107.

A few things --

1.  As has been noted before, the Top 200 represents John Borack's opinion, and in his wrap up notes, he honestly notes some artists that he either finds inconsistent or he just doesn't get.  A number of these are amongst my favorite pop artists.  The fact that he doesn't include any Segarini music doesn't mean anything other than he liked other stuff better.

2.  One thing that strikes me about the book is that there is a generational divide in power pop.  I don't mean a gap, so much as how perspectives on what power pop is and what it should do and what it should sound like shifts depending on when you jumped into the pool and what got you to jump into the pool in the first place.

As a youngster during the '70s, I was exposed to a lot of early power pop classics on WLS.  But it wasn't until high school and especially college when I really got immersed in the style.  20/20, The Beat, Cheap Trick (really the first act to grab me), The dB's, Game Theory, and so on.  

While I understand the importance of The Raspberries, Badfinger, Dwight Twilley and others from that era, and certainly worship some of their best songs, they don't do as much for me.  For example, just delving into the book, I was compelled to throw on the Raspberries Classic Collectors Series comp.  And my reaction was just what it always is -- some great songs, but some fairly ordinary ones -- especially the ballads.  That's just me.  

3.  I enjoyed the book, for sure.  But as much as I love lists, I hope Vol. 2 isn't quite as list oriented.  I think there are a lot of great stories to tell and more obscurities to unearth.  And enough for more than two volumes.

Mike Bennett (who is nearly finished tabulating the poll.  I'm sorry, this is a busy time of year for me).

Blog: http://blog.myspace.com/mrhonorama
Record reviews and more at http://fufkin.com
Find out about Chicago shows: http://launch.groups.yahoo.com/group/chicagopopshowreport/
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