Posted by: Ryan Allen on August 29, 2008 at 9:00 am

Sort of by accident, today has become “Power Pop Day” here at Detour. Now, we realize some of you might be muttering, “What the hell shit is power pop? Where is my latest link to the new hot shit Girl Talk remix?” To that we say, “Relax, future iTunes DJ! We’ll be back to regularly scheduled content next week.” Or, we could just not say anything at all, and link to the Wiki entry on the genre. We could also just tell you to go re-listen to all your New Pornographers records. Or, even better still, we could point ya’ll in the direction of to two lists featuring all your favorite indie rockers naming off their choice power pop jams, courtesy of Magnet Magazine (thanks bros!). Then you could easily do a search on your favorite torrent and grab whatever peaks your interest. Because quite honestly, it would take up way too much space to name bands, explain the genre, and go through some kind of long and involved oral history that has honestly been Read more

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Posted by: Johnny Loftus on August 26, 2008 at 10:56 am

Donna Summer, “Love to Love You” (Groovy, 1975)

That guy behind Donna really loves this song. If there had been ringtones in 1975, his would have been “Love to Love You.” He had a picture of Donna Summer in his locker at the gym. He ate health food with a Donna Summer impersonator; the license plate on his Gremlin read “MORODER.” His hop-legged enthusiasm can’t help his heroine’s atrocious lip-synching skills. That’s OK. This is still one of the hottest songs ever. Best bit: around 1:50, when there’s a breakdown and it seems like you might actually be getting it on with Donna Summer. Now you know how that dude behind her felt. — Johnny Loftus

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Posted by: Ryan Allen on August 13, 2008 at 11:00 am

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The Cardigans, “Carnival” (Minty Fresh, 1995)

Before there was a Duffy, we had the Cardigans Nina Persson — blond, beautiful, and equipped with a lilting voice that, come the mid-90s, had no problem cooing it’s way onto radio stations across the globe. The band may have hit it big with the joyfully intoxicated “Love Fool” from 1996’s First Band On The Moon, but “Carnival” — from 1995’s Life — is really where it’s at. Propelled by a sort of Smiths-gone-disco jangle, the video for “Carnival” is as kitschy and fun as the circus organ and strings that move the song along, and it smartly puts Persson, decked out in her best Breakfast At Tiffany’s garb, right up front. The vintage film grain aids the clip’s authenticity, and if we were the betting kind (which we are), we’d wager that the suits who cooked up Duffy’s look and sound had Persson in mind when they went label shopping. — Ryan Allen

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Posted by: Ryan Allen on August 12, 2008 at 12:00 pm

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The Smiths, “There Is A Light That Never Goes Out” (Sire, 1986)

The YouTube description for the Smiths’ video for “There Is A Light That Never Goes Out” says it all: “Arguably one of the best songs ever written.” Hackum1, whoever you are, we couldn’t agree more. The video though? Well, maybe not so much. You’d think Morrissey, Marr and those other guys would want the clip for The Queen Is Dead’s shining moment to be a bit more interesting than some slow-motion shots of a shirtless boy (or is it a girl? Oh the androgyny!), a flaming car, and some spliced in snippets from some lost British tourism flick from the early 60s. But, when you’ve written a song this amazing, sometimes it’s best to step out of the way, deliver a few murky visuals, and let the music do the talking. Or moaning. Or whatever it is Morrissey does with his voice. — Ryan Allen

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Posted by: Martin Stett on August 11, 2008 at 1:19 pm

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There is a rumor going round that Pablo Escobar watched Willy Wonka and the Chocolate Factory 3,412 times while preparing for his amazing career in murder and drugs. It seems he also had a secret plan to grow Umpa Lumpas out of cocaine. That dude was a mad genius.

