Categories
Boppin'

THE GREATEST RECORD EVER MADE: Making Time

This was prepared as a chapter for my long-threatened book The Greatest Record Ever Made! (Volume 1), but is not in that book’s current blueprint. That could change, but for now, here ’tis.

An infinite number of tracks can each be THE greatest record ever made, as long as they take turns. Today, this is THE GREATEST RECORD EVER MADE!THE CREATION: Making Time
Written by Kenny Pickett and Eddie Phillips
Produced by Shel Talmy
Single, Planet Records [U. K.], 1966

Power pop. I disagree with the widespread notion that while power pop as a genre may be (MAY be…?!) rooted in the ’60s, it doesn’t really begin until the ’70s. No matter how many knowledgeable pundits express that view, I consider it…well, nonsense may be too strong a dismissal, but…wrong. The viewpoint is incorrect. We’re talking about a sound, an approach to pop music. You can’t limit its discussion to a certain era if there are bona fide examples that predate that era. That would make it a revival. Power pop is not a revival. And we can look to the ’60s for many examples that well predate the Raspberries and Big Star.

Examples like the early Who. Examples like the early Kinks. Examples (in my opinion) like the Beatlesinventing power pop with “Please Please Me.” And examples like “Making Time” by the Creation.

The Creation were a British rock group in the ’60s, and “Making Time” was produced by expatriate Yank Shel Talmy, who knew a thing or two about the style from his work with the Who, the Kinks, and the Easybeats. When I was reading about power pop in Bomp! magazine’s landmark 1978 issue devoted to that particular clarion call, the Creation’s records were among the more elusive sounds cited therein. The Creation had no hits in America, were virtually unknown on these shores, and I had a devil of a time trying to hear any of their music in ’78. I finally found and bought an import 45 at Syracuse’s Desert Shore RecordsArty Lenin, guitarist for Syracuse’s own power pop powerhouse the Flashcubes, was working the counter at Desert Shore that day, trying to interest me in “The Staircase (Mystery)” by Siouxsie and the Banshees. Instead, I purchased a reissue 7″ combining two of the Creation’s signature tunes, “Making Time” and the British hit “Painter Man.”

Both of the songs had been cited in Bomp! as essential power pop; hearing the tracks, I had to agree. Power pop. No matter what decade it was made.

TIP THE BLOGGER: CC’s Tip Jar!

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

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

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

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

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

Categories
Boppin'

THE GREATEST RECORD EVER MADE! (VOLUME 1)

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!

THE GREATEST RECORD EVER MADE! (VOLUME 1) 

