>       I don't disagree with the seminal importance of Buddy Holly and the
>Everly Brothers, but as I've said on this list more than once, it all starts
>with Chuck Berry.

While Chuck invented Rock "N" Roll's basic songwriting form, I feel his songs
were derived directly from R&B and not as much from (tin pan alley) pop or
country like Buddy and Don & Phil's (or The Bryant's) classics were. Great
wordplay, legendary riffs and solos, but not the right kind of "killer hooks"
and vocal arrangements that can be directly related to Power Pop. Is
"Johnny B.
Goode" a Power Pop song? No, but you can take Buddy's "Heartbeat" and rev
it up
like the Knack in 1979 and turn it into Power Pop. 

The Who had one hell of a lot more oomph than the New Colony Six
>(although the early, "At the River's Edge" era NC6 was a legit garage band
>rather than the sappy MOR pop outfit of their later hit-single period). 

I agree, the NC6 (or any Chicagoland 60's band) would have gotten blown off
the
stage by the Who (how did Herman's Hermits feel when they toured with them?)  
But I feel "Love You So Much" is a true Power Pop song in songwriting and
arrangement. The guitars DONT have to be cranked to 11 for a song to be Power
Pop!

Same with The Beatles (She Loves You, I Feel Fine, Paperback Writer) and
Hollies classics (Look Through Any Window, Here I Go Again, Im Alive) where
the
mantic drumming and in-your-face vocal harmonies make up for any distorted
guitars.

>       I love the Beach Boys, but to me they're a pop band, not a power pop
>band. Power pop may chime, jangle, and soar, but it's gotta thump as well.

Beach Boys Today and Summer Days had plenty of Thumpin' moments. To me theres
not much differance between Brian Wilson using 40+ Session Musicans to
create a
huge roar on "Do You Wanna Dance" and Johnny Ramone cranking it out the same
song on a Mosrite and Marshall Stack on "Rocket To Russia".

    
Billy G. Spradlin
http://listen.to/jangleradio