{"id":6313,"date":"2023-11-29T08:35:06","date_gmt":"2023-11-29T08:35:06","guid":{"rendered":"https:\/\/www.shindig-magazine.com\/?p=6313"},"modified":"2025-01-08T13:32:06","modified_gmt":"2025-01-08T13:32:06","slug":"exclusive-shindig-qobuz-playlist-9-sixty-years-of-powerpop","status":"publish","type":"post","link":"https:\/\/shindig-magazine.com\/?p=6313","title":{"rendered":"Exclusive Shindig! Qobuz playlist #9: Sixty Years Of Powerpop"},"content":{"rendered":"<p><strong>We\u2019re very excited to be media partners with the truly\u00a0unique online streaming platform and\u00a0download store\u00a0<a href=\"http:\/\/www.qobuz.com\/\">Qobuz<\/a>. The ninth of our monthly bespoke playlists, which take in all manner of genres and sub-genres, scenes and beyond, then and now, focuses on the growth and expansion of powerpop from 1964-2004<\/strong><\/p>\n<hr \/>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-6314\" src=\"https:\/\/www.shindig-magazine.com\/wp-content\/uploads\/2023\/11\/Qobuz-placeholder-powerpop.png\" alt=\"\" width=\"800\" height=\"380\" srcset=\"https:\/\/shindig-magazine.com\/wp-content\/uploads\/2023\/11\/Qobuz-placeholder-powerpop.png 800w, https:\/\/shindig-magazine.com\/wp-content\/uploads\/2023\/11\/Qobuz-placeholder-powerpop-300x143.png 300w, https:\/\/shindig-magazine.com\/wp-content\/uploads\/2023\/11\/Qobuz-placeholder-powerpop-768x365.png 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/><\/p>\n<p style=\"font-weight: 400;\">\n<p style=\"text-align: center;\"><iframe loading=\"lazy\" src=\"https:\/\/widget.qobuz.com\/playlist\/18177125?zone=GB-en\" width=\"378\" height=\"390\"><span style=\"display: inline-block; width: 0px; overflow: hidden; line-height: 0;\" data-mce-type=\"bookmark\" class=\"mce_SELRES_start\">\ufeff<\/span><span style=\"display: inline-block; width: 0px; overflow: hidden; line-height: 0;\" data-mce-type=\"bookmark\" class=\"mce_SELRES_start\"><\/span>Your browser does not support iframes.<br \/>\n<span style=\"display: inline-block; width: 0px; overflow: hidden; line-height: 0;\" data-mce-type=\"bookmark\" class=\"mce_SELRES_start\"><\/span><br \/>\n&nbsp;<\/p>\n<p><\/iframe><\/p>\n<p style=\"text-align: left;\">To begin with, what is powerpop? Although the term has been used so fleetingly to describe everything from The Raspberries and Badfinger, to Jam-like British mod bands of the late \u201970s and, even Oasis, a set of values formulated by two of the greatest songwriters in history has been adhered by songwriters ever since.<\/p>\n<p style=\"font-weight: 400;\">The term powerpop is still as ambiguous today as the music is contagious, with writers, players and musical historians all attempting to classify the key elements of the genre. \u201cImagine a thousand guitars schlanging away in unison, some Rickenbacker 12-string arpeggios\u2026 a warm, understated bass line beneath a firm back beat and a chimp-friendly tambourine part. Add vocal harmonies, an uplifting melody and some straightforward words and you may have, in short music that draws its inspiration from the <em>Revolver<\/em>\/<em>Pet Sounds<\/em>\/<em>Younger Than Yesterday<\/em> lineage\u201d wrote Will Birch in <em>MOJO<\/em> attempting to ascertain the essence of powerpop.<\/p>\n<p style=\"font-weight: 400;\">So in short, powerpop is both infectious and catchy, has ringing guitars ala The Byrds and Beatles inspired melodies that have kissed so many of the best tunes of the past 30 years. Bruce Brodeen of the US record label solely dedicated to power pop Not-Lame exclaims; \u201cThere&#8217;s so many ingredients and variants of the idiom. There\u2019s no one formula, but there are elements that are consistent like commitment to vocal harmonies, overtly archetypal pop hooks mined from the camp inspired, initially, by The Beatles and an insidious stick-to-the-brain chorus that lingers after its over.