In the course of doing this column, I’ve been asked on more than one occasion about power pop and what it actually is. Is it pop, punk, rock, alternative? My answer is usually a resounding “yes.” The genre with multiple bloodlines and roots dating back to the late ‘60s has been very prolific these past few decades, which is why we tend to see so many comps and reissues come through these column pages.
Employing the hooks and song-craft of ‘60s icons such as The Who and the Beach Boys along with lesser-knowns like the Easybeats, The Move and Electric Prunes, the genre began to take shape during the early ‘70s as bands such as The Raspberries and Cheap Trick drew from that well, while updating the sound for current times. Then, as punk began its onslaught a few years later, it, too, spawned clutches of bands that also yearned for the hook-tastic sounds of yore, but dressed it up in a crunchier, more street-level form that placed it squarely in the sensitive stepchild section of the sordid family tree, where it would hit its peak in popularity into the early ‘80s.
This multifaceted and often undervalued cousin of both punk and rock is one of those musical movements that’s not really a movement at all. It’s more of the “you’ll-know-it-when-you-hear it” variety. But there are a few common threads that tend to be present. First, power pop artists ranging from the jangling, wistful introspection of Big Star during the early ‘70s to the crashing power chords of Material Issue in the early ‘90s, and Masked Intruder’s wall of harmonies 20 some years after that, all carry with them a sense of alienation and isolation. But as opposed to the confrontational aspects of say, hardcore or emo, power pop protagonists tend to be less ego-driven and more accepting of their situation, cracking a crooked smile, even as the world devolves into chaos around them.
There’s also the melancholy angle. While this is also nothing new, love songs from the power pop perspective tend to be seen from the view of the lovable loser, who never quite completes the conquest but shares a colorful, hook-driven story all the same. These themes are pervasive in power pop. Whether it’s The Cars’ “Just What I Needed,” Electric Angels’ “Head Above Water,” or Green Day’s “Welcome to Paradise,” the bittersweet angle is always on display. In a nutshell, power pop is the soundtrack of the underdog, both thematically and in literal record sales, with a few exceptions here and there, of course.
Finally, from a record-collecting standpoint, late-’70s power pop singles and LPs can be golden. Similar to their punk brethren, power pop bands were also big on DIY, often scraping together just enough cash to record a few songs, hand-fold and glue the sleeves and sell them at shows. Now, many of these obscure artifacts are fetching high dollars on collector sites or at specialty stores such as Rockaway Records, a mecca for super-rare vintage punk and power pop records.
The brand-new comp New Guitars in Town: Power Pop 1978-82, chronicles many of the gems that came out in the UK during this prime time for the genre. The UK stuff tended to be a bit more punk-centric than a lot of the more rootsier offerings on this side of the pond, and this comp has done a fine job of excavating some of those now-obscure nuggets. With 75 tracks in total, spread over three discs, the set covers a wide swathe of the UK scene of the day. And it’s got it all, from eventual superstars to novelty singles and one-off DIY urchins alike.
Disc 1 leads off with a few of the genre’s early heavy hitters that would eventually transcend all of the punk-related subgenres in favor of mainstream success. The Boomtown Rats kick things off with the peppy “She’s So Modern.” Full of vim and vigor, the fast-paced sing-a-long recalls the New York Dolls while showcasing singer Bob Geldof’s quirkier side just prior to him becoming an activist writ large on the world’s stage. Next up, “Pump It Up” by Elvis Costello and the Attractions. Still my favorite era of the bespectacled crooner’s storied career, in my book nothing beats his punchy, but literate early stuff. But what really stands out are all the surprise lower-budget gems in the form of the The Pleasers’ twisted take on the Beatles with “A Girl I Know,” The Rollers’ (post-Bay City Rollers band with new singer) “Turn On the Radio,” and the decidedly punk-pop “Four Letters” by The Donkeys.
Disc 2 doesn’t disappoint either. Featuring future biggies such as Squeeze with the wispy but upbeat “Another Nail In My Heart,” the 25 tracks on this disc brim with melody and energy. Punk-pop phenoms The Boys’ “Terminal Love” features a different vocal on this single version from the more well-known one that adorns the album To Hell With the Boys. This disc also features a few other bonafide punk bands flexing their power pop muscles in the form of 999, The Stiffs, and punk supergroup Rich Kids, featuring the Sex Pistols’ Glen Matlock and Ultravox singer Midge Ure. Other keepers include lesser-knowns such as the somewhat insane novelty single “Walking the Rat” by the ultra-obscure Public School, and the inexplicable and brilliant chain-gang refrain of “Iron For the Iron” by The Planets.
Disc 3 furthers the fun with the most obscure gaggle of goodies of the entire set. The synth-driven Rudi dazzle with the strange, new wavey “Crimson,” while the cleverly named The Gross Club do their best Jam imitation with the mod-heavy “Second Chance.” For power pop collectors, this single fetches serious coin online. Of all the artists on this disc, the only name bands to be had are the otherwise hard-driving Stiff Little Fingers with the melancholic rocker “Just Fade Away” and The Vapors’ ode to cult leader “Jimmie Jones, both of which boast beefier production values than most of the more obscure material on here.
A killer collection of hooks, riffs, sneers and tears, not to mention a colorful booklet detailing each and every song, New Guitars In Town is a wild ride from start to finish, with plenty of tracks that shoulda, woulda been huge if circumstances had been different. (But then, they wouldn’t be true power pop…would they?)
For questions, comments or something you’d like to see, drop me a line. @JimKaz1
