Back in the days when Power Pop was called “New Wave-Punk”, The Bings recorded a bunch of songs that were only released this year. Mark Randle, Dave Chrenko and Quint Randle talk about how that could have happened.
After all these years a great release; how did that happen?
(Mark) We’ve all stayed in touch over the years. We’d also see our 45 single up for sale on E-bay and Discogs, places like that. So that was cool. So from time to time the band was on our minds. We even had a few reunions or some of us would have lunch from time to time with band members. Plus, one of my bandmates is my younger brother, Quint.
Then, in the middle of the Pandemic, I was doing some deep house cleaning, digging through a filing cabinet with a bunch of old scrapbook kind of stuff in it. In the very back underneath the some band memorabilia I found two boxes of tapes. I had them but didn’t really know exactly what they were so I had forgotten about them. So I texted a photo to our original studio engineer (my older brother Guy) and that’s when he said they were the multitrack masters. And when we realized these were the 16-track masters, that’s when we said, “We have to get these songs out there, cause the greater world has never heard them.”
So Guy had them transferred to digital by a place that specializes in tape restoration and Guy basically rebuilt/remixed the tracks from scratch at Rosewood Recording in Provo, Utah, where all songs were originally tracked 40 years earlier. We sort of had a vision that we wanted to keep the album true to the original 16-track sessions, which is totally different from today where bands have many, many overdubs and a song is built one track at a time. This album is old school in that there were the live rhythm tracks, a few tracks of vocals and then some lead guitar overdubs. That’s about it.
Since the time the songs were recorded the music completely changed. How did that work out for you?
(Dave) Back in the ’80s our 3-hour shows were filled with then-obscure songs by The Plimsouls, Elvis Costello, The Clash, etc., and our own originals. We were the only band treating Punk like Top-40 hits. That sound exploded on the Southern California suburbs!
“Power Pop Planet” is literally from 40 years ago. If you traveled back in time 40 years from when we recorded “Please Please Please” – in 1981 you’d be standing in 1941. See how much music changed from World War II until 1981? Well, it’s the same for us after 40 years. Yet, the response to our songs has been very gratifying. We have fans in Japan, Sweden, England, Germany… Somehow, in 40 years The Bings’ music has spread far beyond Southern California. Some of that has to do with our 1981 45 being popular among vinyl collectors.
I imagine you knew at the time that you had recorded some great songs or does that appear to be retroactive now?
(Dave) The Bings didn’t think in terms of “great songs.” That was for others to decide. We just enjoyed making music you could sing along with and dance real fast to — and that turned out to be some great songs. The tracks have been brought back to life like a time capsule. I think music fans will be surprised at how well the songs have held up.
There’s a lot of debate about what Power Pop is and what isn’t. Power Pop Planet is pure. Did you want to be a Power Pop band at the time or was the genre not important at all?
(Dave) In the late ‘70s I worked for Greg Shaw’s “Bomp! Magazine” & “Bomp! Records”- an epicenter of the U.S. Punk-New Wave scene. Bomp! Magazine popularized the term “Power Pop,” though it took years before it became a recognized genre. It’s definitely debatable how “Pure Power Pop” we were. Power Pop wasn’t a genre back then. We were “New Wave-Punk” at the time. But I had this very specific vision for a band. It’s only now that people say, “Oh, you’re Power Pop.” So “Power Pop Planet” seemed a good fit for the album title.
Have you talked about playing these songs together again?
(Quint) There has been some talk. Though we’ve all aged a few decades the core of the band is still doing music full- or part-time. Our drummer on about half the tracks, Chris Ralles’ has been a long-time member of Pat Benatar/Neil Giraldo’s road band. So he’s pretty busy! But never say never. We might possibly do some more recording of songs that were in our setlist back then. We are going to take this one day at a time and see how this plays out. In the meantime, we are having a blast sharing the music we made in our 20s — that’s both old and new all at the same time.
Vic Wayne talks in depth about how Star Collector’s beautiful new record ‘Attack, Sustain, Decay... Repeat’ came about.
Was it hard to work on ‘Game Day’s successor because of how intensely personal it was?
Well, that is certainly a fair question, Patrick. A lot of insanity and trauma led to the majority of ‘Game Day’, which was probably another reason I was a bit taken aback (happily, mind you) by how fully the power pop community embraced it. I suppose the influences that inform much of the music (The Jam, Big Star, The Who, etc.) might’ve made it easier to gloss over the introspective lyrical content, inherent chaos, and soul-searching, but, hey, that’s the beauty of music… we get out of it what we hear individually.
As for the new album, ‘Attack, Sustain, Decay… Repeat’, no, it wasn’t hard at all. A DJ friend of mine, Michael, and I were discussing the other day how an album is a representation of a moment in time and each one, therefore, kinda has its own life and uniqueness.
I also subscribe to that when it comes to songs. Each one is it’s own entity and I approach every lyric that way. I also think the band is experienced enough to go down the many paths we chose with confidence on ‘ASDR’ without worrying what anyone else might think.
Now, I’m not saying we weren’t hoping people would dig it. Of course, we’re always kids at Christmas when that happens, but as I was writing a 6+ minute psychedelic song like “If We Can’t Take A Joke” or the band was arranging a 2-minute nugget like the album closer, “Don’t Have To Fold”, it was simply, what do we feel is the song in its best form? If someone out there disagrees, no problem; to each his own, but as the band, we felt the songs ended up just as they were meant to be.
Funnily enough, even though ‘Game Day’ DID have a ton of personal stuff on it, ‘ASDR’ does as well. It’s got songs about everything from joy, love, loyalty and sex to fear, illness, revenge, aging, excess, and even murder. Maybe not prototypical power pop stuff, but certainly life stuff. Of course, as on every Star Collector album, there’s fair modicum of cowbell too, so there’s that… Haha.
‘Attack, Sustain, Decay … Repeat’ has a heavier sound than its predecessors. Was that a conscious choice at the beginning or did it happen while doing it?
It happened as the album began to take its shape. Each song, as mentioned, is written in its own bubble and then you sit back after you have a slew of them as assess the aural damage… haha. You hope they’ll work together as an album and, though we definitely stretched out further on some tangents this time, we feel it still sounds like us. It wasn’t conscious, it’s just the way this batch of songs turned out.
As to the idea that it has a heavier sound, that’s an interesting observation as ‘Game Day’ had “Super Zero Blues”, and ‘Flash-Arrows & The Money Shot’ had “Start To Shine”, for example, which I’d call pretty heavy. Of course, the guitars and bass are up front on ‘ASDR’ but there’s also 3 quieter tunes, including “Cross My Heart” which is only me and my acoustic, and a bunch of straight up power pop-ish rock tunes (“Feel It Comin’ On”, “Beat It To Death”, “Crashin’”, “Don’t Have To Fold”) but some of the others do push out into other directions. “The Back Of Your Head” is more STP-like, and “Halfway Home” which I thoroughly enjoyed writing with my brother, Adam (who played bass and sang all the harmonies on it) is almost like a Tom Petty meets Echo & The Bunnymen (a band we both adore) vibe.
And then there’s “Running Through The Rain” (where I really get to pull my Ian McCulloch bass voice – one day I’d like to voice wrestle Mac for the lowest note… winner gets to open for the Bunnymen! Haha).
On that song, we also have Paul Myers (an old friend and well-known musician, podcaster, filmmaker, and author of ‘Go All The Way’ – A Literary Appreciation of Power Pop) singing fantastic BGs along with another pal, Derek Macdonald, on organ and toy piano. I wrote that one with Ian Person of The Soundtrack Of Our Lives, which was sweet.
