Both proof that one needn’t be especially proficient as a musician to write killer songs AND an explanation for my recent blargh absence.
The Nerves weren’t around too long but are regarded by some as ground zero for the LA punk and power pop scene. Drummer Paul Collins went on to form The Beat (“Rock N Roll Girl,” “I Don’t Fit In”), bassist Peter Case formed The Plimsouls (“A Million Miles Away”), and guitarist Jack Lee’s song “Hanging on the Telephone” became a massive hit for Blondie when they covered it on Parallel Lines in 1978.
And here’s Collins a few years later with The Beat …
The Nerves definitely occupy LA’s ground zero of power pop, not sure about punk. Great band either way. Here’s their Hanging On The Telephone for good measure.
So freaking good! I notice a copy of Paul Collins’s book is going for $300 on Amazon right now. I’ll let mine go for $280 if anyone’s interested …
That seems really steep for your blarghfriends but hey, times is tough.
I chose an alternative route:
CHAT GPT TELL ME WHAT IT’S LIKE TO BE AN UNDERAPPRECIATED POWER POP GENIUS IN 1978 LOS ANGELES
As an AI language model, I can imagine that being an underappreciated power pop musical genius in 1978 Los Angeles might have been a bittersweet experience. On one hand, it would have been frustrating to feel like your music wasn’t getting the attention it deserved. Power pop was still a relatively new genre in the late 70s, and Los Angeles was a crowded and competitive music scene. The lack of recognition from the music industry could have been discouraging, especially if you were pouring your heart and soul into your music.
On the other hand, being a power pop musical genius in 1978 Los Angeles would have given you a certain sense of pride and satisfaction. Power pop was a genre that valued good songwriting, catchy melodies, and tight harmonies – all things that take talent and skill to do well. Knowing that you were making great music, even if it wasn’t appreciated by everyone, would have been a source of personal fulfillment.
Some possible experiences that you might encounter as an underappreciated power pop musical genius in 1978 Los Angeles are:
Struggling to find gigs and venues to play – it might have been tough to break into the established live music scene, especially if you were doing something different or unconventional.
Finding kindred spirits in the power pop community – you might have connected with other like-minded musicians who appreciated your music and shared your passion for the genre.
Dealing with rejection from industry gatekeepers – record labels, radio stations, and other music industry players might not have understood or appreciated your music, which could have been disheartening.
Feeling like you were ahead of your time – power pop didn’t really become popular until the 80s and 90s, so it might have felt like you were a little early to the party.
Overall, being an underappreciated power pop musical genius in 1978 Los Angeles would have been a mixed bag of emotions – frustration, pride, fulfillment, and maybe even a little bit of hope. Ultimately, the love of music and the drive to create something unique and special would have kept you going, no matter what.
That’s scary good, in a wholesome no-sex-and-booze-and-drugs kinda way.
“Ultimately, the love of music and the drive to create something unique and special would have kept you going, no matter what”?!
What about sex, booze, drugs? Chat GPT continues to have gaping holes in its knowledge.
I got to see Paul Collins in Pigville. He was playing with a little three piece band from Jacksonville. He’s toured solo for years playing with local bands as his support. I wish I could remember who he had with him, because they were cracking.