Table of Contents

FOREWORD

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

6. WILLIE MAE “BIG MAMA” THORNTON: Hound Dog

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

13. MELANIE WITH THE EDWIN HAWKINS SINGERS: Lay Down (Candles In The Rain)

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

26.THE BOBBY FULLER FOUR: I Fought The Law

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

35. THE RARE BREED/THE OHIO EXPRESS: Beg, Borrow And Steal

36. ARTHUR CONLEY: Sweet Soul Music

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

38. ARETHA FRANKLIN: Respect

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

44. PAUL REVERE AND THE RAIDERS: Just Like Me

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

55. SMOKEY ROBINSON AND THE MIRACLES: The Tears Of A Clown

56. JUDAS PRIEST: Heading Out To The Highway

57. THE DIXIE CUPS: Iko Iko

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

63. RONNIE SPECTOR AND THE E STREET BAND: Say Goodbye To Hollywood

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

68. THE KNICKERBOCKERS: Lies

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

81. PAUL COLLINS/THE BREAKAWAYS: Walking Out On Love

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

85. THE DAVE BRUBECK QUARTET: Take FiveENTR’ACTE THE BEATLES: Yesterday

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

94. BIG BROTHER AND THE HOLDING COMPANY: Piece Of My Heart

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

107. TOM PETTY AND THE HEARTBREAKERS: American Girl

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

112. FREDDIE AND THE DREAMERS: Do The Freddie

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

114. HEADGIRL/MÖTOR HEADGIRL SCHOOL: Please Don’t Touch

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

122. HAROLD MELVIN AND THE BLUE NOTES: Don’t Leave Me This Way

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

149. JOAN ARMATRADING: Me Myself I

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

155. THE FIVE STAIRSTEPS: O-o-h Child

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

164. RITA MORENO, GEORGE CHAKIRIS, SHARKS & GIRLS: America

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 BEATLES: Rain

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

Cruisin’ Music

CODA THE RAMONES: Blitzkrieg Bop

AFTERWORD


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.

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

The Successful Failures / James Cotton Mather

The Successful Failures

James Cotton Mather

https://music.thesuccessfulfailures.com/album/james-cotton-mather-2021

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

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

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

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

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

By Beverly Paterson

Categories
Boppin'

THE EVERLASTING FIRST: The Turtles

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 story still needs to begin with that first kiss.

Some of the best stories start with a bunch of 45s. Even if the story itself never goes anywhere, you’ve still got a bunch of 45s. That’s a great start for anything. 

The story of my discovering the music of the Turtles doesn’t exactly start with a bunch of 45s, but a small collection of 7″ singles served as an integral early part of that story. The setting was Jean Price’s front porch in Syracuse’s Northern suburbs, 1967. Jean wasn’t there at the time; she was older, and she certainly wouldn’t have been hanging out with a bunch of seven- and eight-year-old children. In truth, I don’t even remember Jean herself, and I have no recollection of why I was hanging out on her porch with a small group of the other neighborhood kids.

But if I don’t remember the why, I remember the what. We were looking through a box of 45s, presumably Jean Price’s 45s. Memory won’t surrender the identities of most of those singles, though I think the stash included either “Liar, Liar” by the Castaways or “Wipe Out” by the Surfaris, or maybe both of those. But I clearly, clearly remember seeing the White Whale Records logo, as I stared at the Turtles’ “Happy Together” single.

I knew the song from the radio. I had no other specific tether to it in the moment. But in that moment, for whatever mystic forces manipulated (but fail to explain) the situation, “Happy Together” by the Turtles became immediately important to me.

My Mom thought it was even more important to me than it was. I must have mentioned the song a time or two, prompting a reasonable presumption that the Turtles were my favorite group, and  “Happy Together” my # 1 favorite record in the world. I don’t think that was ever the case, but I sure did like it. A lot.

Still, over time the Turtles faded into a secondary realm of awareness, no longer a current hit, no longer a part of everyday life. If I heard any more of their music on the radio in the ’60s–and I must have–none of it registered with me as THE TURTLES!, at least not at the time.

That changed for me in the ’70s. As a teenager, I developed a consuming interest in the rockin’ pop of the ’60s, both the stuff I remembered from childhood and stuff that was essentially new to my post-adolescent ears. Oldies radio hooked me on the Turtles’ pop classics “She’d Rather Be With Me” and “Elenore.” “She’d Rather Be With Me” became the first Turtles track I ever owned, courtesy of a various-artists set called 20 Heavy Hits, scarfed up at the flea market. “Happy Together” followed, with a purchase of a (very) used copy of the cheap-o early ’70s Do It Now compilation in the spring of 1977, my senior year in high school. 

One evening in that same spring ’77 time frame placed me in the audience for Rock Of The ’60s, a presentation of rock ‘n’ roll TV clips screened at Syracuse UniversityRock Of The ’60s gave me a glimpse of the Turtles on (I think) The Smothers Brothers Comedy Hour, alongside clips of other ’60s luminaries like Buffalo Springfieldthe Kinksthe Whothe Byrdsthe Holliesthe Yardbirdsthe Lovin’ Spoonfulthe Rolling Stones, and the Beatles. By then, I’d learned that the Turtles’ Howard Kaylan and Mark Volman had a post-terrapins pop life as Flo and Eddie; I’d seen them on The Midnight Special and read their Blind Date column in Phonograph Record Magazine

My first Turtles album was the 2-LP anthology Happy Together Again, a dusty and well-worn used copy rescued from the basement of Record Revolution in Cleveland Heights in the summer of ’77, right before the start of my freshman year in college. This was my real indoctrination into all things Turtley, introducing me to wonderful Turtles tracks like “Outside Chance,” “Grim Reaper Of Love,” “Love In The City,” and more.