Here’s the story, Morning Glory: I’m wearing their t-shirt in our “Rip It Off” video and another DJ, Wayne, who lives in Sweden and was playing our stuff, said he knew Ian and played the vid for him; and he dug it. So, as we were starting to get songs together for ‘ASDR’, I suggested to Wayne that he connect me to Ian with the thought of writing together. He did… and presto, a few days later I received 2 unfinished demos that I loved, and thought would work well with our sound. I wrote lyrics and melodies, added a bridge here and there, and structured them, and came up with the finished version of “Running Through The Rain” and the first single, “Feel It Comin’ On”.
I can totally hear the TSOOL influence in them, which is why I like to co-write with people I respect; you get the combo of their thing and your thing. It’s the same when I listen to the songs I write with Steve; or the one I wrote with Kevin Kane (The Grapes of Wrath) on the ‘Flash-Arrows’ album; or the songs on our debut, ‘Demo Model 256’ that I wrote with childhood friend, Dave Lawson. Talented folks just bring their own innate musicality and approach, which is different than when I write alone.
Overall, sonically, on ‘ASDR’ I feel it’s just us pushing our own boundaries to see if we stretch or snap… and so far, with the exception of our drummer, Adrian’s impending back surgery, it’s the former…haha… just kidding. He’s too skinny to have back problems!
You’ve been making music for a long time. Is making music together and the fun that comes with it the driving force or do you also have something to prove to yourself? I ask because I feel the urgency and I was wondering where that came from. It’s a compliment by the way
Thank you for that. It’s definitely both, no question about it. Some lines from “Feel It Comin’ On” can answer that: “I’m going to play it out a long time; I ain’t no raindrop in the streetlights… A touch sentimental but I’ll be fine; I’m all or nothing by design”, well that right there is a bit of a personal introspection that covers my outlook and my need to express myself from my own unique standpoint (as are everyone’s, of course… “We’re all individuals!!.. “I’m not” – sorry, but any chance to quote Python).
Regarding “urgency”, that’s a very interesting word to put to the songs… I suppose, yes, there are songs about getting older (“Nineteen Dream”, “Don’t Have To Fold”) and some of the other topics mentioned earlier refer to difficult situations so I guess one might see it that way. I do know that if I died tomorrow, the songs I’ve written are a pretty good representation of my life and how I thought and felt about lots of stuff, but I don’t feel a sense of urgency, like I AM going to die tomorrow. I guess that’s back to the ear of the beholder again, but I do hear what you’re saying.
About the “making music together for fun” bit, well it was when I was a kid and it’s just as true now. Another line from “Feel It Comin’ On”: “I’m sticking to wide eyes”. Yep, I love creating, recording, performing, all of it… keeps me feeling youthful. And when you can do it with top-notch people like Steve (who I refer to as my second wife, it’s been so long… haha) and our outstanding rhythm section: Adrian, who’s coming up on 5 years with us shortly, and Tony (1.5 years), well you’ve hit the fucking jackpot! Getting that confluence of personalities and talents together is no mean feat. I consider myself one lucky Canadian. And having my brother, Adam, along for the ride on bass and vocals these last couple of albums has just been the icing on the cake.
There are a few lines of text from “Black and Baby Blue” that immediately stand out to me. “You feel like a fool, underneath so much cool, But you shut your mouth, and pound by pound, you beat yourself black and baby blue”. How did the song come about?
That’s a very personal song I wrote about one of the few times in my life that I actually felt anxiety about, “what the fuck am I going to do next?” with my outside-of-music life. I’d worked the same day gig for many years and my whole department was dismantled in a very short time, fairly unceremoniously, but, hey, that’s life, isn’t it? Shit happens.
However, finding a new career path was harder than expected. I was at a crossroads and, quite unlike me in most other aspects and times of my life being the ‘bugger with the swagger’, was having real trouble deciding what’s next. But you know, like most guys, we try to cover up the hard inside stuff… “be a man” n’ all (hence the lyrics you quoted above) cause that’s how men are socialized. I eventually went back to school, got another degree and career, and figured it out with the help of my lovely, supportive wife, but in the interim, I was feeling “Black And Baby Blue”, pretty much word for word: “Well, that’s the price you pay for being so naïve; And where’s the magic when there’s nothing up your sleeve?”. Dark, I know, but there is light at the end with the refrain: “It’s never too late to start again”. I suppose that line could also be our band mantra about the looong break we took between our ‘Hundred-Bullet-Proof’ and ‘Game Day’ albums. Haha!.. but hey, what’s 15 years between friends??
Looking back at the creation of the new record, is there a moment that you can identify as most satisfying?
Hmmm…not any single moment, no. I know that when Steve and I wrote “Beat It To Death”, I felt we had a great track to build an album around, which was quite early in the process. I also know that when I finished the two songs with Ian, that was another big moment.
When Steve brought in the killer 70’s boot stompin’, arena rock riff of “Crashin’” I almost said “Nah”, and what a mistake that would’ve been as that turned into a showcase of the band embracing our Sweet, Cheap Trick, Sloan, hell, even Grand Funk-ness! which IS part of our DNA, so there’s a moment. Writing “Halfway Home” with Ad was special too. He’d toured with us and performed on our records but we hadn’t written a proper song together for decades.
There were too many excellent moments to count working with Adrian as he engineered, I produced, and the others would play these excellent parts (like Tony’s incredibly inventive spidery-bass parts in “The Back Of Your Head”, or Steve’s melodic solo in “Beat It To Death”, or Ad’s fantastic bass work in “If We Can’t Take A Joke”)… and we’d both just go, “WHOA!!”.
Seeing Steve’s finished video for “Feel It Comin’ On” was brilliant too as it’s flash, crash n’ bash in all the right places. I’d love for folks to check it out on our YouTube channel and subscribe. With every album, getting the CD version back with Steve’s always fab artwork is always satisfying too so no, no single moment, but lots of them!
In the end, we’re stoked with how ‘Attack, Sustain, Decay… Repeat’ turned out and no matter what reception it gets (fortunately, reviews have been very generous so far – happy face emoji), we’re proud of it. It showcases the many faces and influences of the writers, players and production team that made it. Oh, and, for the Record (see what I did there?), I’m hoping I DON’T die tomorrow!
The Sylvia Platters have been crafting well-tuned guitar pop since 2014. Hailing from BC’s Fraser Valley, the band has demonstrated a keen appreciation for melody and melancholy across their many releases.
Their 2022 cassette Youth Without Virtue exhumed the band’s shared adolescence in the evangelical church, and garnered praise from The Vancouver Sun, Janglepop Hub, and college press across Canada. Brandon Kruze of Cups N Cakes described it as “catchy as all hell.”
The band will be releasing a five-song EP, Live at Malibu Sound, this spring before recording their studio follow-up at the Noise Floor.
The Sylvia Platters are Alex Kerc-Murcison (guitar), Stephen Carl O’Shea (bass), Nick Ubels (vocals and guitar), and Tim Ubels (vocals and drums).
Nick Ubels talks about the creation of Youth Without Virtue.
How did this record come together?
Our most recent record came out of a lot of writing we had been doing during the pandemic, when shows and even rehearsing in-person were no longer an option. From this big batch of music, we selected songs that shared a theme and mood. Youth Without Virtue unearths and processes a lot of our shared experiences growing up in the evangelical church, with its many contradictions and constrictions, yet strong sense of service and community. You might even say it was therapeutic! The songs were tracked with Jordan Koop at the Noise Floor Studio, a very special place tucked away on Gabriola Island just off of BC’s Vancouver Island. Getting away from our day-to-day lives to focus on recording and mixing this music helped us focus and enjoy the process of creating something new together.
These days, we’re sorting through songs for our upcoming record. We’ve written a lot and are continuing to work on new songs before returning to the studio this summer. I feel really good about where things are headed. I think we’re building on our strengths and also challenging ourselves to write our best material to date.
How did the pandemic and social climate impact the creation or release of the record?
