C'MON
EVERYBODY - Chevelles (Zip)
LIZZIE - Superscope (Zip)
During
the dark ages, the light of learning was kept burning in isolated monasteries
at the periphery of the fallen 
civilization.
Perth seems to have fulfilled a similar role for power pop, which has remained
a fundamental feature of the music scene there, while it has gone in and out
favour everywhere else. Several times in fact. Perhaps it has something to
do with Perth being the world's most distant city, in the sense that no other
city anywhere else on earth is so far from another, comparable city (and even
then it's only Adelaide...). Or perhaps it has something to do with Perth
being the home of Dom Mariani. Either way, a bubbling spring of crisp, clear
pop is forever flowing out of there.
Like Monty Python's parrot, I'm all shagged out after a long squawk (about various power pop albums), but I do have just enough breath left in my body to gush a little over the most recent singles from two well known Perth power pop bands. When you think about it, singles are the perfect setting for power pop, far more so than albums, although the "repeat" function on most CD players does allow you to play a single track obsessively over and over - for the truly infectious tune, there is no alternative except to give yourself over to it continually until the fever finally breaks.
The Chevelles' "C'mon Everybody" is about as power pop as you can get - a song about sneaking into a show by those colossi of Aussie power pop, the Sunnyboys. Strangely the All Music Guide (www.allmusic.com) entry for power pop doesn't acknowledge the Sunnyboys at all. It has them under "Aussie Rock", throwing them in with a diverse crew that includes AC/DC, Beasts of Bourbon, Birthday Party, Celibate Rifles, Died Pretty, Powderfinger, Radio Birdman, Saints and Scientists (but not the Church, for whom there doesn't seem to be an entry under any category)! Oh, and the Chevelles and Stems are lumped in under "Aussie Rock" as well, though the Stems don't yet have a biography, while the Chevelles cop a mere three lines.
In fact, the only Australians listed under power pop are Rick Springfield?!? and the Hoodoo Gurus, who not only also appear under "Aussie Rock", but are listed in the "Key Artists" sections of both (within the Hoodoo Gurus entry, Dave Faulkner, Brad Shepherd and Mark Kingsmill all score highlighted hot links and everybody who is or ever was a member gets an additional, separate listing as well).
To add insult to injury, the band listing in the power pop category even includes the Bay City Rollers!?! The Chevelles know better. "C'mon Everybody" is pure power pop, a guitar driven gem; bubblier than the often moody Sunnyboys it eulogizes, but without completely sacrificing the muscle that always lay just beneath the skin of the best Sunnyboys' songs.
In this wondrous digital age, the term "single" is certainly a misnomer; strictly speaking it always was, since even on vinyl you always got two songs - one on each side - notwithstanding Phil Spector's desire that things should be otherwise. So back in the days of vinyl, a single had two songs, while an EP had four. Then everything got confused with seven inch records that played at thirty three and a third and twelve inch records that played at forty five... In this package from the Chevelles there are two other songs, which makes it some kind of mutant mixed breed: TP (triple play)? SEP (short EP)? NSEP (not so extended play)? Whatever.
I don't know how record companies come to select one track over another to be the "A" side. Although it's much rarer in these days of prescribed playlists and heavy rotation (sounds like something that should be going on behind closed doors with the blinds drawn, doesn't it?) for DJs to do much thinking for themselves, or even just turn a record over to hear what might be on the other side (figuratively speaking), there have been cases in the past where a "B" side has become a hit because DJs and audiences preferred it to the record company's pick. Maybe selecting the "A" side isn't the refined science that the majority of A&R wankers would have us believe.
To these ears, either of these other two songs has an equal claim to being the featured track. The second song, Duane Smith's hymn to "Angelina Jolie", is in the noble tradition of worshipful obsession for unattainable stars (technically the Who's "Pictures Of Lily" fits into this category as well, even if you couldn't have caught Lily at your local cinema; the Dead Salesmen's "Ballad of Mary & Me/Wings Of Desire" is a worthy, though slightly more borderline, case with its blurring of real life domestic drama and fantasized invocation of actress Mary Stuart Masterston). The Chevelles pull off their homage with just the right undertone of frivolity, making their point while avoiding lengthy court proceedings and possibly a restraining order.
Final song, the slightly thrashy "Sleeper", is an insistent grinder with ringing guitar over a shredding rhythm and slightly nasal/adenoidal vocals. It must be a killer live. Reading between the lines of the credits on the CD sleeve, it looks like this one has already fallen through the cracks and isn't going to be making an appearance on the forthcoming album, since it's failed to score the same Californian mixing and mastering as the other two tracks. Stuffed if I can comprehend why; it's a ripper.
The
Superscope "Lizzie/Sail Away" double "A" sided single
is in reality an EP, having two extra tracks, plus a thirty second techo piece
at the end, mixed by "DJ Jerker" (and if its inclusion was designed
solely to annoy me, then it has served its purpose well - have I ever mentioned
how much I detest techno, even if it's a pisstake, which I can't say for sure
that this is? Oh, I have? Well, in that case I won't repeat myself).
First song, "Lizzie", is seductive and ultra light; very smooth sound, but where's the beef? This is f#$%in' tofu.
The other "A" side, "Sail Away" is as poppy, but has a bit more going for it in the lower depths, although it's still a lot lighter than their earlier work (yeah, I know that's just what I said when I was reviewing those compilations, but listening to it again now I can't come up with anything new).
Third song, "Reflection", is an oldie from their "Popping Crease" album. I'm probably going to get myself into trouble for saying this, but I reckon it's far and away the best track on the EP.
Fourth song is "Rubberneckin", a rough, energetic cover which seems to be an orphan track. It was also on the free CD which came with one of the issues of the Off The Hip magazine this year.
Fifth song... yeah, well, I've already had my say about this.
Overall, a pretty uneven little collection, which suffers greatly in comparison with the Chevelles' EP and also from the fact that neither of the new songs matches the strength of their earlier material, having traded power for polish.
Final note: I guess it doesn't pay to get too wound up about the All Music Guide, since it invites net nerds to contribute. Clearly some of them must be pretty clueless, while others have a warped sense of humour. At least that's the only way I can explain the entry for the Exploding White Mice listing Samantha Fox under "Similar Artists". - John McPharlin
C'mon Everybody:
1/2
Lizzie/Sail Away: