Is It Power Pop?!

PART FIVE: John M. Borack

Feb 19, 2025

This is a guest post series about power pop featuring some of my favorite music writers. We’ll be sharing a new installment every week or two in January and February. Full series here.

Is It Power Pop?

By John M. Borack

Hell, I dunno. I mean, I do know, but I don’t. Well, I guess I kind of do, but others might disagree.

I’m speaking, of course, of the daunting task of attempting to define what power pop is—and to a lesser extent, what it isn’t. Totally subjective, sure, especially given the fact that power pop has never been a genre that can be confined to a convenient little box. In a world where everything from Emitt Rhodes (poppy as hell, but where’s the power, man?) to Cheap Trick (who many consider to be a “hard rock” act) is considered power pop by card-carrying fanatics, it’s all open to interpretation.

So, we can blather on all we want about the “Triple B” ‘60s influence (Beatles, Byrds, Beach Boys), the Rickenbackers, the pristine vocal harmonies, those Pete Townshend guitarisms, etc., etc., but the truth is that there is no hard and fast definition of power pop—and as the incessant online discussions/arguments about the genre consistently prove, there never will be.

Except that KISS ain’t it. I will defend that shit to the death.

My own introduction to the glorious world of melody and harmony occurred sometime in the early ‘80s when I purchased a book titled The New Music. Written by Australian journalists Glenn A. Baker and Stuart Coupe, it featured a chapter on this mysterious, new (to me) thing called power pop, under the heading “The New Music Trends.” It used acts such as pre-Sgt. Pepper Beatles, The Monkees, The Hollies, and pre-Tommy The Who as a frame of reference, and name-checked Raspberries and Badfinger (who I owned records by and enjoyed), as well as Big Star and Blue Ash (who I knew nothing about at the time).

As I read about acts such as The Records, Shoes, Pezband, The Beat, and 20/20, I knew this power pop stuff was something I needed to hear, and my hunt for records by those artists (and others) began in earnest. Nearly 45 years later, I’m still a sucker for the sweet, crunchy sounds of a good power pop song.

Here are five I never tire of hearing.

“Remember the Lightning” by 20/20

Realistically, I could have chosen pretty much anything off 20/20’s first record for this list; to me, it still stands as the finest power pop album ever, bursting with youthful energy and memorable songs to spare, raised to an even higher level by Earle Mankey’s inventive production flourishes. The minute the opening guitar riff of “Remember the Lightning” blasts out of the speakers—almost commanding you to turn it up—it’s clear that a 2:47 power pop joyride is about to commence. The brief guitar break on this jumping little number is just perfect, as are Ron Flynt’s and Steve Allen’s harmonies. Guest drummer Phil Seymour sounds great here as well, taking a page out of the “American Girl” playbook for his Stan Lynch-inspired drum track. (By the way, make sure to check out 20/20’s fine new album, Back to California, on SpyderPop Records.)

“Your Number or Your Name” by The Knack

Less overtly horny than most of the tracks on Get the Knack, “Your Number or Your Name” would have been a most excellent choice for a single, but alas, it was relegated to an album track. But what an album track! It showcases Doug Fieger and Berton Averre’s uh…knack…for crafting ridiculously catchy tunes that don’t skimp on the power or the pop. And speaking of power, special mention must be made of Bruce Gary’s superb drumming, which is just as important as the melody and pushes the song into the stratosphere. Listen to his drum roll following the “you were lost in the rumble of the train” lyric—sheer percussive genius.

“I Don’t Wanna Cry” by The Keys

I vividly recall finding a copy of The Keys’ album—imaginatively titled The Keys Album—in the used bin at the late, great Middle Earth Records in Downey, California sometime in 1987 for princely sum of ten cents. The album, produced by Joe Jackson and featuring Paul McCartney’s former drummer Geoff Britton on the kit, was a fine collection of pop tunes, but this singalong little ditty was the clear highlight. The early Beatle influence is strong here, but the tune doesn’t come off like a slavishly mop-topped imitation, which is a neat trick. Cool fact: The Lemon Twigs covered “I Don’t Wanna Cry” on their latest tour.

“You Make Me Shake” by The Boys

Not to be confused with the UK combo of the same name, these Boys hailed from Lincoln, Nebraska and released this supercharged single on the Outrage Records label back in 1977. Pure, muscular power pop all the way, with a sprinkle of punk, a dash or two of The Who, and Danny Shonerd’s teen dream lead vocals. The verses fairly explode into an unforgettable chorus, which features some perfectly placed background vox. Textbook stuff.

“Ever Since” by Double Naught Spies

Let’s toss an obscure one into the mix to wrap things up. DNS were a Los Angeles-based band fronted by singer/songwriter Rick Hromadka, who would go on to form the well-loved Maple Mars and Ruby Free. “Ever Since” is from the 1999 album The Shoephone Conspiracy, and it’s a real corker: beefy guitars, handclaps (love those), harmonies galore, and a simple yet satisfying melody make this a song that never fails to please. Oh, and there are ample amounts of “did-its” and “woos” that add to the fun.

John M. Borack is a contributing editor for Goldmine Magazine and has authored four books, including The Beatles 100. He hails from California and loves power pop, drumming (The Armoires, Popdudes, et al.), good steak, and people who aren’t jerks.