Happy Together Again accompanied me to college in Brockport. I met a pretty Long Island girl named Eleanor (never mind the spelling), who of course loved the Turtles’ “Elenore” but would have greatly preferred me refraining from singing it to her. Back home in the summer of ’78, I played the album for my doomed friend Tom, who liked the Turtles but hated one line in “Let Me Be:” I am what I am and that’s all I ever can be. That apparent expression of limitation bugged Tom; looking back decades later, I can’t wrap my mind around how to reconcile that sentiment with the fact of Tom’s suicide in 1979.

It’s weird the things we wind up remembering. A friend objecting to an innocuous lyric he heard a year before he killed himself. A box of 45s on a neighbor girl’s porch. I became a big fan of the Turtles, and I own each of their original albums via CD reissues on the Sundazed label. I missed a chance to the Turtles/Flo and Eddie at a club show in Buffalo in the mid ’80s, but saw them in Syracuse a decade later. I play the music of the Turtles at home, in my car, and on the radio. The story didn’t really start with a box of 45s. But by God, it should have. Happy together? Imagine me and you. I do. Brothers and sisters, friends and lovers and random passers-by. Together. We’ll do the best we can in that regard.

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 downloadI’m on Twitter @CafarelliCarl.

Categories
Boppin'

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

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


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

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

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

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

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

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

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

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

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

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

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

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

TIP THE BLOGGER: CC’s Tip Jar!

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

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

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

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

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

I’m on Twitter @CafarelliCarl.

Categories
Boppin'

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

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

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

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

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

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

Especially this one. 

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

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

TIP THE BLOGGER: CC’s Tip Jar!

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

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

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

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

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

I’m on Twitter @CafarelliCarl.

Categories
Pop Sunday

The Grip Weeds / DiG

The Grip Weeds

DiG (JEM Records)

https://www.gripweeds.com/

If there is one band that has appropriated the sounds of the sixties and managed to translate such aspirations into their own prize-winning formula, it is The Grip Weeds. Coming together in 1988, the Highland Park, New Jersey group is globally known for their superb recordings that are just as relevant, as those produced by the artists they are enamored with.

 Something of a family affair, the band includes founding members and siblings Kurt (vocals, multi-instrumentalist ) and Rick Reil (vocals, multi-instrumentalist), along with vocalist and multi-instrumentalist  Kristin Pinell (who is Kurt’s wife) and bassist Dave DeSantis.

Rather than sit idle and go into panic mode during the worldwide lockdown of 2020, The Grip Weeds made a beeline for the studio and crafted a new album of vintage songs. A two disc set, DiG, contains versions of both noted and obscure tunes from the sixties, which needless to say, is a tribute to the band’s influences. 

An ample amount of psychedelic classics are spread across the collection, specifically; Shape Of Things To Come (Max Frost and The Troopers), Journey To The Center Of The Mind (The Amboy Dukes), Something In The Air (Thunderclap Newman), Porpoise Song (The Monkees), I Feel Free (Cream) and I Had Too Much To Dream (Last Night) (The Electric Prunes). The Grip Weeds approach these trippy treasures in their signature standard of excellence, grounded in harmony-rich singing, tight and exciting musicianship and spirited empathy. These renditions are so great that you will think you are hearing them for the first time.

Paul Revere and the Raiders are honored on the gutsy acid-dappled garage rock of Louie Go Home, while Frosty’s funky Organ Grinder’s Monkey further stages an appearance. The Zombies are cited on a ravishing acoustic-based take of I Love You, and the slightly jazzy polish of Lady Friend is sure to score points with Byrds‘ fans.

An homage to The Squires surfaces on the cosmic folk rock chime of Going All The Way, and then there’s The Creation’s throbbing Making Time and the chilly atmospheric Twilight Time, which was initially cut by The Moody Blues.

Mouse and the Traps receive a walloping reprise on the hard-driving Lie Beg Borrow And Steal, whereas The Beatles are celebrated on the achingly sweet It’s Only Love. The Rolling Stones are also given a nod, on the brain-bending drone of Child Of The Moon. The Marmalade’s shimmery flower pop I See The Rain and DiG Theme, a searing and powerful Yardbirds-meets-Who flavored instrumental composed by The Grip Weeds, cycle in as other groovacious goodies gracing the package.

In terms of cover albums, DiG is a real stunner. The Grip Weeds clearly had a ton of fun waxing these tracks, which will feed the need of the band’s dedicated legion of followers until their next album of orginal material is released. 

Categories
Boppin'

Reopening The Book On THE GREATEST RECORD EVER MADE!

With current work completed on my forthcoming [REDACTED] book, I’ve started turning my attention back to my long-threatened other book, The Greatest Record Ever Made! (Volume 1). My first order of business really ought to be finding a new agent; I haven’t even started looking for new representation since parting company (reluctantly but amicably) with my previous agent. But working on the book itself is something I can do in the here and now. 

In the past two and a half weeks, I’ve completed GREM! chapters about Tracey UllmanBob DylanOtis ReddingArthur Conleythe Dixie CupsIke and Tina TurnerEddie and the Hot RodsMarykate O’Neil, and the Beatles‘ “Revolution,” restored previously-completed Love and Yoko Ono chapters, worked a little bit more on a still-unfinished chapter about the O’Jays, and tweaked the Linda Ronstadt chapter from a completed piece about the Stone Poneys‘ “Different Drum” into a completed piece about Ronstadt’s “You’re No Good” instead. 

As of my last public GREM! update in September, the Dixie Cups, Yoko Ono, Love, and Arthur Conley chapters were not part of the book’s Table of Contents; they are now. I’ve removed previously-planned chapters about the Policethe Shocking BlueTelevision, and Peter, Paul and Mary. I almost restored my chapter about the Romantics, but it’s not in the book’s current blueprint. Completed chapters about the Buzzcocksthe Raspberriesthe Dandy Warholsthe CastawaysDeep Purplethe Only OnesNick LoweWanda Jackson, and Al Hirt that were already out of the book’s TOC remain out of the book now, though any one (or more) of ’em could still be taken off the bench and placed into the line-up. Everything’s in play until the book’s done. 

Yeah, maybe even still in play after I think the book’s done. I tweak therefore I am. Here’s what my working Table of Contents looks like today:

THE GREATEST RECORD EVER MADE! (VOLUME 1) 