\u201d<\/p>\n<p style=\"font-weight: 400;\">If the song writing skills of Lennon and McCartney are a mainstay, Greg Shaw in his definitive <em>Bomp<\/em> powerpop article furthermore expounds the virtues of The Who and The Easybeats. \u201cTheir approach to song writing was solidly pop \u2013 every song was short, catchy, hook-filled, built on bright, uplifting major chords, and they never shied away from those all-important little \u201cla la la\u2019s\u201d. Certainly, both bands wrote snappily catchy three-minute tunes, and after all it was Pete Townsend who first used the term powerpop to define the music of The Who. Between 1965 and \u201967 Townsend penned powerpop hit after hit: \u2018The Kids Are Alright\u2019, \u2018Anyway, Anyhow, Anywhere\u2019, \u2018Substitute\u2019, and most importantly \u2018I Can See For Miles\u2019 which was festooned with chaotic drums and crashing power chords, but never lost track of its underlying melody. The powerpop bands of the early \u201970s such as The Raspberries used The Who as a blueprint. Likewise, the lesser-known Easybeats from Australia mined a furious blend of pop and power on their 1966 hit \u2018Friday On My Mind\u2019 which made full use of the incessantly catchy \u201cla la la\u2019s\u201d that Shaw talks of.<\/p>\n<p style=\"font-weight: 400;\">The beginning of a movement that utilised the key elements of The Who arose in late \u201965 springing from young mod bands, who if not solely copying The Who, were just too late in getting recognition. The Creation epitomised the mod\/pop sound and style the best and released a slew of fantastic records produced by the man who can be viewed as the first to utilise the powerpop sound, Shel Talmy. The flip of \u2018Makin\u2019 Time\u2019, \u2018Try And Stop Me\u2019 (June \u201966), is a powerpop monster filled with Eddie Phillips\u2019 ringing guitar, lyrics telling the tale of lost love and a smorgasbord chorus that sticks in the brain. Vintage powerpop at its best! In fact, a great deal of records by mod bands that the big time ignored captured the nonchalant energy of powerpop, which has continued ever since. The Smoke\u2019s \u2018My Friend Jack\u2019, the pre-fame Herd\u2019s \u2018This Boy\u2019s Always Been True\u2019 and Australia\u2019s Master\u2019s Apprentice \u2018War Or Hands Up Time\u2019 all shared similarities in approach, even though the bands would not have considered themselves powerpop. The pure up-tempo Beatles pop of \u2018It\u2019s Cold Outside\u2019 (\u201966) by the Cleveland, Ohio based band The Choir shadows what guitarist Wally Bryson would further develop in the \u201970s with The Raspberries. The emergence of the genre was apparent.<\/p>\n<p style=\"font-weight: 400;\">By \u201967 as Hendrix and Cream\u2019s heavy-blues sound was increasingly popular, the powerpop camaraderie of Birmingham\u2019s Move continued to grace the charts; their psychedelic mod hit \u2018I Can Hear The Grass Grow\u2019 developed further the sound of The Who. Mike Stax writing in <em>Toffee Sunday Smash<\/em> claims, \u201cThe song had the perfect pop qualities\u2026 combined with more than enough hard-edged tension and imaginative touches.\u201d Whereas a great deal of late \u201960s chart records offered melodic predictable pop, the forefathers of powerpop consistently added exciting twists.<\/p>\n<p style=\"font-weight: 400;\">As the decade drew to a close, the styles of the mid-60s were all but redundant. However, in America a young Todd Rundgren was causing havoc with his smartly, Carnaby Street dressed mod\/Who inspired band the Nazz. Rundgren recalls, \u201cThere weren\u2019t that many American powerpop bands back then\u2026 but we really emulated those English bands.\u201d From their second LP <em>Nazz Nazz<\/em> (\u201969) the opening track \u2018Forget All About It\u2019 portrays how powerpop would enter the next decade. The high pitched Entwhistle\/Townsend styled backing vocals, solid major chords and Keith Moon raging drums, figured strongly, pushing the song along at a mighty rate but never outweighing the beautiful harmony vocals and the chorus-based pop sensibility.