This is a guest post series about power pop featuring some of my favorite music writers. We’ll be sharing a new installment every few weeks or so (while supplies last). Full series here.
Is It Power Pop?
By Javier Romero (of Strange Magic)
I have to admit, I have a strong love/hate relationship with “power pop” as a genre.
I have a hard time with the nitpicking that goes on in various online forums where folks endlessly foist the same Flamin’ Groovies song at one another ad nauseum.
Every once in a while someone might share a newer song on one of those threads (perhaps something from this century) and folks will wax pedantic about why it’s not actually power pop and then proceed to mention “Shake Some Action” again.
No, thanks. (Don't get me wrong, I like “Shake Some Action.” Who doesn't? What I don't like is how it's constantly weaponized in these kinds of discussions.)
Power pop, it seems to me, is a term that has been hung on many great artists who didn’t originally set out to create power pop or be an actual power pop band.
You can’t fault an act for putting two great ingredients together—hooks and drive—to make some magic happen. I suppose what I’m saying is that the best power pop is retroactively power pop because, after all, it’s a “you know it when you hear it” situation.
And when I hear it, I fucking love it! So, with that in mind, I’m gonna attempt to go WAY back and identify some classic ‘50s rock and roll songs that might be considered proto-power pop.
These might have the main ingredients in some proportion, but also might contain longing, a loser sensibility, a youthful energy, and perhaps some jangly twang.
Like and share to tell the Substack algorithm (and other music lovers) that we exist!
“When Will I Be Loved” by The Everly Brothers
This might be the source. The guitar hook. The hard hits on the snare. Those blood harmonies. The “feeling sorry for oneself.” If it were just a little more consistently driving, it might have it all!
“Rave On” by Buddy Holly
There’s a reason Weezer wrote a song called “Buddy Holly.” I give you exhibit A. Remove the piano solo and those interesting backup vocals and this could have been credibly released in any subsequent decade and held up.
“Somethin’ Else” by Eddie Cochran
The energy! That cookin’ rhythm section pushes the tape to near distortion. A classic “there’s a girl out of my league” song. Might we have “Is She Really Going Out With Him,” “My Best Friend’s Girlfriend,” or “Jessie’s Girl” otherwise?
“Come On, Let’s Go” by Richie Valens
There’s a reason people use the I - IV - V chord progression. It’s probably the hookiest chord progression that’s ever existed. This is a simple ear worm of a song clocking in at 2:05 that has a simple message about wanting to do whatever it is again. I say we should heed Richie’s message and do it again.
“Only The Lonely” by Roy Orbison
Ok, maybe this may not quite have the power and may be strictly pop, but it could work. I choose it because who does longing and heartache better than Roy Orbison? And it’s all about that sweet sweet heartache people. Let’s take a minute to imagine his fellow Wilbury Tom Petty doing something with it. It’d work!
After capturing four albums on the Slightest of Hands compilation, Strange Magic mastermind Javier Romero looks to toss any genre restrictions with a fresh sound on his new album, Effervescent. The power pop is still there, but New Jack Swing, the golden age of hip-hop, and early, true alternative stylings are along for the ride.
Previously On “Is It Power Pop?!”
Is It Power Pop?!
This is a guest post series about power pop featuring some of my favorite music writers. We’ll be sharing a new installment every few weeks or so (while supplies last). Full series here.
Really interesting look at what could be the origins of power pop. I have my eye on that new Everly Brothers biography too.
What's that about the Flamin' Groovies?! Shit that's extremely rude.