Table of Contents

FOREWORD

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

6. WILLIE MAE “BIG MAMA” THORNTON: Hound Dog

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

13. MELANIE WITH THE EDWIN HAWKINS SINGERS: Lay Down (Candles In The Rain)

14. SAM COOKE: Chain Gang

15. PETULA CLARK: Downtown

16. ARTHUR ALEXANDER: Soldier Of Love

17. TRANSLATOR: Everywhere That I’m Not

18. LESLEY GORE: You Don’t Own Me

19. THE SHANGRI-LAS: Leader Of The Pack

20. THE SHIRELLES: Will You Love Me Tomorrow

21. THE RAMONES: Sheena Is A Punk Rocker

22. AMY RIGBY: Dancing With Joey Ramone

23. PINK FLOYD: Wish You Were Here

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

25.THE BOBBY FULLER FOUR: I Fought The Law

26. MERLE HAGGARD: Mama Tried

27. THE TEMPTATIONS: Papa Was A Rollin’ Stone

28. BUDDY HOLLY: Peggy Sue/Everyday

29. JOHNNY NASH: I Can See Clearly Now

30. ELTON JOHN: Saturday Night’s Alright For Fightin’

31. SUZI QUATRO: I May Be Too Young

32. ALICE COOPER: School’s Out

33. THE RARE BREED/THE OHIO EXPRESS: Beg, Borrow And Steal

34. THE DIXIE CUPS: Iko Iko

35. ARTHUR CONLEY: Sweet Soul Music

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

37. ARETHA FRANKLIN: Respect

INTERLUDE The Monkees Play Their Own Instruments

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

39. PRINCE: When You Were Mine

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

41. THE ROLLING STONES: Get Off Of My Cloud

42. PAUL REVERE AND THE RAIDERS: Just Like Me

43. BOB DYLAN: Like A Rolling Stone

44. THE KINGSMEN: Louie, Louie

45. BARON DAEMON AND THE VAMPIRES: The Transylvania Twist

46. NELSON RIDDLE: The Batman Theme

47. THE MARVELETTES: I’ll Keep Holding On

48. THE CREATION: Making Time

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. DONNA SUMMER: I Feel Love

54. SMOKEY ROBINSON AND THE MIRACLES: The Tears Of A Clown

55. LOVE: 7 And 7 Is

56. JUDAS PRIEST: Heading Out To The Highway

57. ABBA: Dancing Queen

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

63. RONNIE SPECTOR AND THE E STREET BAND: Say Goodbye To Hollywood

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

68. THE KNICKERBOCKERS: Lies

69. THE WONDERS: That Thing You Do!

70. THE GO-GO’S: We Got The Beat

71. THE LOVIN’ SPOONFUL: Summer In The City

72. VAN HALEN: Dance The Night Away

73. PEGGY LEE: FeverINTERLUDE The Tottenham Sound Of…The Beatles?!

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

75. JAMES BROWN: Please, Please, Please

76. GRAND FUNK: We’re An American Band

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

78. WAR: Low Rider

79. THE FIRST CLASS: Beach Baby

80. THE ISLEY BROTHERS: Summer Breeze

81. THE RUBINOOS: I Wanna Be Your Boyfriend

82. THE PANDORAS: It’s About Time

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

84. BIG STAR: September Gurls

85. SAMMY AMBROSE: This Diamond Ring

86. PAUL COLLINS: Walking Out On Love

87. LINDA RONSTADT: You’re No Good

88. THE DAVE BRUBECK QUARTET: Take Five

ENTR’ACTE THE BEATLES: Yesterday

89. THE BEATLES: Revolution

90. THE MC5: Kick Out The Jams

91. THE CHAMBERS BROTHERS: Time Has Come Today

92. MARVIN GAYE: I Heard It Through The Grapevine

93. RAY CHARLES: Hit The Road Jack

94. THE MUFFS: Saying Goodbye

95. YOKO ONO: Kiss Kiss Kiss

96. THE FLAMIN’ GROOVIES: Shake Some Action

97. THE CARPENTERS: Only Yesterday

98. MATERIAL ISSUE: Kim The Waitress

99. THE 5TH DIMENSION: 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. JUDY COLLINS: Both Sides Now

103. EMITT RHODES: Fresh As A Daisy

104. THE BANGLES: Live

105. THE SEARCHERS: Hearts In Her Eyes

106. THE HUMAN SWITCHBOARD: (Say No To) Saturday’s Girl

107. THE BYRDS: I’ll Feel A Whole Lot Better

INTERLUDE Rick James! Neil Young! Motown Sensations THE MYNAH BIRDS!