<\/p>\n<p style=\"font-weight: 400;\">By 1970, rock music was no longer limited by the tight, burnished pop sheen of John, Paul, George, and Ringo, but by a longer, improvisational, free-form jamming style that proponents like ELP, Yes and King Crimson took to dizzying levels. The era of progression! To be sure, this music had its followers, but artists like Alex Chilton, Eric Carmen, and the members of Badfinger weren&#8217;t among them. Instead, these characters, and many other like-minded pop buffs, took the music they cherished (Beatlesque pop), distilled it down to its basic elements (rhythm, melody, harmonies), and started churning out three-minute pop songs like the future of humanity depended on it. And since they lived in an era where &#8220;heavy&#8221; meant &#8220;good&#8221;, they played their new music harder, tighter, with a boost of power, so that the songs would reach the back rows of the stadiums and auditoriums they dreamt of playing.<\/p>\n<p style=\"font-weight: 400;\">Badfinger (formerly known as The Iveys) were signed to The Beatles\u2019Apple label in \u201969 and recorded a Paul McCartney composition entitled \u2018Come And Get It\u2019. This began a Beatles comparison, which dogged the band for their first few years. By \u201974, however, having combined more of a heavy-rock styling with their softer Beatles inspirations the band defined the first wave of powerpop. &#8216;Just A Chance\u2019, taken from the <em>Wish You Were Here<\/em> LP, shows them in fine form with crunching guitars, catchy vocal harmonies and a driving beat, all capturing the spirit of mid-60s pop without sounding slavish or of the era.<\/p>\n<p style=\"font-weight: 400;\">Along with Badfinger, The Raspberries began the \u201970s with real songs, which recalled five years before. Greg Shaw wrote in his definitive powerpop article, \u201cThe Raspberries were the essence of powerpop, more than any of their proto-types. On their best records every tiny bit was flawlessly designed to create an overall impact that\u2019s never been matched.\u201d And absolutely, one listen to the band\u2019s enticing \u201972 gem \u2018Go All The Way&#8217; indicates that bandleaders Eric Carmen and Wally Bryson were still in love with the music of their teenage years. Underneath the song\u2019s bastion of Marshall stacks, elements of The Small Faces (Carmen\u2019s \u201cheys\u201d are a dead ringer for Marriott), The Beach Boys, for the teen-dream quality of the melody of the verse, and the gradually rising \u201cc\u2019mons\u201d at the songs end, recall no other than The Beatles circa 1963. So there you have it, one song, tracing the glory days of chart pop in just over three minutes. This was the way for powerpop to go. \u2018Overnight Sensation (Hit Record)\u2019 from the final LP <em>Starting Over<\/em> (\u201c74) at 5:34 mins is a tad longer than your average piece of powerpop, but manages to maintain its direction. Combining the classic Keith Moon styled drumming, some mid-70s lead guitar, and most importantly the type of multi-harmonied vocal arrangements that only Brian Wilson could compete with, The Raspberries blended the key elements of power and harmony. What was to come owed a lot to The, Raspberries!<\/p>\n<p style=\"font-weight: 400;\">Big Star\u2019s \u2018September Gurls\u2019, from their second LP, <em>Radio City<\/em> (\u201974) is described by Brian Hogg in his liner notes of the \u201980s vinyl re-issue as \u201csounding like The Byrds but played with the venom of the early Kinks\u201d. With a tinge of Memphis passion, the unstable Big Star combined The Beatles, Badfinger and Kinks with distinct American harmonies and chiming guitars ala The Byrds circa 1965. Their story is a wrought one, but as with all \u201cunknown legends\u201d their records have stood the test of time and are now listed as a main inspiration by such luminary acts as Teenage Fanclub. \u2018September Gurls\u2019 is an icon of powerpop!<\/p>\n<p style=\"font-weight: 400;\">As a term powerpop was yet to be used as a collective description. However, a number of new bands sprung up around \u201977 in America displaying a penchant for the type of plaintive pop The Raspberries, Badfinger and Big Star produced instead of punk-rock.\u00a0A deserved mention has to go to Peter Case, Jack Lee and Paul Collins\u2019 The Nerves, who in \u201976 released an EP of punk edged \u201960s beat. Their \u2018Hanging On The Telephone\u2019 is probably known to most readers via its version by Blondie, but for this writer The Nerves archetype packs far more of a punch, and \u2018When You Find Out\u2019, from same EP, is the perfect interpretation of early \u201960s Mersybeat from the punk era. Members of this short-lived outfit would continue on into The Plimsouls and Paul Collins\u2019 Beat, another two fabulous powerpop bands, but it must be said that what The Raspberries were to \u201970 the Nerves were to \u201977. If the early \u201970s interpretation used hard-rock as a backbone the later version used punk.<\/p>\n<p style=\"font-weight: 400;\">Meanwhile, in the UK, American ex-patriots The Flamin\u2019 Groovies had hooked up with Dave Edmunds at Rockfield studios, in South Wales, and recorded the <em>Shake Some Action<\/em> and <em>Now<\/em> LPs between \u201977 and \u201978. As much as an anthem as \u2018September Gurls\u2019, \u2018Shake Some Action\u2019 vitalises the powerpop spirit with its Byrdsesque guitar and instantly catchy major chord progression. The Flamin\u2019 Groovies wore a \u201960s style of dress and adored The Beatles, Byrds and Stones at a time when it was very un-fashionable, proving that powerpop does not convey trends. As Badfinger were deemed unfashionable seven years before, the Groovies were in \u201977.<\/p>\n<p style=\"font-weight: 400;\">Whilst nihilism and discontentment were preached by the punk bands, the powerpoppers continued to sing of teenage love, joy and rejection. Whereas Sex Pistols swearing on the Bill Grundy <em>Today<\/em> show caused major controversy and put punk in all of the papers, the clean cut Rubinoos singing \u2018I Wanna Be Your Boyfriend\u2019, although enjoyably poppy, was just too tame to grab attention. Greg Shaw had noticed that whilst punk was blazing away, a number of bands were dedicating themselves to bringing great pop songs to life and foresaw a new movement breaking. In March \u201878 a whole issue of Shaw\u2019s top selling <em>Bomp<\/em> magazine was dedicated to powerpop; tracing its routes, its birth, and the bands of the time: powerpop as a collective entity. The genre was neither spontaneous (as it had been clearly occurring for a few years) or as yet a major trend, but it was happening.<\/p>\n<p style=\"font-weight: 400;\">In America, what we may in hindsight call the third wave of powerpop, a more \u201960s teen-pop orientated stylistic came into being, which was the very antithesis of punk. The Names\u2019 November \u201977 single \u2018Why Can\u2019t It Be\u2019 and Chris Stamey\u2019s summer record \u2018The Summer Sun\u2019 (produced by Big Star singer Alex Chilton) recaptured the teen innocence of Phil Spector\u2019s \u201960s girl groups and early Beatles in an inimitable manner. On the other hand, Cheap Trick and The Real Kids kept rock \u2019n\u2019 roll alive and kicking, but still in the powerpop framework.\u00a0 The \u201cnot one approach\u201d Bruce Brodeen mentioned was beginning to become clear.<\/p>\n<p style=\"font-weight: 400;\">Amid the punk maelstrom of London \u201977, a band in mod suits, playing Rickenbacker guitars, fitted in with the current scene, though with strong differences apparent. The Jam to English powerpop were what The Nerves were to America. Fitting in with punk, but crafting more jangling melodies, The Jam soon won a legion of followers. Singer and songwriter, Paul Weller\u2019s love of Townsend and \u201860s mod was clear, and a slew of \u201cgood\u201d to \u201cbad\u201d clones were signed to many labels riding the crest of the wave of The Jam\u2019s success. Of these, The Purple Hearts (\u2018My Life\u2019s A Jigsaw\u2019 which typified British powerpop of the 1979 era) and the more Beatles based Squire equalled any of the American bands.