“If you’re a power pop fan, you’ve got the book, and quite a labor of love it was. But if you could tweak John Borack’s 200, what albums would be #1-#10?” So went a question posed in an on-line discussion group.
The book in question is Shake Some Action, a photograph of which appears to the left. It’s out-of print, but a list of the Top 200 can be found (with an occasional Spotify link) here
Lists of “the best” of anything can be difficult to compile. A fine line distinction between, say, Number 4 and Number 5 can be agonizing and, ultimately, quite arbitrary.
But this assignment was different. It used someone else’s list as a jumping off point. There were also “rules,” most particularly that there could only be one entry per artist on the list, and that “two-fers” could be included.
So I was game. Have I listened to every album in the Top 200? Of course not. That limited the playing field even more.
So here’s my quick, down and dirty tweaking of “John Borack’s 200.” No agonizing over fine line distinctions went into creating this list:
1. Big Star, #1 Record/Radio City: All roads lead to and from this “two-fer.” If I created a list of my Top 100 songs of all-time, it would include “September Gurls,” “Thirteen,” “The Ballad of El Goodo,” “When My Baby’s Beside Me,” etc., etc., etc.
2. Myracle Brah, Life On Planet Eartsnop: 20 songs meant for blasting out of an AM car radio in 1972 while driving around town with windows open and without a care in the world. The lead track, “Whisper Softly,” sets the tone for everything that comes after:
3. Cotton Mather, Kontiki: The yin and yang of melodic rock. Slow, dreamy stuff (“Spin My Wheels”) slides effortlessly into full-throttled Power Pop (“My Before and After”). And it does it over-and-over again.
4. Jellyfish, Spilt Milk: Some bands fly under your radar and are never noticed. Some are simply overlooked. Some are purposefully avoided. Jellyfish fits into the last category for me. No way, no how was I going to listen to this “hippie” stuff in the early-90s. That was just so wrong. Spilt Milk is simply the most brilliant collection of self-indulgent, over-the-top, bombastic circus pop ever released.
5. Matthew Sweet, Girlfriend: This grafts some of the greatest guitar playing in the entire Power Pop universe onto fifteen almost perfect songs. More than twenty years after-the-fact, it sounds like it could have been released last month.
6. Wondermints, Wondermints: Beautifully encapsulates almost the entire history of rock and roll as it existed in 1995. The finesse with which the band handles such a wide variety of styles is all the more remarkable because it seems so effortless:
7. Chris von Sniedern, Big White Lies: One meticulously crafted pure pop gem after another by one of the true craftsmen around. A slightly softer version of the recreated AM rock experience of the early-70s than Life On Planet Eartsnop.
8. Eugene Edwards, My Favorite Revolution: It grabs you immediately and refuses to let go. And it shouldn’t. Its un-fancy, bass-guitars-and-drum rock and roll, smartly written from start to finish:
9. The Plimsouls, The Plimsouls . . . Plus: Some of this supplied one of the soundtracks to my high school years. Its Power Pop, but with some R&B and garage rock sprinkled into the mix. “Zero Hour,” “Now,” “Everyday Things,” “Great Big World,” “How Long Will It Take” and “Great Big World” remain perennials for me more than thirty years later.
10. The Merrymakers, Bubblegun: This is pretty sounding Power Pop. Not only is “April’s Fool” one of the best songs of the past two decades, it is easily the most exuberant song about being “dumped” that I have ever heard. For good measure, Andy Sturmer of Jellyfish (see No. 4) assisted with production and percussion — and is listed as co-writer of “April’s Fool” — so my circle is entirely complete.
And that’s my current tweaking of the Top 200. These things change over time. Who knows, maybe there is a to-be-discovered gem in the 200 that I have not yet heard.