Snobbin: Beautiful Trash in the Pop Culture Gutter

Crimpshrine and Fifteen songs often interpolate or play with the idea of reworking/reusing lines from earlier famous songs within the lyrical and musical framework of songs, Ott's and Jack Curran's melodies are deceptive because they bury them in layers of distortion. However, just as their lyrical ambition often tells complex stories through the framework of deceptively simple choruses, the lyrics hide Easter eggs within simple love and relationship songs. Crimpshrine's "Tomorrow" borrowed lyrics from "Tomorrow" from  Annie , but Ott has continued to include popular lyrics in interesting ways. Pop melodies were common in many of the bands that played with Fifteen at 924 Gilman Street in the 1990s, but Ott's hardscrabble songs stand out because of their wordplay and insistence on melodic invention.  Other bands that played with them reveled in wordplay and definitive walking East Bay basslines, but generally fitted into different frameworks. While th...

I had an internet discussion with friends a few weeks ago and was shocked to find out that one of them was a Pink Floyd fan. Either I never noticed or ignored it because he never really seemed like the type. Of course, there is nothing wrong with liking Floyd, but it got me thinking about what I want in music since prog always reminds me of hanging out with stoners and listening to Dark Side of the Moon for the thousandth time.  At his suggestion, I attempted to listen to Pink Floyd's Division Bell . I made it through, but I was awfully bored. I enjoyed parts of it, but my mind strayed, and I wanted to listen to something pithier and more straightforward. I know it is an unpopular opinion to rip on bands like Floyd in some circles, but they just don't do much for me. (Of course, other groups make a sport of it.) Nor does much radio classic rock because it lacks the hooks and melodies that I like. I'm not saying I don't listen to longer songs or other genres because I l...

There is an age-old mixtape code that does not allow for much recopying. The tape you make for one person should not be given to another. This does not stop these tapes from being recopied if they are good, usually by the receiver of said tape without the knowledge of the author, carrying on the tradition of musical choices and adding more variety to one's musical taste. Tapes can throw a monkey wrench into the works and introduce an interesting theme that needs to be carried on, or a genre that has not been explored. One of these types of thematic tapes turned me on to power pop, and more recently music blogs have taken over some of the work of mixtapes, introducing me to older rock and country stuff that I would have missed.             Mixtape etiquette also assumes that the tape will be a labor of love. Now mixed CDs or playlists do not have to be listened to as they are made. Those old mixtapes required that the creator w...

 This is the second part of a summer series of Track This entries that will focus on lesser-known power pop songs. Oklahoma's The Dwight Twilley Band's debut album Sincerely is an undersung power-pop classic that borrows heavily from the Beatles early 70s modus operandi with sweet melodies and understated guitar. The deceptively simple title track follows that pattern as Twilley harmonizes over lead guitar that would not feel out of place on The White Album , although there is a slight southern feeling in its bittersweet revelations, but it never kicks into full gear. He sings "sincerely, I got what you need" as the guitar meanders in and out. The lyrics are metaphysical and lovelorn with Twilley's voice wavering about the death of love and how a "starcold soldier feels." The simple song repeats a basic pattern of understated instrumentation that leads to a call and response between Twilley's vocals and the meandering guitar. Nothing is resolved ...

This is the first part of a summer series of Track This entries that will focus on lesser-known power pop songs. I first discovered Ultimate Fakebook in the cheap bin at one of my favorite record stores, Radio Kaos, and I am not exactly sure why I picked it up. Looking at the album cover for their major label debut, the repackaged This Will Be Laughing Week , now, I do not see how it attracted me. I'm assuming that I had heard the name in reference to shows they played with The Get Up Kids or other Kansas area emo bands that I was heavily into at the time. However, when I played the CD, I realized that Ultimate Fakebook was not an emo band but a power pop band that loved hooks. When I played them for friends, I always compared them favorably to Weezer's early albums. Recently, I listened to an interview with them on the 90s music podcast, Dig Me Out , and they explained that now they tell people they sounded like Weezer. Apparently, at the time they were more interested i...

The Greenberry Woods is a power pop band that I almost missed because I disliked them when I heard them on a Huh compilation in the 90s. Years later, I returned to them once I realized how much I loved their album Big Money Item . The band writes catchy songs and follows familiar formulas, yet their songs have surprising staying power. "I Knew You Would" is a lost gem, capturing what they do best. Raspberries-esque guitar passages and sweet, harmony vocals capture a timeless era in pop music. Check it out. https://play.spotify.com/track/7vJtcm8Y7PEhDhw0WaqcHT?play=true&utm_source=open&utm_medium=signup-test&utm_campaign=link

The Last's music is a raging, timely love letter to 60s psychedelia with an 80s flare and a punk rock ethic. All the touchstones of the so-called 80s Paisley Revival are included, beginning in 1976: The Byrds, Dylan, Love, The Pretty Things, and more. Yet there is so much else here; there are touches of mod, power pop, surf, and punk, all tied up in an energetic package. The first track, "She Don't Know Why I'm Here" is an anthem that could have been written in the 60s; it's timeless power is evident because it is a catchy pop tune undercut with a current of danger and cynicism. The Last justly increase the power and speed over its three minute running time. Not unlike The Barracudas, The Last traffic in sweet and sour melodies, often juxtaposed; Joe Nolte writes upbeat pop numbers, but also dabbles in psychedelic sadness. "She Don't Know Why I'm Here" combines both worldviews. I first heard the track on an old Bomp compilation, Destina...