<\/p>\n<p style=\"font-weight: 400;\">It was not surprising at all that a mod revival with powerpop as its signature would happen in post-punk UK. The Jam, by \u201979, were a huge success, and Weller consolidated Davis, Townsend and Marriot\/Lane for a new audience. <em>Quadrophenia<\/em>, a harrowing epic, with the mod scene of \u201964 as the backdrop was a huge hit in the cinema with The Who\u2019s early work re-appraised because of the film. Powerpop mod style swamped the airwaves and charts but the media typically manipulated the movement and it soon faltered, though for a short while the UK championed a slightly punked-up version of their \u201960s pioneers. The Flamin\u2019 Groovies were just a little too early!<\/p>\n<p style=\"font-weight: 400;\">Starting out with a strong Beatles sound on their first 45 issued on Bomp (\u2018Giving It All\u2019), 20\/20 ended the \u201870s with a progression mirroring the changing times. In the era when punks were beginning to wear garish make-up and become \u201cromanticised\u201d, and synthesisers bleeped away as young, effeminate, pleated trouser wearing chaps bounced away behind them. \u2018Yellow Pills\u2019 (a name borrowed by Jordan Oakes for his magazine and compilation series dedicated to powerpop) blended psychedelic Lennon-like vocals with synthesisers and a new-wave production. Although, far removed from The Raspberries, Big Star and The Flamin\u2019 Groovies, the song typified how powerpop and musical fashions would waltz hand in hand into the next decade.<\/p>\n<p style=\"font-weight: 400;\">For just over a year, thanks and no thanks to The Knack\u2019s \u201979 powerpop hit \u2018My Sharrona\u2019 the major labels were jumping on the roster of Bomp bands and skinny-tie wannabes in the wake of the new pop explosion. However, as with all musical fads it was short lived, and soon disintegrated. Certainly, some great records came out of the brief signing spree \u2013 but as the fad died, so did the majority of fame-seeking bands. Powerpop, it seemed, was over.<\/p>\n<p style=\"font-weight: 400;\">As with all genres \u2013 now that it was apparent that powerpop existed \u2013 there were the keepers of the flame, but in all honesty in this writer\u2019s opinion, the \u201980s was a very flat era for classy powerpop. It began well with Phil Seymour\u2019s decade opening \u2018Baby It\u2019s You\u2019, a jaunty \u201960s based strummed melody, with just hint of new-wave. And after the break-up of The Nerves offshoot The Breakaways (\u2018One Way Ticket\u2019 and \u2018Walking Out On Love\u2019) Peter Case formed the most important of the early \u201980s bands, The Plimsouls. \u2018Zero Hour\u2019 the band\u2019s debut bore similarities to Elvis Costello\u2019s approach at the time, blending spunky new-wave pop sensibilities with the introduction of the weedy sounding \u201960s garage bands mainstay, the Farfisa Compact organ. The Plimsouls early \u201980s offerings are fantastic and truly involve past influences with a feel for the time, which is the key factor of the genre. The Barracudas from London, not LA, have never received a great deal of recognition for what they did for the post-mod UK era of powerpop. Although lacking the tuneful vocals necessary for powerpop they managed to record some fantastic \u201960s Byrds and psychedelic inspired records in \u201981. \u2018I Can\u2019t Pretend\u2019, \u2018This Ain\u2019t My Time\u2019 and \u2018We\u2019re Living In Violent Times\u2019 were some of the most powerful songs of the year.<\/p>\n<p style=\"font-weight: 400;\">\u00a0In \u201987, powerpop reared its head in a slightly commercial manner when American band The Smithereens appeared on Jools Holland\u2019s and Paula Yates\u2019 TV show <em>The Tube<\/em>. \u2018Behind The Wall Of Sleep\u2019 lyrically recollects the \u201960s and quite happily sticks to a guitars, bass and drums formula that most of the music of the decade had not. From Liverpool, Lee Maver\u2019s La\u2019s reclaimed the cities bright pop heritage with their, as John M. Borack, wrote in the liner notes to <em>Poptopia: Power Pop Classics Of The 80<\/em>s, \u201cFrankie Valli fronting the \u2018Mr. Tambourine Man\u2019 era Byrds\u201d style of &#8216;There She Goes&#8217;. A song that is as timeless as powerpop can be.