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What's power pop?

Power pop (or powerpop) is a popular musical genre that draws its inspiration from 1960s British and American pop and rock music. It typically incorporates a combination of musical devices such as strong melodies, crisp vocal harmonies, economical arrangements, and prominent guitar riffs. Instrumental solos are usually kept to a minimum, and blues elements are largely downplayed. Recordings tend to display production values that lean toward compression and a forceful drum beat. Instruments usually include one or more electric guitars, an electric bass guitar, a drum kit, and sometimes electric keyboards or synthesizers. While its cultural impact has waxed and waned over the decades, power pop is among rock's most enduring subgenres.

Who's power pop?

Badfinger, Dwight Twilley Band, Big Star, The Raspberries, Blue Ash, 20/20, Cheap Trick, Shoes, The Records, The Motors, The Spongetones, Marshall Crenshaw, The Knack, The Smithereens, Jellyfish, Teenage Fanclub, Weezer, Brendan Benson...

and many, many more

What's this Tumblr all about?

This is a place for videos, songs, photographs, articles.. anything and everything power pop. A celebration of jangly guitars and sweet harmonies! A cornucopia of catchy choruses and chiming chords!

Power pop links
Absolute Powerpop
Magnet's power pop issue
Allmusic: Power Pop tag: power pop
Bandcamp tag: power pop
Peter's Power Pop
TV Tropes: Power Pop
Reddit: Power Pop
The Beginner's Guide To Power Pop

Who runs this Tumblr?

This guy

111 plays
BOMP! 7"


Boyfriends “You’re The One”

Catchy, Loud and Proud: 20 Essential Power Pop Tracks | Music News Gossip | VH1 Music

What’s power pop, you ask? It’s ridiculously radio-friendly hooks and close vocal harmonies, mixed with a hefty dose of Marshall stacks and relentless four-on-the-floor beat. Perfect for music fans who like a little sugar in their rock! The genre has its roots in the British Invasion sound of the mid-sixties, borrowing heavily from The Who and The Beatles, as well as Americans, The Byrds. Following the demise of the Fab Four at the start of the ’70s, a host of new groups hoping to carry the pop torch amped up their jangling Rickenbacker 12-strings and made a bid for Billboard glory. Only a few made it, but the music that came out of the power pop golden era (1973-1982) is still among the catchiest ever committed to wax. Read on for 20 essential power pop tracks that will be lodged in your brain for the rest of your life. Overly commercial? Maybe. Guilty pleasures? Possibly. But you’ll be singing right along, we guarantee it! Be warned: This ear candy is so sweet, you’re going to have to brush your speakers before bedtime.


So happy with this one. It’s Sloan’s double album “Never Hear The End Of It.” It almost never surfaces on eBay or discogs and it’s sold out everywhere. Lovely gatefold of one of my favorite Sloan albums.

You can always rely on power pop to bridge the generational gap: Young Italian upstarts Radio Days have teamed up with 1970s veterans The Rubinoos for a split record release!

“We played a great show with them in Italy and became friends,” says Radio Days frontman Dario Persi of the long-running Rubinoos, whose last album was 2010’s Automatic Toaster. Each band covers a tune by the other and adds an original song to their side of the EP, which comes complete with glorious and colourful retro-inspired artwork by Remz Di Maggio.

The Rubinoos kick things off with a slightly faster paced cover of Radio Days’ “She’s Driving Me Crazy” from their Midnight Cemetery Rendezvous EP (which also featured a Paul Collins’ Beat cover, another classic power pop band Radio Days have released a split record with), followed by a preview of an upcoming full-length album with the original “All It Takes”, a mid-tempo strummer that brings to mind Todd Rundgren’s “I Saw The Light”.

On the other side, Radio Days break out the Rickenbackers to give a more Merseybeat-inspired take on the Rubinoos’ “Hurts Too Much”, and conclude with a brand new tune “Let’s Move On” that’s even more Beatle-flavoured in all the right places. Dig those handclaps and harmonies!

At just ten minutes long this EP is over far too quickly, but that’s all the more reason to play it over and over again. It’s a welcome blast of timeless pop, fresh and invigorating. For the uninitiated this is a fine introduction to both groups, for the aficionado it’s a welcome addition to a probably already bursting at the seams record collection. 9/10 (one point deducted only for its shortness)

The Rubinoos/Radio Days split is released on May 1st on Surfin’ K Records (vinyl) and Rumble Records (CD), follow both bands on Facebook for further information

63 plays
Any Trouble,
Live at 229 The Venue, London 29 November 2013

Any Trouble - Yesterday’s Love (live at 229 The Venue, London, November 2013)

Greetings, power-poppers! By way of an apology for the lack of postings here over the last few weeks, here is a full download of a reunion concert by the one and only ANY TROUBLE in London last November! The band have not played together since another one-off show in support of the release of their reunion album ‘Life In Reverse’ in 2007. And judging by this recording there is another album on the way soon.

