster than it really is, and attempts to play it too fast or (worse) too heavy–like Van Halen‘s meatball cover in the late ’70s, or even The Kinks’ own live renditions in the ’80s–feel insincere, wrong. No, the song is methodical, deliberate, but still pounding with desire and passionate, right-now insistence. Its implied speed, its breakneck illusion, makes it all the more powerful, menacing, like a cobra poised to strike and rob you of your last breath. It’s a punk song, even a proto-metal song, but it has a groove. It has a soul. It has a heart.

And it seethes with the frustration from which it was born.

The Kinks had released two previous singles: a perfunctory cover of Little Richard‘s “Long Tall Sally” (backed by a great beat raver, “I Took My Baby Home”) and a lovely Britpop number called “You Still Want Me.” The former had sold respectably (but unspectacularly) in the UK, and the latter had been a relative stiff. The song’s composer, Ray Davies, is said to have pounded out “You Really Got Me”‘s bluesey creation at home, on his parents’ piano. Frustrated. His frequently estranged brother, Kinks guitarist Dave Davies, couldn’t get the dirty, gritty six-string sound he wanted on the song–Frustrated!–and wound up slashing his amp with a razor blade just to get the guttural effect he could only hear in his head. Ray Davies thought the first recording too polite, too polished, too smooth. FRUSTRATED!! He begged the record label to let them have another go at getting it right.

And they did. Release! Girl, you really got me goin’. Cigarette?

With “You Really Got Me,” The Kinks had their first big hit, and not just in the UK. That simple, ferocious riff echoed across the Atlantic, and The Kinks were suddenly part of a British Invasion, an insurrection armed with guitars, bass, and drums, a rock ‘n’ roll police action that reclaimed the colonies for Her Majesty. Yes, of course, The Beatles were the shaggy-headed faces of this unexpected Britmania, and those Liverpudlians’ wit and style and sheer pop brilliance were the driving force of that scene and its sound. But no other rock ‘n’ roll group was more British than The Kinks, and no song ever summed up the British Invasion as well as “You Really Got Me.” 

The Rolling Stones tried to surpass it, tried to make a record that could beat the overwhelming, transcendent urgency of “You Really Got Me.” And while the Stones created a lot of terrific singles in the process, they couldn’t match The Kinks. Nor could The Who, nor The Sex Pistols, nor even The Ramones, though Forest Hills’ Finest likely came the closest. The Kinks also tried; their follow-up single “All Day And All Of The Night” was arguably even better, a steamrollin’ refinement of “You Really Got Me”‘s primal attack. But “better” isn’t the same as Greatest. In the visceral realm of pop music, of rock ‘n’ roll, immediacy can be immortal. God save the greatest. And God save The Kinks.