<\/p>\n<p style=\"font-weight: 400;\">The \u201990s continued to carry a jangling \u201960s inspired flavour after the La\u2019s and Stone Roses ended \u201989. Whilst America went grunge, the UK\u2019s chart was graced by ephemeral bands such as The Mock Turtles, who in a \u201cbaggy\u201d manner relived the powerpop vibe. But again, this was short lived, and the term powerpop was never used to describe these bands musical motifs. When the rest of America had Sub-Pop upon their mind, and the slacker generation returned to the roots of rock combined with punk\u2019s emblematic scorn, Jellyfish dressed up in day-glo psychedelic glam fashions and performed an amalgamation of the Beatles\/Beach Boys\/Raspberries. Their debut LP <em>Bellybutton<\/em> is definitely one of the \u201990s finest pop LPs. Shortly after its release, guitarist Jason Falkner left the band and formed The Grays with Jon Brion (who, ironically, went on to play on Jellyfish\u2019s second LP <em>Spilt Milk<\/em>). Their <em>Ro Sham Bo <\/em>LP overflows with sublime pop hooks and Faulkner has since recorded two stunning solo albums which draw heavily from \u201860s, \u201970s and \u201980s powerpop. Onwards through the \u201990s the charts and the music papers would be graced with such purveyors of powerpop as Teenage Fanclub, The Lemonheads and Velvet Crush, but a movement, other than every hip alt.rock band mentioning Big Star, never took off. No doubting it, the Oasis phenomena of the mid-90s garnered awareness in guitar bands with hooks, and Creation signed acts like The Diggers in wake of another pop sensation, but mainstream wise powerpop was a non-starter.<\/p>\n<p style=\"font-weight: 400;\">Yet for the past 25 years the sound has evidently lasted, thrilling genre lovers, occasionally charting and taking off to inspire a new generation. The Shazam blasted into the 2000s with an opus of fine albums that showed there were tricks left in the old dog yet. The Shazam supported Paul Weller and had Move singer Carl Wayne perform with them on stage in London. Cotton Mather supported Oasis. Sloan and The Fountains Of Wayne, gained acclaim, whilst Brendan Benson hooked up with Jack White (who has also recently reissued the wonderful Exploding Hearts\u2019 album on Third Man). The last words surely has to go to The Lemon Twigs, who have brought the sort of powerpop rarely heard since Big Star and The Dwight Twilley Band to young receptive audiences worldwide.<\/p>\n<p style=\"font-weight: 400;\">Sixty years of powerpop. Three chords and a drum roll.<\/p>\n<p style=\"font-weight: 400;\">\u00a9 Jon \u2018Mojo\u2019 Mills \/<em>Shindig!<\/em> magazine in partnership with Qobuz<\/p>\n<span class=\"synved-social-container synved-social-container-share\"><a class=\"synved-social-button synved-social-button-share synved-social-size-24 synved-social-resolution-single synved-social-provider-facebook nolightbox\" data-provider=\"facebook\" target=\"_blank\" rel=\"nofollow\" title=\"Share on Facebook\" href=\"http:\/\/www.facebook.com\/sharer.php?u=https%3A%2F%2Fshindig-magazine.com%2Findex.php%3Frest_route%3D%252Fwp%252Fv2%252Fposts%252F6313&#038;t=Exclusive%20Shindig%21%20Qobuz%20playlist%20%239%3A%20Sixty%20Years%20Of%20Powerpop&#038;s=100&#038;p&#091;url&#093;=https%3A%2F%2Fshindig-magazine.com%2Findex.php%3Frest_route%3D%252Fwp%252Fv2%252Fposts%252F6313&#038;p&#091;images&#093;&#091;0&#093;=https%3A%2F%2Fshindig-magazine.com%2Fwp-content%2Fuploads%2F2023%2F11%2FScreenshot-2023-11-29-at-08.32.01.png&#038;p&#091;title&#093;=Exclusive%20Shindig%21%20Qobuz%20playlist%20%239%3A%20Sixty%20Years%20Of%20Powerpop\" style=\"font-size: 0px;width:24px;height:24px;margin:0;margin-bottom:5px;margin-right:5px\"><img loading=\"lazy\" decoding=\"async\" alt=\"Facebook\" title=\"Share on Facebook\" class=\"synved-share-image