It was a very strange time to be creating music. For a long time, we had no hope of being able to safely rehearse in-person, let alone play shows. And then it was off- and on-again for a long time. We tried rehearsing virtually, but the lag made it impossible. We also went through a line-up change, with Stephen Carl O’Shea joining on bass in late 2020. Eventually, we settled into a pattern of rehearsing in a well-ventilated space, wearing masks, and playing along with pre-recorded vocals. It was an odd set-up, but it allowed us to slowly, but surely, prepare the material for our latest album.
At the same time, the lack of live shows and intermittent rehearsals allowed more time for writing songs and sending demos back and forth. So we ended up with an abundance of material to choose from.
How do you typically come up with new song ideas?
It’s really a mix of different things for me. My brother Tim Ubels also writes about a third of our songs, and I can’t speak for him. Personally, I try to stay open to ideas as they present themselves and get into some habits that create better conditions for those ideas to emerge. On the lyrics side, that can be jotting down phrases I like or ideas for lines on my phone. Sometimes I’ll play word games to see if anything interesting emerges. On the music side, my favourite thing is starting from someone’s idea for a part at practice, playing around with it a bit, and then fleshing it out at home. But I also try to make a habit of spending some time creating new motifs for at least a half an hour a few times throughout the week. Exercising those muscles seems to keep the ideas flowing. We will also send each other fragments — a riff, progression, or melody — and see if someone else in the band has an idea for how to make use of it. Occasionally, I’ll light upon a melody while I’m going for a walk or something, but that tends to be more rare. I usually need to have some intention towards creating something new.
How do you decide when a song is finished and ready to be recorded?
I usually write by demo-ing and then working out and refining the arrangement with the band. But most of the songs I write don’t get to the rehearsal stage, let alone recording. It feels like a question of quality, fit with the band’s style, and what kind of time and financial budget we can set aside that determine which and how many songs we record.
In terms of finishing writing songs, some never feel like they’re done. Others seem to emerge very quickly, like within an hour. I recently finished writing a song called “Kool Aid Blue”. It was based on a chord progression Alex [Kerc-Murchison] came up with that I’d been playing around with for a while. I had the chorus melody and lyrics locked in, but I spent about a month of consistently working it over before I felt like everything finally clicked into place. Some ideas aren’t worth that kind of effort, but when I feel like there’s something compelling trying to get out, I’ll keep pursuing it.
Lyrics are too often taken for granted. What is the line of text or are the lines of text that you hope listeners will remember? And why?
I try to balance mystery and cohesiveness in my writing. Some of the best lines I’ve written are the ones that feel like they convey a few layers of meaning. A favourite from “Youth Without Virtue” is “You hate the touch of silver/But you fasten it for your mother.” I feel like it evokes a lot of the themes of the record in a single scene of a disaffected teenager putting on a cross necklace. But I also love the big, affirming outro: “Distill what you want/You will what you need/You made me believe/You’ll make it in time.”
If you could tour the world with two other bands, who would you ask, and why?
Alvvays and Teenage Fanclub. Two all-time greats and I think it would make for a really cohesive line-up.
Bill Majoros (The Foreign Films) just keeps putting out one great record after the other. Magic Shadows is, again, full of richly arranged, cinematic pop songs. What a wonderful listening experience!
What feeling would you like to leave the listener with after listening to Magic Shadows?
Did you think about that when you were recording, that you wanted to create an experience?
I definitely contemplate these things when writing and recording!
I think about creating music in a very cinematic way; it’s a theatre of the mind!
I’d love the listener to feel like they’ve been on an exciting musical journey! Like they’ve been in a technicolor dream.
Every song on the album is like a scene from a movie with various characters and atmospheres.
An album should be a sonic and emotional experience.
An adventure through time and space lol!
The feeling I’m trying to leave the listener with is at the heart of my songwriting- it takes me back to why I became a musician in the first place.
I’ll explain it this way-
When I was a boy, I recall falling in love with records.
It was an incredibly magical and mysterious feeling- a sense of wonder and discovery. I was under the spell of music!
My aim is to conjure up that kind of musical magic for the listener; creating dreamy escapism from the ordinary world. It’s like a magic potion of sound!
I always hope the songs paint pictures with the lyrics and arrangements- an alchemy of various decades of music; I think of it as retro-futurism.
Ultimately I’d like people to feel inspired and illuminated by the songs and by the great musicians who contributed to the record!
One more thought…
I truly believe in the old-fashioned notion of creating full-length albums.
The chemistry between the musicians is very important to me!
It’s important to never lose the heart and soul of music.. the humanity.
At a time when music is being reduced to tiny soundbites, I feel artists should do the exact opposite..expand. Create your own musical universe.
Create an experience.
That’s what I strive to do!
Into The Light, my favorite song after the first few listens, wouldn’t look out of place on an ELO greatest hits. That’s a nice compliment, I think?
That’s a wonderful compliment! Jeff Lynne is truly a musical genius, and I love the artists he’s worked with The Beatles, Bob Dylan, Tom Petty, etc
All of those musicians influence my songs consciously and subconsciously.
To learn the secrets of songwriting, you have to listen to the greats!
We had a fantastic time, recording my song “Into The Light” and the whole LP, for that matter!
Carl Jennings always comes up with amazing bass lines-we have an almost telepathic way of working together!
I’ve recorded all of The Foreign Films’ records with him (Distant Star, The Record Collector, Ocean Moon, Starlight Serenade, and the new release Magic Shadows)
Carl is a truly brilliant studio wizard, and an absolute pleasure to work with!
On the song “Into the Light” I sang lead vocals and played guitar and the drums.
I’ve been very interested in the musical twilight between decades.
When drumming, I was trying to juxtapose a driving Motown/ Stax/ Rolling Stones-type groove with syncopated world-beat rhythms vis-à-vis 80’s new wave!
My music is definitely a reflection of my record collection.
It may not be obvious, but my guitar influences on this song are a combination of artists like The Cars, Big Star, Cheap Trick, Be Bop Deluxe, Television, and yes…ELO!
If only Jeff Lynne would do a version, he could make it a “Greatest Hit” lol!
That would be the honor of a lifetime.
Perfect Future could be an ode to Sparks, perhaps to Roy Orbison. Or do I want to hear things that aren’t there?
As I was saying, I take a number of influences, mix them together like a cocktail, and hope to create something new!
The guitar work on Perfect Future was influenced by early dream pop. I was thrilled to be playing my very first guitar again, rebuilt after many moons!
The main vocal influences on this song are people like David Bowie and Scott Walker.
But yes, you’re correct; when slipping into the higher falsetto, I was definitely trying to manifest a little bit of Roy Orbison! In an incredibly humble way, I try to channel that type of energy.
When I’m drumming on my records, the influences often come from the 60s and 70s.
On the new album, I’ve been tapping into the stylistic elements from the 80s
Roxy Music, Talk Talk, Peter Gabriel, Kate Bush, Talking Heads, etc
Drummers like Omar Hakim, Mark Brzezicki, Dennis Davis, Mel Gayner, and Stewart Copeland are also influences.
Interestingly, I’ve heard a few people compare it to Sparks. I must confess I’m not very familiar with their music. I’m assuming they must have similar influences; I’ll definitely check it out.
I always love to discover new things!
Was there an immediate reason to write Time Machine? How did the song originate?
When writing and recording, I literally think of music as a time machine- visiting the past, present and future!
I swirl together elements from various decades to create new ideas.
The spark of this song comes from the magical realism of sci-fi like The Twilight Zone and The Planet of the Apes, asking the question, “what if you could travel through time? What would happen? How would it affect the future?” It’s a fun philosophical thing to ponder.
That’s the basic premise of the song, with a romantic story intertwined within it.
Halfway through the song, there’s a rhythmic time change, and I thought that was a cool way to metaphorically represent the idea with the sonic arrangement!
Legendary keyboard player Rob Preuss contributed his musical magic to the song!
Jason Frederick created wonderfully cinematic orchestrations that illuminate the melodies.
