Dr. McCoy: He's dying....He'll live the remainder of a normal life span, then die.
Mr. Spock: On that day, I shall grieve.
Today, I am grieving.
Rest easy, old Spock.
"A black cat crossed your path
And why don't you follow?
My claw's in you and my light's in you
This is your first day of sorrow"
Powerpop: 10 0f the Best
In the 1970s, US powerpop musicians turned away from jamming and noodling in favour of concise, 60s-inspired songcraft – here are 10 classics
By Paul Lester
1 Todd Rundgren - Couldn’t I Just Tell You
Powerpop, some say, began with Emitt Rhodes’s 1970 debut album or Badfinger’s Magic Christian Music (also 1970), but really those were more like late Beatles works. Powerpop may have drawn on the 60s – in fact, there is a school of thought that has the Beatles, the Beach Boys, the Who and the Small Faces as original powerpoppers – but powerpop is really a 70s invention. It’s about young musicians missing the 60s but taking its sound in new directions. In its insistence on brevity, energy and melody, powerpop was not just an alternative to prog and the hippy troubadours, but a cousin to glam. And like glam, it has a claim to being one of the first postmodern genres.
This is largely a 70s list because powerpop is era-specific. You can re-create it outside the time from which it came, but it becomes something different. So you’ll read arguments in favour of 90s musicians such as the Rooks, Brad Jones and more, but they lack powerpop’s edge, which arises from the tension between the music and the audience’s expectations. They just weren’t meant to make music like this in the early 70s. That created problems for powerpop’s main players, as their commercial, catchy material failed to catch on, resulting in a preponderance of tortured artists and casualties.
Talking of glam, Todd Rundgren could easily feature in a 10 of the best list on glitter rock, just as he could be on a list of piano ballads, blue-eyed soul, proto-electronica, even prog. But he staked his claim to powerpop immortality with this track, which set the whole ball rolling (look out for 1972-73 and 1977-78, because they’re key periods within the overall powerpop time frame). If Something/Anything?, its parent double album, featured multiple styles, then Couldn’t I Just Tell You was a masterclass in compression, from the deceptively sweet acoustic intro and opening salvo – “Keep your head and everything will be cool/ You didn’t have to make me feel like a fool” – to the incandescent 15-second guitar solo, the breathtaking “drop” at 2min 36sec and the climactic eruption of guitars, bass and drums, of which Rundgren played and produced every last note.
"Steve -- have you ever heard the German Bonds?"
So great to hear about you.
Well, my name is Joaquin Lopez and I live in Madrid (Spain).
By pure chance I got to your GREAT music via CD BabY distribution. I checked the samples and I take notice about your great power pop and topnotch Rickenbacker sound. As well, the cover design and album title were a gimmick/ homage to The Yardbirds' "For your love" album.
The band's attitude were very close to legendary names like early Byrds, Searchers, Flamin' Groovies or The Records. And the tracks "Let her go" and "Are you here or are you gone" are classic stuff. But the whole album is terrific.
Thanks for your kind offer.
Sincerely from a Spanish fan and friend.
Here's one for you.
Cleopatra Records (in LA, I think) recently (sometime this month) issued an album, Stoned: A Psych Tribute to the Rolling Stones. Below is the album cover, I kid you not.
A nice group of younger and young-ish bands doing covers. OK. Cleopatra in 2014 issued a collection of Doors covers, which I possess, and which is pretty good, and whose front artwork is below.
Apparently, the marketing folks at Cleopatra associate the Doors with the Thirteenth Floor Elevators, while the Stones mean Girls Use Heroin.
If this were not so laughably bad, it would be Onion-like funny.
So I took the time to EMail the following to Cleopatra.
Dear C Folks:
Please let the Cleopatra marketing person (or group) who designed the cover for the Rolling Stones tribute collection know that the cover ... ahem ... art is just about the stupidest image I have ever seen on any album. Whereas your Psych Tribute to the Doors collection reflects (not mine, but) a general psych feeling associated with ... ahem ... something, the Stones cover pretty much says Stones = Junk. Of course this is preposterous, and only a 14 year-old would make such a primary visual association.
If it turns out that your marketing person IS 14 years old, please pass along my comments. Also, if the person IS 14, then please stop employing underage staffers. Furthermore, if your marketing person is OLDER than 14, then what the fuck's WRONG with him or her?
Since I received an auto-reply from Cleopatra ("Thank you for contacting Cleopatra Records. A representative will respond to your message within 24-72 hours (Business Days). Thank you.") that thanked me not once but twice, I may have a response from Cleopatra before Monday, which I'll forward to you.
And Cleopatra IS based out of Los Angeles.
An idiosyncratic blog dedicated to the precursors, the practioners, and the descendants of power pop. All suggestions for postings and sidebar links welcome, contact any of us.