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Originating in the 1960s, power pop developed mainly among American musicians who came of age during the British Invasion. Many 🏀 of these young musicians wished to retain the "teenage innocence" of pop and rebelled against newer forms of rock music 🏀 that were thought to be pretentious and inaccessible. The term was coined in 1967 by the Who guitarist and songwriter 🏀 Pete Townshend to describe his band's style of music. However, power pop became more widely identified with later acts of 🏀 the 1970s who sought to revive Beatles-style pop.
Over subsequent decades, power pop continued with modest commercial success while also remaining 🏀 a frequent object of derision among some critics and musicians. The 1990s saw a new wave of alternative bands that 🏀 were drawn to 1960s artists because of the 1980s music they had influenced. Although not as successful as their predecessors, 🏀 Jellyfish, the Posies, Redd Kross, Teenage Fanclub, and Material Issue were critical and cult favorites. In the mid-1990s, an offshoot 🏀 genre that combined power pop-style harmonies with uptempo punk rock, dubbed "pop-punk", reached mainstream popularity.
The Who's Pete Townshend coined the 🏀 term in a May 1967 interview promoting their latest single "Pictures of Lily".[10] He said: "Power pop is what we 🏀 play—what the Small Faces used to play, and the kind of pop the Beach Boys played in the days of 🏀 'Fun, Fun, Fun' which I preferred."[12] Despite other bands following in the power pop continuum since then, the term was 🏀 not popularized until the rise of new wave music in the late 1970s. Greg Shaw, editor of Bomp! magazine, was 🏀 the most prominent in the slew of music critics that wrote about power pop (then written as "powerpop"). This mirrored 🏀 similar developments with the term "punk rock" from earlier in the decade. In light of this, Theo Cateforis, author of 🏀 Are We Not New Wave? (2011), wrote that "the recognition and formulation" of power pop as a genre "was by 🏀 no means organic."
Power pop originated in the late 1960s as young music fans began to rebel against the emerging pretensions 🏀 of rock music.[4] During this period, a schism developed between "serious" artists who rejected pop and "crassly commercial" pop acts 🏀 who embraced their teenybopper audience. Greg Shaw credited the Who as the starting point for power pop, whereas Carl Caferelli 🏀 (writing in Borack's book) said that "the story really begins circa 1964, with the commercial ascension of the Beatles in 🏀 America." Caferelli also recognized the Beatles as the embodiment of the "pop band" ideal. According to The Rolling Stone Encyclopedia 🏀 of Rock & Roll, British Invasion bands, particularly the Merseybeat sound first popularised by the Beatles and its "jangly guitars, 🏀 pleasant melodies, immaculate vocal harmonies, and a general air of teenage innocence", were a key influence on 1970s power-pop bands 🏀 such as the Raspberries, Big Star, the Knack and XTC.[23]
In 1991, the Los Angeles Times's Chris Willman identified Jellyfish, the 🏀 Posies, and Redd Kross as the leaders of a "new wave of rambunctious Power Pop bands that recall the days 🏀 when moptops were geniuses, songs were around three minutes long and a great hook--a catchy melodic phrase that "hooks" the 🏀 listener—was godhead."[43] Members of Jellyfish and Posies said that they were drawn to 1960s artists because of the 1980s music 🏀 they influenced. At the time, it was uncertain whether the movement could have mainstream success. Karen Glauber, editor of Hits 🏀 magazine, said that "The popular conception is that these bands are 'retro,' or not post-modern enough because they're not grunge 🏀 and because the Posies are from Seattle and don't sound like Mudhoney."[43]
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