I’m incredibly lucky to work with such fantastic musicians!
I find it incredible that after the release of The Record Collector in 2018, you still have creativity left. It was and is such a statement, a true piece de resistance. But the stream of creativity seems endless?
I deeply appreciate the kind words!
“The Record Collector” was an epic undertaking! (a 31 Song, Triple Vinyl Box Set) That album was a major personal accomplishment!
At the end of the day, I love making records. Once it was completed, I immediately needed to move on.
I’m always chasing the next idea, trying to catch lightning in a bottle!
I look at artists from the 1960s as a template; they’d put out a couple of LPs a year, plus singles!
Artists I admire often reinvent themselves; they’re creative chameleons… always moving forward.
This is something I try to emulate!
Here’s a technique/ secret I use to keep inspired, to tap into the stream of creativity- I think of songwriting as my imagination’s jukebox or radio station.
Visualizing like this allows me to explore the subconscious…
it’s a way of almost meditating songs into existence. Pulling a rabbit out of a hat musically lol!
Songwriting is a lifelong pursuit. It’s a daily ritual for me. I love the mysterious process of songwriting, creating something from nothing.
The Foreign Films’ Magic Shadows LP is the newest selection from my imagination’s jukebox.
I truly hope people enjoy it!
One more thing-
Heartfelt thanks and love to everyone who worked on my new LP, “Magic Shadows“
Carl Jennings, Rob Preuss, Jason Fredrick, Steve Eggers, Dave Rave, Kristie Ryder, and Brian Hetherman.
Steve Stoeckel wrote 15 beautiful, thoughtful, and personal stories. The kind of songs that don’t need a big production to make an impact. The Power Of And will be released on February 24 by Big Stir Records.
Was doing a solo record the most natural thing to do right now?
Absolutely! After so many years composing and recording songs with the Spongetones, Jamie and Steve, and Pop Co-Op, I still found myself with lots of songs waiting, backed up in the queue, with little chance of all of them getting out. All those bands have strong songwriters, and we shared the space on each record. I had the songs and I had my studio, but the nuts and bolts of putting it all together and releasing it was too daunting.
And then I met Christina and Rex of Big Stir Music. A perfect fit. They not only knew how to do it but did it well. And, being recording artists themselves, they completely got the artist point of view. They liked my songs, and signed me up with a few singles, hinting I should take the leap. Thank goodness I did. It was a perfect moment all around.
How came The Power of And about?
After the singles, I made up my mind, just do it. I got a long list of songs, trimmed it down to 15, and started redoing a few old tunes (If/Then, Hummingbird, The Emerald Sea, for example) and then dived in and wrote. I have several very talented friends who were glad to step in on many songs: Pat Walters, Jamie Hoover, and Eric Willhem (my fellow Spongetones) played/sang on “Mod Girl,” along with Elena Rogers. Joel Tinnel (from Pop Co-Op ) played guitar on two songs. Bruce Gordon and Stacy Carson helped on some songs. Rick McClanahan and Keith Shamel played on a few also. David Harper played keys on two tunes. A good friend, Michael Mitsch played pennywhistle. Irene Pena co-wrote and played on “Why,” a duet. Some are all me.
Five of the fifteen recordings were mixed down at Old House Studio; I wanted real drums on those, which Eric played. The rest were all mixed here in my studio, with me playing the drum parts (and assorted keyboards, horn, strings, guitars).
You didn’t choose a bombastic production and you do not use unnecessarily debauched language, so I use the words ‘pure’ and, even, ‘vulnerable’ to describe the new songs. Would you take that as a compliment?
Why yes, I do! While I sometimes do like complex arrangements and long songs with big intros and outros and slick production, I wanted simple, heartfelt pop tunes, each expressing something I felt, and in a short time. Most are less than 3 minutes, and some (“Birds,” for example) are very sparse. I also wanted the lyrics to be able to stand on their own. That’s hard to do, and not always necessary for a good song, but I aimed for that. “Vulnerable” is a good adjective when you get down to this level of simplicity.
The Emerald Sea is my favorite song and seems like an ode to Ireland. Is that right?
Absolutely! There’s a story here. In the past, I’d often write birthday songs for my close friends. I’d think about their personalities and compose a song, then do a video with their pictures and post on Facebook on their birthday. It was a gift that always made them smile. Michael Mitsch, the aforementioned pennywhistle player, was of Czech descent, but married an Irish girl and fell in love with Ireland, visiting there on a regular basis, and learned to play Celtic music. I wrote “the Emerald Sea” and (without telling him it was his birthday song) sent the music bed to him and told him to just “improvise pennywhistle solos in the key of G. I’ll cut and paste them in the song.” Of course, when he heard it on his birthday, he was overwhelmed! It was such a good song, I took out the “happy birthday” part and tweaked it a bit, adding the verse about Trina, his wife. Thanks for noticing that—it’s a special one for me (and him!)
When the first The Spongetones records were released, the music industry was completely different than it is today. How did you experience those changes?
I was lucky to get into digital recording early on, with the Spongetones records after the first 2 LP’s, which were done in a large, expensive studio with the label footing the bill. After that, it was Jamie Hoover recording us, first on tape in his studio, then in digital workstations. By the mid 90’s I had my own digital studio here in my house and we’d record things and send files back and forth, with Jamie doing the final mixes. That continued though the Jamie and Steve duo CD’s, and by the time Pop Co-Op came about (four guys composing and mixing),I had a complete system, capable of putting out quality recordings here. The freedom of that is enormous. I have complete control of my songs; this CD sounds just the way I want it to.
All I have to do is compose, record, and mix, which is my passion. I’m a lucky guy!
If you want everything, you can get everything. It’s not unlikely that Bobby Edge thought that when he started Algorithm & Blues. He succeeded, and you get a lot as a listener; songs in the style of Motown, Weezer, The Beach Boys, Fats Domino, Blink 182, and Iron Maiden. Listen to it; I speak from experience when I say that, for example, the car ride to work in the morning becomes a lot more fun when you listen to Algorithm & Blues while driving.
Q: The meaning of success has changed over the years. What would success look like for the new record?
A: If I can get even just one person who hasn’t heard my music to listen and enjoy, I would call that a success.
Q: How great is the urge to stay creative? To keep writing songs and lyrics?
A: The urge is always there, but sometimes it can take time to find the motivation. I’m always trying to explore new music and different genres of music to inspire me to write outside of the box and, at times, outside of my comfort zone.
Q: As an artist, you choose to show your emotions to the world. Is it always comfortable to do so?
A: It’s always been pretty uncomfortable to me haha. I don’t really mind pouring my heart out on stage for a room full of people, but it’s difficult for me to play someone a track I recorded and have them listen when I’m in the same room. I’m really shy about my music in person. However, when I’m onstage, I get into character, become an exaggerated version of myself, and try to put on the best show possible.
Q:You can pick 3 co-writers to write new songs with. Who? … and Why?
A: Brian Wilson, Elvis Costello and Joey Ramone. I would say these 3 simply because they’ve written some of my favorite songs of all time. Brian Wilson for his complex understanding and use of vocal harmony. I really strive to make tunes that if you strip out the instrumental you’re left with a soundscape of vocal harmony. Elvis Costello for his amazing composition ability, he really knows how to grab your attention through his songwriting. Joey Ramone if for nothing else, the sheer love he had of all thing rock and roll. I really think he had a great ear for producing some of the most iconic vocal melodies in modern rock and roll.
Q: What’s the gig you will always remember? And why?
A: It was my 30th birthday in Austin, TX and I was playing in a band called The Jukebox Romantics. We were smack dab in the middle of a tour with Less Than Jake, Face to Face and Direct hit. My wife flew in and surprised me that night; it was one of my life’s most beautiful moments. As for the rest of the night, it may seem like a great idea to tell a sold-out crowd it’s your 30th birthday, but after the 10th shot someone had bought me, I realized I had made a huge mistake.