Matthew Sweet's "Sick of Myself," the first track from 100% Fun is the type of pure power pop mastery that is good for whatever ails your tired old soul. From the palm-muted opening to the first full clean power chords, the song makes its intentions known, rocking heavily with tight drumming and blasting guitars. The song was a call-to-arms in 1995, and its even better now. Sweet's everyman vocals have a bit of sweetness to them, and it sounds like he's having so much fun. The track harks back to 20/20, the solo work of Chris Bell, and the like, but there is a larger guitar presence, if not a Phil Spector attention to detail. Sweet doesn't take himself too seriously and even with the backing of guitar legends Robert Quine and Richard Lloyd, both members of the far artier, yet no less explosive Television, the song maintains a ramshackle vibe. Listen to the sloppy, but spectacular, solos. Sweet's lyrical bent is pure power pop love and loss. His word ...

Green Day has maintained a low profile since they released three full albums of music, ¡Uno! , ¡Dos! and ¡Tré! , in 2012, and now return with a collection of demos from the same recording sessions. The aptly yet not originally named, Demolicious , clever portmanteau notwithstanding, is slight, yet infectious. Released on Record Store Day 2014 the collection purports to give fans what bassist Mike Dirnt wrote on his instagram account: how ¡Uno! , ¡Dos! and ¡Tré! would have sounded if we were still on Lookout Records!" The record is certainly more immediate than what the band has been doing in recent years. "99 Revolutions" kicks it off with a poppy burst of inspiration that is more stripped down than the version on ¡Tré!, but sounds more like it would fit nicely alongside Insomniac's "Stuart and the Ave." one of that album's more melodic songs. The intro of "Angel Blue" sounds like the Clash before Billie Joe Armstrong's vocals shif...

As a vinyl collector, I find myself getting more adventurous every year. Albums I would never have purchased, even five years ago, make it into my stack more and more often. If I find a dusty ol' record that looks interesting, I will buy it without hesitation (especially if I'm paying 5 bucks or less). This is how I managed to own not only most of the Top 40 Fleetwood Mac, but also a sizable collection of prog records by Yes and Rush -- these records get played once and filed as I have still not, nor probably ever will, garner an appreciation for 25 minute songs. Give me sugary 60's pop any day. Of all the thrift store records I own, the Byrds perhaps get the most play. When I pick through those dusty thrift store bins, brimming with Mitch Miller and Neil Diamond, I always hope to find a Byrds record I don't own. This is surprisingly easy as many people don't respect them enough. All the sappy David Crosby songs and missteps in the later years have turned people o...

I've always had a fascination for lesser-known power pop bands and singles. Whether this means singing the praise of 20/20's second album, championing Brendan Benson's pre-Raconteurs efforts, or even calling Pansy Division's Absurd Pop Song Romance the greatest power pop album, I sometimes find myself reaching for that sugary, disposable pop single. Albeit, I generally grab one that won't make the radio or even get noticed in this age of increasing vocoder usage and auto-tuned pop atrocities. Case in point, these two songs by the pop punk band, Weston off of their 1996 album, Got Beat Up , are so dynamic, poppy, and well-written that they deserve space in the echelon of killer pop tunes. While the rest of the record is an excellent pop punk record with the type of sugary licks that Weezer wishes they used, these two songs stand out due to their maturity. No small feat on a record where most of the songs deal with immature love and the awkwardness of being young an...

In issues of the old "Lookout Records! catalog," Larry Livermore, or some earnest shitworker, referred to Pot Valiant's eponymous EP as "what your cough syrup daydreams sound like." With an awful cold, while fighting through my own cough syrup haze, I listened to the new Green Day album for the umpteenth time, wondering just how far the boys from Rodeo had come from their early days on the aforementioned (and sadly gone) pop punk label. Green Day's new record, Uno! , is much better than expected. Gone is much of the rock star posturing and  topical songwriting that plagued or strengthened their last two rock operas: 2004's American Idiot and 2009's 21st Century Breakdown . Nor is there an overarching conceptual theme, except perhaps an attempt to write fun songs in the tradition of their Lookout! records. Yet, if you are looking for the ubiquitous return to form record, you may need to imbibe in similar large amounts of cough syrup. Perhaps a r...

Let's Wrestle - Nursing Home  Pure fun is the perfect way to describe Let's Wrestle's new album, "Nursing Home." At first glance, the faults are apparent. Perhaps, it is a little too silly, a little too sloppy, and a little too schlocky brimming over with silliness and inside jokes, the kind that all the nerds in the room can relate to. Yet it is these qualities that endearingly make it a great album. Like their fellow travelers on the jokey, but smart indie highway, Boat, Let's Wrestle knows how to have fun with a clever turn of phrase. An earlier song, "Music is My Girlfriend" took a tired cliche and made it seem new again. In a nutshell, this technique is the genius of the band. While "Nursing Home" never reaches the same heights, it is a fine attempt. The band is a little tighter, the jokes are more coherent, and the production values a hair better. While not attempting anything as virtuosic as the new Boat album, Let's Wrestl...

The new Brendan Benson album, My Old, Familiar Friend i s somewhat of a revelation. After years of being under the radar, he finally made some headway by being the first mate in Jack White's side project, The Raconteurs. (I say side project, but the Raconteur's are as fully realized a project as any other White has been involved with, or for that instance Benson). They have become his full time paying gig. But those who listen to the Raconteurs as just a White side project are missing something; the classicist power pop of Benson adds new dimensions to White's music. Likewise, Benson sounds revitalized on My Old Familiar Friend gaining confidence from the collaboration with a real "rock star." The title works as perfect description, because the record does feel like an old familiar friend (fitting firmly into the classic ranks of the poppier side of power pop), even though Benson tends to rock out a bit more than most power pop artists this side of Cheap Trick...