— Martin Stett was dosed by /FILM

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Posted by: Ryan Allen on August 8, 2008 at 11:00 am

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Sebadoh, “Rebound” (Sub Pop, 1994)

There was a lot of debate as to if Sebadoh were in over their heads, when they played their “classic” album Bubble and Scrape front-to-back at this year’s Pitchfork Music Festival a few weeks back. But who could blame the haters, as the Seb were squeezed in between Mission of Burma tearing through Vs. and Public Enemy making It Takes A Nation Of Millions To Hold Hold Us Back — as well as the city of Chicago — their bitch? If it were up to us, Lou Barlow and Jason Lowenstein would have called up Bob Fay, instead of that crazy Eric Gaffney guy, and busted out all of 1994’s Bakesale — an album we listened to way too much while mowing the lawn. And yeah, B&S faves “Soul and Fire,” “Happily Divided” and “Homemade” are perfect examples of classic lo-fi pop done right; it’s just that we prefer the tightly wound fair of Sale‘s “Licence to Confuse,” “Magnet’s Coil,” and “Rebound” — the song for which this home-made movie-styled video was made. We know Bubble and Scrape may have started it all, but to us, Bakesale was more than just a rebound; it was an improvement. — Ryan Allen

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Posted by: Ryan Allen on August 7, 2008 at 1:00 pm

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Love Battery, “Fuzz Factory” (Atlas Records, 1995)

For every Nirvana and Pearl Jam, there’s a Tad and Earth — Seattle grunge-era bands that just didn’t quite burst onto the mainstream like they could have, and probably should have. Go ahead and add psychedelic fuzz-pop quartet Love Battery to that list. Formed in the late 1980s, and named after a Buzzcocks tune, Love Battery were somewhat of a different breed than most of the Seattle bands of the day, digging more on swirling guitars and saccharine melodies than the sludgy metallic tones that characterized contemporaries like Soundgarden and Mudhoney. The band did, however, share one thing in common with their grunge-buddies: Previously signed to Sub Pop, come 1994, they were snatched up by then major label Atlas records for their album Straight Freak Ticket, and, well…have you ever even heard of Love Battery before? Yeah, we thought not. Regardless, this song and video is from that post-Sub Pop time period, and you can hear their attempts at writing an actual single; except, whereas most bands start to stink once major labels get their paws all over them, this song is actually really good, and the video pre-dates Fear And Loathing in Las Vegas by a couple of years. More proof that the best ones are always ahead of their time. — Ryan Allen

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Posted by: Ryan Allen on August 4, 2008 at 11:00 am

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Def Leppard, “Let’s Get Rocked” (Mercury, 1992)

Remember when you were a kid, and one of the more fun things to do while listening to your favorite hair metal jams of the day was to make up lyrics to the song, then sing them incessantly, until they almost overtook the songs real lyrics? No? Nobody ever did that? What the fuck? Well, we did, and one of our favorite songs to rock-mock was Def Leppard’s “Let’s Get Rocked.” Our choice of lyric switching was: “Let’s collect, let’s collect, let’s collect, let’s collect rocks!”…as if we were the cool kids making fun of future geologists everywhere. Little did we know, way back in 1992, that the real reason to poke fun of this song would be for the horrible virtual reality inspired graphics that litter the video. Armaggedon it? Hardly. — Ryan Allen

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Posted by: Ryan Allen on August 1, 2008 at 11:00 am

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To Guido: “What’s your biggest pet peeve?”

Guido: “What’s my biggest pet peeve? I don’t even know what the fuck that means.”

Watch, and be amazed. — Ryan Allen

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Posted by: Johnny Loftus on July 29, 2008 at 11:00 am

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Bad Company, “Good Lovin’ Gone Bad” (Swan Song, 1975)

The kickoff to Straight Shooter, Bad Company’s 1975 follow-up to their debut self-titled and big breakthrough, the groove on “Good Lovin’ Gone Bad” is as razor-sharp as this footage is murky and shit-tastic. But the low quality image just makes this clip more badass. Watching it now, you can see how dudes like Van Halen ripped off Bad Company’s stage moves, making them bigger and more flamboyant but always keep that chip balanced on the shoulder. Watching it now, you can see how songs like this just keep showing up on classic rock radio. They’re durable. They’re tough. They’re like motorcycles with no suspension. — Thomas Rooker White

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