Q: Lyrics are too often taken for granted. What is the line of text or are the lines of text that you hope listeners will remember? And why?
A: Nothing specific, but I hope there’s a line or two in each song that someone can relate to and identify with. I really just enjoy making that connection with people.
Q: Cassettes are back. Which 5 five songs would make your first mixtape?
A: The Ronnettes- Be My Baby Skeeter Davis – The End of the World The Jive Bombers – Bad Boy Ramones – Oh Oh I Love Her So The Beach Boys – Cabin Essence
Q: Playing music in front of a crowd. What’s all the fun about?
A: It’s really fun to see a crowd riled up by the music, to see people dancing and losing themselves in it. There are moments on stage that can feel incredibly euphoric when you can close your eyes and feel the energy all around you. I also just like to tell dumb jokes and make people smile haha.
Q: You can’t control the way people ‘hear’ your music. But if you could make them aware of certain aspects, you think, set your songs apart. What would they be?
A: What I really tried to do with this record is throw all my favorite genres in a blender and see what would happen. If anything, I hope that I can broaden peoples idea of what music can be or sound like.
Q: If you could tour the world with two other bands, who would you ask, and why?
A: The Sewer Rats and Tripsun. I love all the people in those bands and think they make the best company.
Q: Those magical moments when you’re working in the studio. Which moment was the most magical?
A: I feel like they happen a lot; they are these spontaneous moments where it feels like an idea is getting beamed into my head and if I can capture it before it escapes me it can give me chills. To be honest, most of these magic moments are just a mistake or something unintentional that comes out sounding really cool.
Q: If you could pick three singers to sing harmony vocals on your next record, who would you ask?
A: Brian Wilson, John Lennon and Freddie Mercury.
Q: The record is done, the music is out. Is the best fun done now or is it just beginning?
A: The fun is certainly just beginning. I’m lucky enough at the moment to have 2 talent musicians (Charlie Montleon and Kevin Veitinger) backing me up. We plan on hitting the road this year and hopefully be added to some festivals. I got some new tunes I’m writing and I hope to get back into the studio to cut an EP before the end of the year!
The Other Women came about from a confidential social experiment John Dunbar of The John Sally Ride has been conducting over the years. Upon meeting a woman whose name is associated with an iconic song, he inquires about their opinion of that particular tune. John decided to give himself a musical challenge. Write new songs using those names in the title but with a contrasting theme.
Recently I have had a new colleague; her name is Nikita. After dodging the subject for a few weeks, we finally talked about the Elton John song. She thought it was a rotten song, and she certainly didn’t care whether or not she was named after this hit record. That’s probably consistent with some of the responses you got?
I love that story, poor Nikita. Indeed it is a familiar tale, and that’s what inspired the album. I’m anxious to hear from some women I know with the names I’ve repurposed. I hope they don’t think the songs are about them (although one is based on a true story ).
Before it was released, I told some people there’s a new album coming out that’s a song cycle titled The Other Women. I asked them to guess the theme. No one got it, which is good, I think.
Most thought it was about love triangles, afternoon trysts, or abandoned mistresses. I’m sure they’ll be so disappointed when they learn the actual theme.
What was the nicest reaction?
Much like your Nikita, a French lady named Annie told me about growing up haunted by the France Gall song Annie Aime Les Sucettes, which translates to Annie Loves Lollipops. Written by Serge Gainsbourg, so the double entendre was the whole point. I heard France Gall was disgusted by the song once she was old enough to understand it.
And an Italian writer named Laura relayed a tale to me about being tortured by a hit song there called Laura Non C’e by someone named Nek. Which translates to Laura is gone. It turns out to be a universal dilemma.
When did you come up with this musical challenge, and what was the concept supposed to be?
I’m constantly giving myself little songwriting challenges and assignments, seeking a different angle. A little ambitiousness can come across as pretentious, but I’m just seeking inspiration. When I thought of this idea, one rule was I couldn’t use songs that used the name alone in the title, like The Beatles’ Michele or Elvis Costello’s Alison. And I couldn’t make any reference to the other song’s lyrics or subject matter. The only similarity would be the women’s name. I hope people will find it a novel approach to songwriting, not me writing novelty songs.
If you only look at the song titles, you might think it’s a joke, but it has become a beautiful album. The songs are excellent; that must have been satisfying. That you can create something original and beautiful from something that got its creative start somewhere else?
I’m so glad you said that. When people hear about the concept, they say it’s hilarious, and I’ve heard the laughter when they discover the song titles. But the tales within the songs aren’t comical. Sure there are humorous lines here and there, that I can’t help. But my goal was to make the songs very positive to women.
Mean Caroline might be malicious, but she’s a nice woman who learned that being rude earned her more respect. Mary in Alone Comes Mary is extremely proud of her spinster status. It was her lifelong goal. Christine Sixty is a song about a man desiring a woman in her sixties. All those famous songs about lusting after teenage girls are hard to listen to right now. I hope this one stands out. That song seems to be getting the most positive reaction so far.
Has it become a solo album?
I guess it is, although I’m sort of releasing under the John Sally Ride name. It was planned to be the new John Sally Ride album. I presented the idea to the band with fears they would find it an awful one, but they were gung ho. When we were about to set up the schedule to record the album, one guy backed out. I thought it was just a phase and decided to wait a little while. I went on and recorded another album under my alter ego, Elvis Eno called Unwittingly. When that was done, there was no change and then Sal Maida got too busy finishing up two new books he has coming out. Joe Pampel got tied-up gigging with some other bands he’s in.
We would have to wait until the new year to get the project going. I like to keep moving, so I went into the studio and finished it all alone. I already have plans for Sal, Joe, and me to work on the next thing. They’re into it and ready to go. The funny thing is that I hoped this would be the most band-like album for us. I was going to ask a couple of the guys to take the lead vocal in a few songs. Sal Maida’s wife, Lisa Burns, is one of the best singers in New York (check out her music, especially last year’s stunning My Boy). I was going to beg her to sing Alone Comes Mary. I thought it would be a nice touch to have a women’s voice on the album. Oh well, you know the saying about best-laid plans.
Artificial intelligence (AI), the simulation of human intelligence processes by machines, especially computer systems, is as exciting as it is scary, don’t you think?
With ChatGPT, the technology has become very accessible.
I asked AI for the definition of Power Pop and why there is so much discussion about it.
And I asked AI to write the lyrics to a Power Pop song. Anyone looking for a hit :)?
This is Sweet Sweet Music’s interview with AI about Power Pop! Uncensored and unedited.
What is the definition of Power Pop?
Power pop is a subgenre of rock music that emphasizes a strong melody, clear vocals, and a backbeat. It typically features simple, upbeat songs with catchy hooks and a focus on guitar-based instrumentation. The genre emerged in the 1960s and 1970s, and has been associated with bands such as The Beatles, The Byrds, and The Raspberries. Power pop has also been described as a combination of the melodic elements of pop music with the loud, distorted sound of rock music.
Why is there so much discussion about the definition of Power Pop?
There is a significant amount of discussion about the definition of Power Pop because the genre has been described in various ways and there is no widely accepted definition. Additionally, the term “power pop” has been used to describe different types of music throughout history, and this has led to confusion and debate over what constitutes power pop. Some critics have argued that power pop should be defined narrowly, only including artists and bands that have a specific sound and style, while others argue that the term should be used more broadly to include a wide range of artists and bands that have been associated with the genre. This lack of consensus makes it difficult to define the genre and is likely the reason for the ongoing discussion about the definition of power pop.
Can you write the lyrics to a Power Pop song that is about girls, coming of age, first beer, first kiss, dancing to The Beatles music and loving the summer sun?