108. RICK JAMES: Super Freak

109. THE FLIRTATIONS: Nothing But A Heartache

110. THE SPINNERS: I’ll Be Around

111. TOM PETTY AND THE HEARTBREAKERS: American Girl

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

113. LED ZEPPELIN: Communication Breakdown

114. EDDIE COCHRAN: Somethin’ Else

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

116. DON HENLEY: The Boys Of Summer

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

118. BEN E. KING: Stand By Me

119. GENE PITNEY: Twenty Four Hours From Tulsa

120. RUFUS: Tell Me Something Good

121. THE SPONGETONES: (My Girl) Maryanne

122. THE TRAMMPS: Disco Inferno

123. HAROLD MELVIN AND THE BLUE NOTES: Don’t Leave Me This Way

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

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

126. DEL SHANNON: Runaway

127. THE EVERLY BROTHERS: Gone, Gone, Gone

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

129. FREDDIE AND THE DREAMERS: Do The Freddie

130. SAM AND DAVE: Soul Man

131. BIG BROTHER AND THE HOLDING COMPANY: Piece Of My Heart

132. THE MAYTALS: Pressure Drop

 133. T. REX: 20th Century Boy

134. HEART: Kick It Out

135. THE RUNAWAYS: Cherry Bomb

136. AMERICA: Sister Golden Hair

137. THE KINKS: Waterloo Sunset 

138. THE KINKS: You Really Got Me

139. HOLLY GOLIGHTLY: Time Will Tell

140. THE SMITHEREENS: Behind The Wall Of Sleep

141. THE COWSILLS: She Said To Me

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

143. THE FOUR TOPS: Reach Out I’ll Be There

INTERLUDE Old Time Rock ‘n’ Roll

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

145. THE JIVE FIVE: What Time Is It?

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

147. FREDA PAYNE: Band Of Gold

148. EARTH, WIND AND FIRE WITH THE EMOTIONS: Boogie Wonderland

149. THE CONTOURS: Do You Love Me

150. BLONDIE: (I’m Always Touched By Your) Presence, Dear

151. THE NEW PORNOGRAPHERS: All For Swinging You Around

152. WHAM!: Freedom

153. THE SUPREMES: You Keep Me Hangin’ On 

154. THE BEACH BOYS: God Only Knows

155. JOAN ARMATRADING: Me Myself I

156. THE SELECTER: On My Radio

157. TRACEY ULLMAN: They Don’t Know

158. MANNIX: Highway Line

159. THE DRIFTERS: On Broadway

160. FIRST AID KIT: America

161. THE FIVE STAIRSTEPS: O-o-h Child

162. SOLOMON BURKE: Everybody Needs Somebody To Love

163. THE JAM: That’s Entertainment

164. THE COASTERS: Yakety Yak

165. CHEAP TRICK: Surrender

166. DAVID BOWIE: Life On Mars?

167. THE O’JAYS: Put Your Hands Together

168. THE GRATEFUL DEAD: Uncle John’s Band

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

170. THE PRETENDERS: Back On The Chain Gang

171. JOAN JETT: Bad Reputation

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

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

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

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

An Infinite Number

INTERLUDE

Underrating The Beatles

ENCORE! 

THE BEATLES: Rain

ENCORE!! 

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

CODA 

THE RAMONES: Blitzkrieg Bop

AFTERWORD

An infinite number of songs can each be THE greatest record ever made, as long as they take turns. I’m feeling an increasing temptation to include a chapter about the Animals; we’ll see.

At this writing, the chapters still in need of a completed first draft are ABBAMillie SmallPeggy Leethe VelvelettesWarthe PandorasP. P. Arnoldthe Chambers BrothersRay Charlesthe Muffsthe 5th DimensionJudy Collinsthe BanglesDon HenleyBig Brother and the Holding Companythe Maytalsthe CowsillsEarth, Wind and Fire with the EmotionsBlondiethe New Pornographersthe SupremesCheap Trick, the O’Jays, and the Pretenders

The rest of it? Done, at least in draft form. Now, I need to finish the rest, and secure some representation for it, not necessarily in that order. It’s time to head back into the infinite.


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
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.

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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!