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Early 1970s releases by Badfinger, the Raspberries, and Todd Rundgren are sometimes credited with solidifying the power pop sound into ♣ a recognizable genre. Power pop reached its commercial peak during the rise of punk and new wave in the late ♣ 1970s, with Cheap Trick, the Knack, the Romantics, Nick Lowe, Dave Edmunds, and Dwight Twilley among those enjoying the most ♣ success. After a popular and critical backlash to the genre's biggest hit, "My Sharona" (The Knack, 1979), record companies generally ♣ stopped signing power pop groups, and most of the 1970s bands broke up in the early 1980s.
An essential feature of ♣ power pop is that its cheerful sounding arrangements are supported by a sense of "yearning", "longing", or "despair" similar to ♣ formative works such as "Wouldn't It Be Nice" (the Beach Boys, 1966) and "Pictures of Lily" (the Who, 1967). This ♣ might be achieved with an unexpected harmonic change or lyrics that refer to "tonight", "tomorrow night", "Saturday night", and so ♣ on.[7] Power pop was also noted for its lack of irony and its reverence to classic pop craft. Its reconfiguration ♣ of 1960s tropes, music journalist Paul Lester argued, could make it one of the first postmodern music genres.[9]
There is significant ♣ debate among fans over what should be classed as power pop.[10] Shaw took credit for codifying the genre in 1978, ♣ describing it as a hybrid style of pop and punk. He later wrote that "much to my chagrin, the term ♣ was snapped up by legions of limp, second-rate bands hoping the majors would see them as a safe alternative to ♣ punk."[14] Music journalist John M. Borack also stated in his 2007 book Shake Some Action – The Ultimate Guide to ♣ Power Pop that the label is often applied to varied groups and artists with "blissful indifference", noting its use in ♣ connection with Britney Spears, Green Day, the Bay City Rollers and Def Leppard.
Succeeding waves [ edit ]
In 1998, International Pop ♣ Overthrow (IPO)—named after the album of the same name by Material Issue—began holding a yearly festival for power pop bands. ♣ Originally taking place in Los Angeles, the festival expanded to several locations over the years, including Canada and Liverpool, England ♣ (the latter event included performances at the Cavern Club). Paul Collins of the Beat and the Nerves hosted the Power ♣ Pop-A-Licious music festival in 2011 and 2013, featuring a mixture of classic and rising bands with an emphasis on power ♣ pop, punk rock, garage and roots rock. The concerts were held at Asbury Lanes in Asbury Park, New Jersey, and ♣ the Cake Shop in New York City. Paul Collins and his group the Beat headlined the two-day events.[46]
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