Power Pop

While there is nothing inherently wrong with power-pop, it's often seen as a post-punk major-label marketing scam, helped along by greedy do-anything-to-make-it musicians who were willing to trade in their spiky haircuts and alienation for skinny ties and sunny dispositions. As true as this is, it represents only a fraction of what can accurately be described as power-pop. While it's very easy (and tempting) to dismiss this sub genre as egregious, market-driven dross, the fact remains that power-pop, even at its sleaziest and most manipulative, had a longer history than many people realize, producing some terrific bands and equally terrific music.



The musical source point for nearly all power-pop is the Beatles. Virtually all-stylistic appropriations begin with them: distinctive harmony singing, strong melodic lines, unforgettable guitar riffs, lyrics about boys and girls in love; they created the model that other power-poppers copied for the next couple of decades. Other profound influences band whose aggressive melodies and loud distorted guitars put the "power" in power-pop. Actually, in order to be complete, it's safe to say that an authoritative genealogical tree of power-pop influences would include virtually all of the bands of the British Invasion and Mod era. Which brings up a subtle, yet essential facet of nearly all (era notwithstanding), American power-pop bands ― they seem, vaguely, British. That is, they sing with a slight English lilt to their voices, are likely to cover songs by British bands and, as was the case with many British mod bands, dress up rather than down. Even the most prominent American power-pop influence, the jangle folk-rock of the mid-'60s Byrds, had a British tinge to it.

American power-pop's first heyday (ironically, before it was called power-pop) was the early '70s. Few American bands encapsulated the commercial popularity and influential cult status of early power-pop. Both recorded great records, and both bands approached their craft with a similar intent: to write smart, punchy, hook-filled songs. For the Raspberries, a Cleveland-based band built around the Brit-rock obsessions, it was a string of huge hits like "Go All the Way," "Tonight" and the autobiographical "Overnight Sensation (Hit Record)" that made them one of the best commercial rock bands of the early '70s. Granted, their songs were hardly deep, but as heartfelt evocations of romantic teen angst and the naiveté of young love, they remain unbeatable. Memphis natives Big Star, on the other hand, did record deep, emotionally complex songs on three amazing records that went unheard in their day but contained the best songs of American power pop ("Ballad of El Goode," "Mod Lang," and the stunning "September Curls"). Rediscovered by a later generation of pop-loving rockers, Big Star, though never touching the commercial success, became significantly more influential and revered.

By the mid to late '70s, power-pop's lifeline continued with fluke hits recorded a wonderful debut record, Sincerely, that along with containing the aforementioned hit, is an excellent example of ebullient, tuneful, rockabilly-tinged power-pop. Around the same time, Cheap Trick, a hard rock/pop quartet from Rockford, IL, capitalized on the strong vocals and good looks of lead singer Robin Zander, and the bizarre antics and the surreal lyrical narratives of guitarist Rick Nielsen, recording some of the finest pop/rock of the time. After three undeniably great records, the worldwide success of a so-so live album signaled the beginning of the end as Cheap Trick began living up to its name, their greatness reduced to formula.



Power-pop, however, was not solely the province of American bands who wanted to sound British; there was a British power-pop "invasion" of sorts in the '70s. Badfinger was the most blatantly Beatles-influenced (they even recorded for the Beatles' Apple label and had Paul McCartney as a producer), but they produced some excellent, occasionally thrilling songs such as "No Matter What," "Baby Blue," and " Day After Day" all three Top 20 hits in 1970-71. Loaded with lush guitars, instantly recognizable melodies and two fine singers, Badfinger was the model of a great power-pop band. Sadly, guitarist and songwriter Pete Ham committed suicide in 1975, effectively ending the band's career. By the mid-'70s English power-pop was essentially the music of glam rock: stiff, boot-stomping rhythms that sounded like football (i.e. soccer) chants. Glam rock cranked up the guitars while sweetening the melodies, thereby making loud, bubblegum rock fodder perfect for radio. With artists leading the way, glam rock produced a handful of good songs, one great band (Slade) and the obsequious marketing of negligibly talented teen idols that would become common practice in the early-'80s power-pop sweepstakes.



Power-pop's nadir was reached, ironically, during an amazingly fertile period in its history. In the wake of Cheap Trick, excellent mid western power-pop bands made great records. On the West Coast, the punk-pop Nerves was formed; in Boston, the Real Kids released their debut LP; in Athens, GA, R.E.M. released the Chronic Town EP, a gem of Byrdsian power-pop; and in New York, the dB's released two of the smartest and most ambitious power-pop records ever made. Even in England, former pub rocker Will Birch of the Kursaal Flyers formed the Records, a snazzy little combo that released a couple of fine records and an unforgettable single, "Starry Eyes." However, power-pop of the late '70s/early '80s is also remembered for the slavish imitators and skinny-tie-wearing no-talents, writing second-generation Raspberries rip-offs, pouting and posing on destined-for-the-cutout-bin album covers that major labels vomited at an alarming rate.

Although most people are loath to use the term these days, power-pop still exists. Alternative rock bands are not too far removed from the power-pop days of yore. There are flashes of it in Nirvana, and even retro-punk bands. Inevitably, there are also bands that are merely the next generation of Jags, fobbing off style and mechanical reproduction as substance. Ultimately power-pop is much better than the term implies, and it seems as though it's not willing to go away anytime soon. Which is fine, just as long as skinny ties never make a comeback.

　

Comprehension questions

1 Who is the musical source point for nearly all power-pop? 　

2. When was American power-pop's first heyday?

good, thanks.