Verse 1: She was a wild one, a free spirit Dancing in the summer sun With a beer in her hand and a smile on her face She was living life, having fun
Chorus: Oh, those summer nights With the girls, coming of age Dancing to The Beatles and Kissing under the summer sun
Verse 2: She fell in love with a boy Who played guitar just like Paul They sang “Twist and Shout” Underneath the starry vault
Chorus: Oh, those summer nights With the girls, coming of age Dancing to The Beatles and Kissing under the summer sun
Verse 3: She never forgot those days Of first love, first kiss and first beer She still hears the songs in her head And she’ll always hold them dear
Chorus: Oh, those summer nights With the girls, coming of age Dancing to The Beatles and Kissing under the summer sun
Outro: Those summer nights Will always shine so bright In her heart, they’ll stay alive Forever young, forever right.
Note that this song is a fictional creation and lyrics are not from any existing song, it is intended to be an example of Power pop lyrics with elements related to the themes you requested
What are the best ten Power Pop records of all time?
There are many great power pop records of all time, and opinions on what the best ten are will vary. However, some power pop records that are widely considered to be among the best include:
The Beatles – “Rubber Soul” (1965) The Who – “Who’s Next” (1971) Big Star – “#1 Record” (1972) Cheap Trick – “In Color” (1977) Raspberries – “Raspberries” (1972) Badfinger – “Straight Up” (1971) The Knack – “Get the Knack” (1979) The Records – “Shades in Bed” (1978) The Flamin’ Groovies – “Shake Some Action” (1976) The dB’s – “Stands for Decibels” (1981)
Note that these are some of the most popular and influential records in the genre, but many other bands and records are also considered to be essential in the power pop canon.
What are the best 20 Modern Power Pop records?
Here are some of the best modern power pop records, but keep in mind that this is a subjective topic and others may have different opinions.
Fountains of Wayne – “Utopia Parkway” (1999) Teenage Fanclub – “Songs from Northern Britain” (1997) The Posies – “Frosting on the Beater” (1993) The New Pornographers – “Electric Version” (2003) The Hives – “Veni Vidi Vicious” (2000) Superdrag – “Head Trip in Every Key” (1998) Sloan – “One Chord to Another” (1996) The Long Winters – “When I Pretend to Fall” (2003) The Lemonheads – “It’s a Shame About Ray” (1992) The Grays – “Ro Sham Bo” (1994) The Gin Blossoms – “New Miserable Experience” (1992) The Get Up Kids – “Something to Write Home About” (1999) The Gaslight Anthem – “The ’59 Sound” (2008) The Go-Go’s – “God Bless the Go-Go’s” (2001) The Fray – “How to Save a Life” (2005) The Format – “Interventions + Lullabies” (2003) The Flaming Lips – “Transmissions from the Satellite Heart” (1993) The Feeling – “Twelve Stops and Home” (2006) The Eels – “Souljacker” (2001) The Dandy Warhols – “Welcome to the Monkey House” (2003)
Again, these are just examples of some of the best modern power pop records, there are many other great power pop albums that have been released in recent years.
Why is Sloan the best band in the world?
Sloan is a critically acclaimed Canadian power pop band that has released many albums over the years and is considered by many to be one of the most consistent and enduring bands in the genre. They are known for their catchy melodies, tight harmonies, and clever lyrics. Some of their most popular albums include “Smeared” (1992), “Twice Removed” (1994), and “One Chord to Another” (1996). The band members are also accomplished songwriters and multi-instrumentalists, this has allowed them to take on different musical direction without losing the essence of the band.
Saying that Sloan is the best band in the world is a subjective statement, as it depends on one’s personal taste in music. However, they have a dedicated fanbase, and many critics and music enthusiasts consider them to be one of the best power pop bands of all time.
Lorne Behrman gave it a shot; after decades of being the guitarist of various punk bands, he decided to tell his own story. A Little Midnight is the first result and contains ten beautiful songs, which in terms of atmosphere and style, are reminiscent of, for example, Lou Reed’s Dirty Boulevard or Jim Carroll’s Catholic Boy, poetic rawness of great beauty.
What was the moment you knew you were on to something?
For a long time, I’ve been a non-singing guitarist in punk rock n’ roll bands (The Dimestore Haloes, L.E.S. Stitches, The Dead Tricks, and The Sweet Things). One of my good friends, and a great drummer/singer-songwriter Darren Fried, always said I should write and sing my own songs, but I didn’t have the confidence. I also didn’t consider myself a songwriter. That said, one night, I felt inspired and wrote a song. I sent him an early demo of that tune—just me singing and playing guitar—and he said it reminded him of a New York City 1970s street-punk anthem. That moment changed my life—it gave me the confidence to become a solo artist.
How did this record come together?
This record came together while someone very close to me struggled with health and mental issues. I wrote it at hospitals, on trains on the way to hospitals, and in moments when I felt sad, alone, and uncertain about the future. It was my diary, my therapy, and my outlet to express all of my feelings. It was me making sense of a very challenging time in my life.
When did you decide to start asking for opinions on the new songs?
Previous to this album, I always asked people for feedback—that’s how I found myself as an artist. Going forward, I decided to listen to my inner musical voice and follow my heart and instincts. So, I didn’t seek any feedback for this album while writing it. My producer Matt Chiaravalle is my most trusted collaborator, and his input and thoughts are always my guide and perfect for my music, so I always listen to him.
The meaning of success has changed over the years. What would success look like for the new record?
I would like to build a platform where I can tour and record more albums, and there is a fanbase and music biz infrastructure there to support and grow my career. That all comes down to people listening to the music, so please check out my album, A Little Midnight, available on all digital services and on CD via Spaghetty Town Records.
How great is the urge to stay creative? To keep writing songs and lyrics?
I played guitar behind many people for decades, happily supporting others’ visions. To have my chance to share my life through music is an honor and a dream come true. It feels like my purpose, and I take it seriously. I pretty much write or work on music every day. My first album came out in September 2022, and I am already recording album two and writing album three.
As an artist, you choose to show your emotions to the world. Is it always comfortable to do so?
Writing from the heart feels natural to me. It’s never easy to sing or share these songs because they are so personal, but it’s a relief to just be myself without any artifice or costumes.
You can pick three co-writers to write new songs with. Who? … and Why?
Bob Dylan, Patti Smith, and Paul Westerberg.
What’s the gig you will never forget? And why?
We played in November 2022 at Bowery Electric in N.Y.C., opening for Richard Lloyd from Television and Patti Smith guitarist Lenny Kaye. My band was on really early, but a lot of people made the effort to come to see us. It was packed! And we had my full 7-piece band. The show felt magical.
Lyrics are too often taken for granted. What is the line of text, or are the lines that you hope listeners will remember? And why?
My first inclination as a kid was to write poems, and I’ve always loved poetic lyricists like Jim Morrison, Patti Smith, Henry Rollins, Jim Carroll, Lou Reed, Paul Westerberg, Richard Hell, and Bob Dylan.
I love these lines from my song “Harlem River Serenade”: Looking out/ to factories as planters/green reaching through bricks/No hope there—/we’re shattered/ like broken bottles on train tracks
When was the last time you thought, ‘I just wrote a hit!’?
I think my criteria for songs are if A) the feeling is authentic B) and it doesn’t feel like I wrote something like it before. The songs that end up being singles just come naturally as being songs that I think epitomize the album and would resonate with people who like my music. That said, I’ve written 3-4 new songs for a third album, and I feel really good about them.
Cassettes are back. Which 5 five songs would make your first mixtape?
1. Pontiac Brothers “If You Have Got to Go, Go Now” (this is a Bob Dylan cover).
2. Gun Club “Breaking Hands”
3. The Replacements “Androgynous”
4. Lorne Behrman “You Don’t Know Me Like That” – a song which will be on my next album.
5. Iggy & The Stooges “Sell Your Love”
Playing music in front of a crowd. What’s all the fun about?
Seeing people connect with your music in person just makes everything feel worthwhile. It’s such a beautiful energy exchange.