You can hear the full two-hour show in mp3 format by downloading the zip file here. I recorded this mere inches from the front of the stage, so expect some audience chatter (and some very enthusiastic sing-a-longs). The three brand new songs are unknown titles so I have made educated guesses at their names based on the lyrics. Nick Simpson, songwriter of Playing Bogart, guests on guitar and vocals during the performance of that song. As they say, it ain’t perfect but it ain’t bad…

Clive Gregson - vocals, guitar
Chris Parks - guitar
Mark Griffiths - bass
Martin Hughes - drums

1. Intro/tuning
2. Yesterday’s Love
3. Second Choice
4. That Sound
5. Girls Are Always Right
6. She’s Not Like All The Other Girls (new song)
7. To Be A King
8. Missed That Train (new song)
9. Dimming Of The Day
10. Wanderlust
11. Baby Now That I’ve Found You
12. You’re A Lighthouse (new song)
13. Nice Girls
14. I’ll Be Your Man
15. Foolish Pride
16. I Want You
17. Touch And Go
18. As Lovers Do
19. Trouble With Love
20. Playing Bogart (featuring Neil Simpson)
21. Turning Up The Heat
22. Open Fire
23. I Don’t Want To Love You (But You Got Me Anyway)
24. So You Want To Be A Rock ’N’ Roll Star
25. Working On The Night Shift

469 plays
The Hudson Brothers,
So You Are A Star: The Best Of The Hudson Brothers


The Hudson Brothers - So You Are A Star (1974)

Bill Hudson was Goldie Hawn’s husband, and thus, Kate Hudson’s father.  As a kid, I remember the Hudson Brothers had a kinda dumb variety show on TV, but the Hudson Brothers were actually a pretty decent power pop group sounding not a million miles away from Badfinger, and they had a minor hit with this song. 

Why ‘Breaking Bad’ Chose Badfinger’s ‘Baby Blue’ | Rolling Stone

"Baby Blue," the memorable 1972 Badfinger track that closes Breaking Bad as an ode to blue meth, was creator Vince Gilligan’s idea. His music team didn’t agree. Thomas Golubić, the show’s music supervisor, kept picking alternate “blue” songs, all of which Gilligan politely rejected. “When he said, ‘I think this is the right song for the closing of the finale,’ I didn’t really hear it,” Golubić says. “I thought it was an odd little love song.

"But in came the dailies, with that wonderful crane shot moving over Walter White, and once we played the song, [we thought], ‘Oh, I get it now,’" Golubić continues. "This is a love-affair story of Walt and his love of science, and this was his greatest product – his greatest triumph as a chemist. It wasn’t about Walter White as a criminal or a murderer or an awful person. It was him ending on his own terms. It felt creatively right."

"Baby Blue," inspired by the late Badfinger singer Pete Ham’s ex-girlfriend, Dixie Armstrong, was a Number 14 single, the last Top 20 hit in the British band’s career. Although it appeared in Martin Scorsese’s The Departed in 2006, it’s obscure compared to classic-rock Badfinger fixtures such as “No Matter What” and “Come and Get It.” That is likely to change – the song’s Spotify streams jumped 9,000 percent in the first 11 hours after the Breaking Bad finale, and iTunes sold 5,000 copies Sunday night, according to Billboard, when it has never sold more than 1,000 in a week.

Gilligan, a Badfinger fan, wasn’t thinking The Departed when he picked “Baby Blue” for the finale. Golubić didn’t realize Scorsese had used it until it was too late. “I thought, ‘Oh dear God,’ this song was in the Departed soundtrack. If someone uses a song in an incredibly iconic and wonderful way, the last thing I want to do is utilize it again,” he says.

341 plays
Straight Up

Badfinger - Baby Blue

I used to carry around a little blue transistor radio at my grandmother’s house in Douglassville, Pa., holding it tight against my ear for “Brandy” by Looking Glass and “Go All the Way” by the Raspberries. I had no idea what either of those songs meant. I might have known there was a drink called brandy and I thought Eric Carmen was singing “go away.” I was 5, and that’s probably my earliest memory of being transfixed by music. In the way children understand these things, I guess I thought it was magic. No part of my brain could hear the different instruments as distinct from one another, nor did it cross my mind that someone sat down and decided to write about something…

The Warm Thrill of Confusion by Chris Collingwood -

Chris Collingwood of Fountains of Wayne talks about music, creativity, the birth of FoW, and his songwriting process in this in-depth blog post for the New York Times.

61 plays
Wyatt Funderburk,
Love Will Lead the Way ( single )

Wyatt Funderburk - Love Will Lead The Way

Mr. Funderburk has been a part of the Kurt Baker Band for a while now, as well as contributing instrumentation and production to a whole host of other musicians from his studio in Nashville, Nebulon II.

Here’s his first solo release, a glorious tune that brings to mind the works of Billy Goodrum and the late 80s productions of Jeff Lynne, among others. The b-side is written by another KB Band alumnus, Geoff Useless. Pre-order the limited 7” or get the digital download on Bandcamp. Hope your album comes out soon, Wyatt!