The Roots of Power Pop
(Bomp Records)
by Katy Shea
Contributions by Zackaria Q. Smythe
The zeitgeist of the Gen X-er seems to dictate that for popular music to be meaningful it must be angst-ridden, hormone-driven, and sorrow-snivelin’, full of the teen-inspired gloom and prepackaged blackness that has spirited acts like Marilyn Manson to the top. This is not to say that depression is not a viable raison d’etre, for who could have survived a really good non-healthy adolescence without a hefty dose of Joy Division, The Smiths, The Cure (circa Pornography), et. al.? Looking at music today might lead us to believe that we shall never pogo again, that the innocence of thrashing around to the Romantics at high school dances, or pogo-ing to the Ramones ’til our Chuck Taylors split is gone as we enter the era of Alice Cooper fakers like Manson and leave behind the energy and simplicity of the power pop that once fueled our teenage rebellion (well, sort of).
Bomp Records has come out with a compilation that reminds us where we come from, aptly titled The Roots of Power Pop. This CD not only allows us to travel back to the era (the early ’80s – sigh) when bands like The Plimsouls and The Flamin’ Groovies had their 15 minutes of fame (in some cases) but the 26 tracks also heighten our understanding of how this energy-filled “Power Pop” has profoundly effected the pop music of today.
The Barracudas start off with “I Can’t Pretend.” The liner notes say these guys are from England, but do not let this mislead you, they are the Go Go’s with testicles. The initial strains really set the tone for most of the album; high energy, lyrically simple, guitar-oriented pop that makes you (I said it before and I’ll say it again) wanna pogo. The Romantics then come to us (pre “Talkin’ in Your Sleep”), with their Rickenbackers in hand to present “First in Line.” You get the sense that the band spent some serious time listening to Kinks albums around the time they wrote it, looking to their influences before ultimately landing in their own sound, which most of us now recognize in two measures or less.
Remember the Dickies? Pointed Sticks give us “Apologies,” a dancable pop tune in sync with the era and reminiscent of the aforementioned 1979 band. Driving, simplistic drum patterns and repetition dominate. The Breakaways sing “One Way Ticket,” expressing perhaps the oldest sentiment in music – “take this job and shove it.” Here we begin to feel the presence of Peter Case and Paul Collins. They wrote and performed with The Breakaways before Collins started the Beat and Case got The Plimsouls together and were involve pretty heavily in this scene.
Now we get some sweet girl pop. Aptly (or not) named, The M&M’s are a Paul Collins creation, catchy and guitar-oriented, they’re fairly innocuous when we think of their peers (the Runaways?). Their formulaic tune “I’m Tired,” is, unfortunately, appropriately named. The Plimsouls (remember “A Million Miles Away?”) have “I’ll Get Lucky,” Peter Case’s crowning accomplishment in the arena of power pop. The Plimsouls are regarded as the most influential and popular band of the genre. Here we’re too tired to pogo so we’re just listening to the song on our mono radio, blowing the speakers and singing at the top of our lungs rejoicing in this era of positivity – no, seriously!
The Real Kids, Boston’s pride and joy before they moved to L.A. and became The Taxi Boys, give us “Now You Know,” fairly subdued for this compilation, but reeking of the same classic power pop influences. The Singles‘ “Thinking of Ways” has elements of roots rock and roll (piano solos) and glimmers of Elvis Costello but is mostly predictable non-powerful pop. Rockin’ Horse has the “Biggest Gossip in Town,” and hey, it’s the Mersey beat! Sweet and melodic, originally recorded in the early ’70s. It’s unclear how this song ended up here.
The Poppees. Wow, if these guys had released this in 1964, they would have become Demi-Gods. Beatles, Beatles, Beatles. The Zero’s, who contribute “Beat Your Heart Out,” obviously listened to a whole lot of Ramones on 8 Track on their way to the studio. Nuff said.
The Flamin’ Groovies give us the ultimate rock and roll ultimatum with their tune “Him or Me,” and guess what? It has a great beat and you can dance to it. Elements of rockabilly, and the Beatles as well, but the overall sound is rockin’ and original. The power pop world need look no further to find their Kings.
Jook sing “Aggravation Place” as blue collar white boys on Dexedrine and post-marxist rhetoric. Another early ’70s contribution, sounding a lot like Boston. Next, The Pandoras could have picked up where the M&M’s failed to deliver the goods with their pop harmonies and catchy stylings on “It’s About Time,” except they seem to have the attitude that they’re only chicks, so they don’t really rock up to potential. Glimpses of the Mamas and the Papas, and The Shangri-la’s are strong but not strong enough. Suspected Peter Case influence. Mystery Machine will be forgiven the Scooby Doo reference because of their tune “She’s Not Mine.” Simply, the Animals live again. Nashville Ramblers‘ “The Trains,” seems misplaced here. Although CA based, they are definitely a part of that English ’60s THING (mod), with glimpses of The Byrds. Pogo rating: depressed, lowered head swaying half pogo. Wombats‘ “Utter Frustration,” derivative Monkees-esque pop, but all over that positivity thing characteristic of the era. Stiv Bators‘ “Make Up Your Mind,” Joey Ramone took three voice lessons and a little Prozac and recorded this song clandestinely. It’s the only explanation. The B Girls give us a pre-Go Gos “Fun At The Beach,” lacking the power but delivering the pop harmonies and some good clean fun. The Gin Blossoms should give half of their royalties to 20/20. “Drive,” “Screaming,” and “Under The Freeway,” their three contributions, are catchy pop tunes with elements of Bad Finger AND The Beatles. Last‘s “Every Summer Day” – “um… we really like the Beach Boys but only before Pet Sounds.” Surf music in its pure fun stage. The Smithereens must have heard Shoes’ “Tomorrow Night” at some point in their early years. The last song on the CD, it’s more of a swaying song, although you can imagine (all together now) pogo-ing to it live.
Without these bands, it is unlikely (for better or worse) we would have seen the onset of acts like Green Day, Presidents of the U.S.A, Weezer, Liz Phair, Matthew Sweet or even Nirvana. These bands exemplify the basis of good pop music; catchy melody, simple lyrics, strong guitar arrangements, and energy, energy, energy (vs. market-ready angst and hollow despair.) If you’ll excuse me, now is the time that I must pogo.