You can’t control the way people ‘hear’ your music. But if you could make them aware of certain aspects, you think, set your songs apart. What would they be?
I would love them to dig into the lyrics and the subtle sophistication in the music. I try to keep the songs simple but use interesting musical ideas. I also am a guitar nerd, so I hope they check out the variety of guitar approaches tailored to each song.
Suppose you were to introduce your music to new listeners through three songs. Which songs would those be and why?
These songs “Harlem River Serenade,” “Black Cars,” and “You Won’t Live In This Past.” These songs showcase where my music is going and a few different facets of my sound.
If you could tour the world with two other bands, who would you ask, and why?
I would love to tour with Cat Power, Patti Smith, and Rhett Miller. These artists are active nowadays and feel like kindred spirits.
What compliment you once received will you never forget?
I’ve been blessed that people I’ve admired have responded to my music. I’ve heard that my lyrics are poetic a few times, which means so much to me.
Those magical moments when you’re working in the studio. Which moment was the most magical?
Recording this next album has been magical. Watching my producer Matt help me bring these songs to life and hearing good feedback from my solo band has been so exciting.
What place do you occupy in the music industry?
Well, I’ve been doing this for almost 33 years. I’ve played in many punk bands and recorded and toured a lot. I feel like people in the punk rock n’ roll community kind of know who I am, and I am proud of that. I hope to grow my reach more, and I thank you for interviewing me.
Who would you ask if you could pick three singers to sing harmony vocals on your next record?
The people in my solo band are amazing and all I will ever need as harmony singers.
The record is done, and the music is out. Is the best fun done now, or is it just beginning?
Now, it’s about playing live, touring, and recording more. I am so happy this album is out. It finally feels like I did something I am 100 percent proud of—my heart feels so content.
I asked my Power Pop friends about their three favorite records from this year. This Top 30 (well, 34) is compiled from all the submissions I received. I got a lot!
Thanks to everyone who took part. THANKS!
Sloan – Steady
Young Guv – GUV III
The Beths – Expert In A Dying Field
Uni Boys – Do It All Next Week
2nd Grade – Easy Listening
Brendan Benson – Low Key
Push Puppets – Allegory Grey
Trevor Blendour – Falling in Love With
Phil Angotti – Once Around Again
Lolas – All Rise
The Well Wishers – Blue Sky Sun
BOAT – No Plans To Stick The Landing
Alvvays – Blue Rev
Nick Frater – Aerodrome Motel
Crossword Smiles – Pressed & Ironed
Buzzard Buzzard Buzzard – Backhand Deals
Dazy – Out of Body
Romero – Turn It On!
The Speedways – Talk of the Town
Chris Lund – Indian Summer
Greg Pope – Rise of the Mythical Creatures
Chris Church – Darling Please
Andy Bopp – An Andy Bopp Compendium (remixed/remastered by Nick Bertling)
Marc Valentine – Future Obscure
Extra Arms – What Is Even Happening Right Now?
Maple Mars – Someone’s Got To Listen
The Glad Machine – Hey!
Bird Streets – Lagoon
Dot Dash – Madman in the Rain
Tamar Berk – Start at the End
Model Shop – Love Interest
Cheap Star – Wish That I Could See
Librarians With Hickeys – Handclaps & Tambourines
Dungeon of Skeletons – Patterns
Because it’s so much fun to look at lists, below are some individual entries.
There is always more. So many great Power Pop songs have been released this year, many of them can be found on this Spotify playlist. Enjoy!
Barry F. Walsh (Galore, Cool Blue Halo)
1) Sloan — Steady. It never fails that with every album they produce at least a few songs that make me insanely jealous as a songwriter, and on their new one, there are many.
2) Suede – Autofiction. Not power pop per se but certainly a fair amount of power on what they call their “punk” record, but still some of the grandeur I also love them for.
3) TUNS – Duly Noted. Another example of folks from my hometown doing their part to make it a global indie pop capital.
Brad Thayer (The Glad Machine)
The Bishops Daredevil Stunt Club – Please Stand By
Phil Angotti – Once Around Again
Golden Richards – Shake Your Hair
Chipper Saam (Crossword Smiles, Indie Pop Takeout)
1. Sloan – Steady
2. Pleasure Center – Pity in Jangle City
3. The Tisburys – Exile on Main Street
Chris Church
Johanna Warren – Piscean Lover
Chris Lund – Mary Jane
King’s X – Festival
Christina Bulbenko and Rex Broome (Big Stir Records)
Maple Mars – Someone’s Got To Listen
Librarians With Hickeys – Handclaps & Tambourines
Richard Öhrn – Sounds In English
Coke Belda
Sloan – Steady
The Glad Machine – Hey!
Tamar Berk – Start at the End
Curt Vance (Power Pop Overdose)
1. Phil Angotti – Once Around Again
2. Push Puppets – Allegory Grey
3. Uni Boys – Do It All Next Week
Dan Pavelich(Pop-A-Looza, The Click Beetles)
Nick Frater – Aerodrome Motel
Crossword Smiles – Pressed & Ironed
Deadlights – Deadlights
Daryl Bean
Trevor Blendour – Falling in Love With
Sloan – Steady
Miles Out to Sea – The Roots of British Power Pop 1969-1975
David Woodard
David Schrader – Don’t Tell Anyone
Tamar Berk – This Is Me Trying
Greg Pope – Sorry I Wrote This Song
Drew Forsberg (The Persian Leaps)
Beach Bunny – Emotional Creature
Guided by Voices – Crystal Nuns Cathedral
Young Guv – GUV III
Ed Ryan
Sloan – Steady
The Beths – Expert In A Dying Field
Chris Church – Darling Please.
I also really love Lolas – All Rise.
Erich Specht (Push Puppets)
1. Push Puppets – Allegory Grey
2. Phil Angotti – Once Around Again
3. Crossword Smiles – Pressed & Ironed
4. Bird Streets – Lagoon
Finn Donders (Navigate, Sweet Sweet Music blog’s Head of Branding)
Uni Boys – Do It All Next Week
Buzzard Buzzard Buzzard – Backhand Deals
Dot Dash – Madman in the Rain
Garret Vandermolen (Speedfossil)
1. Sloan – Ready (I’m sure this one is on at least 90% of the lists you are getting)
2. Brendan Benson – Low Key
3. The Daylilies – From America
Jan van Aert (Sweet Sweet Music Fest)
Young Guv – Guv III
Sloan – Steady
2nd Grade – Easy Listening
The Well Wishers – Blue Sky Sun
Brendan Benson – Low Key
Jeff Shelton (The Well Wishers)
Uni Boys – Do It All Next Week
Sloan – Steady
Young Guv – Guv III
Jeremy Porter (Jeremy Porter & The Tucos)
Urge Overkill – Oui – It’s powerful and it’s poppy, so it counts! Also, one of the most unexpected surprises of the year. Urge’s best effort since 1995’s under-rated Exit the Dragon. Who else would open the LP with a WHAM! Cover? Fantastic record that got a lot of spins in 2022.
Popular Creeps – All of This Will end In Tears – Detroit pals’ sophomore release is even better than their debut with great hooks, smart lyrics, and rockin’ guitars. Yeah, I got a co-write on a song, but it’s a hell of a record regardless and worth any power-pop fan’s ears.
Butch Walker – Butch Walker as…Glenn – What can you say about BW that hasn’t already been said? He’s a master craftsman and knows how to get the magic down on tape. Simply incredible, hooky, pop rock masterpieces that sound amazing and work together brilliantly on this wonderful concept album.
Sloan and The Beths both put out great records that’ll deservedly be all over the end-of 2022 lists.
Enuff Z’Nuff put out a surprisingly strong collection of Sunset Strip meets Cheap Trick hooks.