synved-social-image synved-social-image-share\" width=\"24\" height=\"24\" style=\"display: inline;width:24px;height:24px;margin: 0;padding: 0;border: none;box-shadow: none\" src=\"https:\/\/shindig-magazine.com\/wp-content\/plugins\/social-media-feather\/synved-social\/image\/social\/regular\/48x48\/facebook.png\" \/><\/a><a class=\"synved-social-button synved-social-button-share synved-social-size-24 synved-social-resolution-single synved-social-provider-twitter nolightbox\" data-provider=\"twitter\" target=\"_blank\" rel=\"nofollow\" title=\"Share on Twitter\" href=\"http:\/\/twitter.com\/share?url=https%3A%2F%2Fshindig-magazine.com%2Findex.php%3Frest_route%3D%252Fwp%252Fv2%252Fposts%252F6313&#038;text=New%20post%20on%20our%20site\" style=\"font-size: 0px;width:24px;height:24px;margin:0;margin-bottom:5px;margin-right:5px\"><img loading=\"lazy\" decoding=\"async\" alt=\"twitter\" title=\"Share on Twitter\" class=\"synved-share-image synved-social-image synved-social-image-share\" width=\"24\" height=\"24\" style=\"display: inline;width:24px;height:24px;margin: 0;padding: 0;border: none;box-shadow: none\" src=\"https:\/\/shindig-magazine.com\/wp-content\/plugins\/social-media-feather\/synved-social\/image\/social\/regular\/48x48\/twitter.png\" \/><\/a><a class=\"synved-social-button synved-social-button-share synved-social-size-24 synved-social-resolution-single synved-social-provider-mail nolightbox\" data-provider=\"mail\" rel=\"nofollow\" title=\"Share by email\" href=\"mailto:?subject=Exclusive%20Shindig%21%20Qobuz%20playlist%20%239%3A%20Sixty%20Years%20Of%20Powerpop&#038;body=New%20post%20on%20our%20site:%20https%3A%2F%2Fshindig-magazine.com%2Findex.php%3Frest_route%3D%252Fwp%252Fv2%252Fposts%252F6313\" style=\"font-size: 0px;width:24px;height:24px;margin:0;margin-bottom:5px;margin-right:5px\"><img loading=\"lazy\" decoding=\"async\" alt=\"mail\" title=\"Share by email\" class=\"synved-share-image synved-social-image synved-social-image-share\" width=\"24\" height=\"24\" style=\"display: inline;width:24px;height:24px;margin: 0;padding: 0;border: none;box-shadow: none\" src=\"https:\/\/shindig-magazine.com\/wp-content\/plugins\/social-media-feather\/synved-social\/image\/social\/regular\/48x48\/mail.png\" \/><\/a><\/span>","protected":false},"excerpt":{"rendered":"<p>We\u2019re very excited to be media partners with the truly\u00a0unique online streaming platform and\u00a0download store\u00a0Qobuz. The ninth of our monthly bespoke playlists, which take in all manner of genres and sub-genres, scenes and beyond, then and now, focuses on the growth and expansion of powerpop from 1964-2004 \ufeffYour browser does not support iframes. &nbsp; To [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":6317,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1172],"tags":[577],"class_list":["post-6313","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-qobuz","tag-powerpop"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/shindig-magazine.com\/index.php?rest_route=\/wp\/v2\/posts\/6313","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/shindig-magazine.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/shindig-magazine.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/shindig-magazine.com\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/shindig-magazine.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=6313"}],"version-history":[{"count":-1,"href":"https:\/\/shindig-magazine.com\/index.php?rest_route=\/wp\/v2\/posts\/6313\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/shindig-magazine.com\/index.php?rest_route=\/wp\/v2\/media\/6317"}],"wp:attachment":[{"href":"https:\/\/shindig-magazine.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=6313"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/shindig-magazine.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=6313"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/shindig-magazine.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=6313"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}