It was another fantastic year for rock and roll! xx
Jim Basnight
My favorite songs of 2022: “After The Lights Go Out” Walker Brothers (1965), “Tired Of My Life” David Bowie (1971) and “Going Down Slow” St. Louis Jimmy (1941).
John Dunbar (John Sally Ride)
Toni Tubna with The Stockholm Tuba Sect – When The Magic Went Wrong
Nomden – Parallel Universe
Adrian Belew – Elevator
Lindsay Murray (Gretchen’s Wheel)
1. Chris Church – Darling Please
2. Bird Streets – Lagoon
3. Sloan – Steady
If I could add an honorable mention for a compilation album: An Andy Bopp Compendium (remixed/remastered by Nick Bertling)
Morten Henriksen (The Yum Yums)
1. Trevor Blendour – Falling In Love
2. Trevor Blendour – Falling In Love
3. Trevor Blendour – Falling In Love
Neil Christie (Emperor Penguin)
Buzzard Buzzard Buzzard – Backhand Deals
The Beths – Expert in a Dying Field
Elvis Costello and the Imposters – The Boy Named If
Favorite song – Will I be Cool by Golden Richards.
Nick Frater
Michael Rault – Michael Rault
The Beths – Expert In A Dying Field
Spygenius – Jobbernowl
Nick Piunti (Nick Piunti & The Complicated Men)
Wet Leg – Wet Leg
Alvvays – Blue Rev
The Beths – Expert in a Dying Field
Nisse Donders (Navigate, Apeshit, Sweet Sweet Music blog’s Head of Cool)
BOAT – No Plans To Stick The Landing
The Well Wishers – Blue Sky Sun
Dazy – Out of Body
Patrick Donders (Sweet Sweet Music blog)
Sloan – Steady
2nd Grade – Easy Listening
Young Guv – Guv III
Andy Bopp – An Andy Bopp Compendium (remixed/remastered by Nick Bertling)
BOAT – No Plans To Stick The Landing
Phil Yates (Phil Yates & The Affiliates)
Young Guv – GUV III
Rolling Blackouts C.F. – Endless Rooms
BOAT – No Plans To Stick The Landing
Ray Gianchetti (Kool Kat Musik)
Cheap Star – Wish That I Could See
Lolas – All Rise
The Sun Sawed In 1/2 – Triptych
And , for good measure “Pop Aid – A Power Pop Compilation To Benefit The Citizens Of Ukraine”!
Reinhard van Biljon (The Cudas)
Fuzzbubble – Cult Stars From Mars
Sloan – Steady
Dungeon of Skeletons – Patterns
Richard Rossi (PowerPopNews.com, Rumble Strip)
Greg Pope – Rise of the Mythical Creatures
The Glad Machine – Hey!
Jellyfox – Holy Moly!
Richard Turgeon
I vote for mine, Rough Around the Edges ; )
Robby Miller
Toledo – How It Ends
Sloan – Steady
NO WIN – Dodgers Stadium
Ryan Allen (Extra Arms)
I should start by saying that these aren’t necessarily my 3 favorite records from 2022, nor do I really love the idea of placing records into a specific genre (even if some typical genre signifiers exist on the records) – good music is just good music, ya know? But that being said, there are 3 records that came out this year that (if you twist my arm) I would call “power pop” that deserve more attention. So with my disclaimer out of the way, I present them to you in no particular order (actually, these are in order, but whatever):
1. Ex-Void – Bigger Than Before: When I heard “Churchyard” all way the way back in January of 2022, It immediately bowled me over. I think I proclaimed that it was going to be the best song of the year. Almost 12 months later, it still holds true. Why? Well, Ex-Void channel the jangle-heavy spirit of Black Tamborine or “Simpatico”-era Velocity Girl, outfitted with male/female vocals that are often times sung in unison. On top of that they add some Teenage Fanclub-esque guitar work and throw in a dash of hardcore and punk influences to give their sound a unique spin. So basically it’s everything I like rolled into one band. But aside from all the influences, these UK kids just really know their way around a song, tossing off one catchy banger after another with little to no stress. If this band is unfamiliar to you, then do yourself a favor and please change that. Hear it
2. Jacky Boy – Mush: Jacky Boy fell onto my radar courtesy of Mark Palm of Seattle crunchy power-pop studs Supercrush. Mark is a music fanatic and he’s always posting about good shit to check out…usually made by friends the band has made during their heavy touring schedule. Anyway, I can’t quite put my finger on exactly how to describe Jacky Boy’s catchy pop except that it shares a lot of touchstones with 90s slacker rock. It’s not overly caffeinated or uptempo like a lot of power pop bands tend to be, instead delivering a more laid back (but still loud) approach that isn’t too dissimilar to, say, mid-period Buffalo Tom, or maybe Tom Petty, or even something like Third Eye Blind. I dunno – I never got into them. Anyway, there’s a real ease to what they do – nothing seems forced, and it feels like the kind of record you would put on in the car with your friends driving to the thrift store to buy oversized cardigan sweaters and stripped t-shirts. Hear it
3. Classic Traffic – S/T: In 2021 and on into 2022, I got VERY into buying bootleg band t-shirts via Instagram. Name a band, and I probably have a t-shirt by them (oh, you want a Teenage Fanclub soccer jersey? I got that. A Gin Blossoms shirt celebrating their essentially unheard first album “Dusted”? I have that, too.) Anyway, one of dudes who runs a bootleg account I follow posted about his band saying something like, “Oh I have a band, we have a record coming out, check it out.” Very nonchalant tho. So I did. And I was blown away. Classic Traffic mine similar sonic territory as the Posies, Teenage Fanclub and Dinosaur Jr., adding a bit of classic rock/riff-y edge to balance out the pop. It’s really great stuff that I doubt many people have heard. But it’s WELL worth your time. Hear it
And just because, here’s a few other “lesser-known-but-probably-more-known-than-the-ones-I-picked” power-pop adjacent records I recommend checking out:
Young Guv – III & IV
Mo Troper – MTV
Dazy – Out of Body
2nd Grade – Easy Listening
Tony Molina – In the Fade
Romero – Turn It On!
Sabeth Elberse (Sabeth Elberse Studio, Sweet Sweet Music blog’s Head of Design)
Romero – Turn It On!
Model Shop – Love Interest
The Beths – Expert in a Dying Field
Sandy McKnight
1. Fernando Perdomo – Moon River
2. Christopher Peifer – The Long Goodbye
3. Liv Cummins – Let Me Go
Scott Gagner
(…) the best Power Pop I’ve heard would certainly be Nick Frater’s “Dancing With a Gertrude” single. One of the best chorus melodies I’ve heard in years.
Scott Theabo
Maple Mars – Someone’s Got To Listen
Lannie Flowers – Flavor Of The Month
The Cowsills – Rhythm Of The World
Shane Tutmarc (Dolour)
1. Castilho – Today we’ll be the lucky ones
2. Dungeon of Skeletons – Patterns
3. Shintaro Sakamoto – Like A Fable
S.W. Lauden (aka Steve Coulter) (TSAR, The Brothers Steve, ‘Go All The Way’ and ‘Go Further’)
1. Uni Boys – Do It All Next Week
2. 2nd Grade – Easy Listening
3. Young Guv – Guv III
Tim Boykin (Lolas)
My Picks for Best 3 Power Pop Songs of 2023:
1. Alvvays – Many Mirrors
2. White Reaper – Pages
3. Chubby and the Gang – Who Loves Ya? (Coup d’état)
Victor Ramirez (Ramirez Exposure, Marc Jonson & Ramírez Exposure)
The Cowsills – Rhythm Of The World
Bart Davenport – Episodes
Model Shop – Love Interest
Yoshiyuki Morikawa
Dungeon Of Skeletons – Patterns
Marc Valentine – Future Obscure
Marc Jonson & Ramirez Exposure – Turning On The Century Vol.1
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Sweet Sweet Music Blog 