[1][2][3][4][5][6][7][8][9][10][11][12][13][14][15][16][17][18][19][20]

The HASKELS [Milwaukee?, Wisconsin]
Discography
  • [Tr] [ on The Great Lost Brew Wave Album (Blackole Records, 1997) ](USA ?/)
  • The HASKELLS [USA]
    Biography From Texas ?
    Discography
  • 7" Magazine Girls b/w Pop Art (USA [Spotless #39152] 1981)
  • The HAWKS [USA]
    Discography
  • LP The HAWKS (USA [Columbia #NJC] 1981)
  • The HEAT [New York City, New York]
    Biography Apparently the band had a high number of lineup changes in its lifespan. Tally Taliaferrow was previously singer for NYC's Planets.
    Personnel
  • Dwytt Dayan : vocals
  • Tally Taliaferrow : guitar, vocals
  • Geoff Li : bass, vocals
  • Jeff Formosa : drums
  • Discography
  • 7" Instant Love b/w High School Sweater (USA [Hot Stuff Rds #HOT 1] 1978) Not a record to rediscover as a matter of priority but two quite enjoyable pop-rockers with honest amount of hooks.
  • The HEATS [Seattle, Washington]
    Biography Formed part of the Seattle scene in the early '80s, The Heats began life as The Heaters before dropping the "er" when they found out that their name was already used by another US band. It seems that they were very popular locally (along with The Cowboys) but in fact they were quite unknown outside the Pacific Northwest. Recently their "Have An Idea" LP featured as one of 50 essential albums in the Powerpop special issue of Goldmine and gave the band an airing. Musicwise, the band played a sort of "new pop" (as Paul Collins once qualified The Beat), respectful of the genre but also very inventive and hook-filled. The great "When You're Mine" sounded like the ultimate powerpop song the Romantics never recorded (at least during their Nemperor era), and "Nights With You" or "I Don't Like Your Face" could bring to mind early Plimsouls or rather should I evoke The Nerves, when the ultra-pop format and neat harmonizing contrasted with the singer, nervous and restrained at the same time, as if he was bursting out of his skinny-tie suit (which The Heats didn't wear). Irresistible! The Knacks syndrome left much of a mark on some tracks ("Questions Questions") but The Heats easily stood comparison. Their repertoire also included more direct songs like "Call Yourself A Man" ,"Sorry Girls" or revealed a slight country feel like in "Ordinary Girls" or "Some Other Guy". As for the instrumental backing, The Heats weren't afraid of going through all that again with that Chuck Berry legacy to the `70s, like if a new generation eventually took over Stones-like rockers and Richard-esque guitar licks ("Call Yourself A Man"), but pumping a Mersey Sound exuberance into it, without neglecting a pinch of pub-rock feet tapping. The sound of The Heats surprisingly turns out to be fresh and exciting, even 20 years later.
    Personnel
  • Steve Pearson : guitar,vocals
  • Kenny Deans : drums
  • Keith Lilly : bass,vocals
  • Don Short : guitar,vocals
  • Discography
  • 7" Ordinary Girl b/w I Don't Like Your Face (USA [Hrrr Records #HT-001] 1980) First release on their own label. Produced by Buck Ormsby of the Wailers & Etiquette Records fame. I read it sold 18,000 copies locally. The versions are (slightly) different from the corresponding LP tracks.
  • LP HAVE AN IDEA (USA [Albatross Records #HR-1001] 1980) Imagine a record exhibiting the freshness of the first Paul Collins' Beat with slighty slowed down tempos and a collection of songs bursting with guitar riffs and pop hooks. Undoubtedly one of the great overlooked (should I say unknown ?) album from the early `80s powerpop era.
  • 7" When You're Mine b/w Sorry Girls (USA [Albatross #HRS 2001] 1981)
  • 7" Rivals b/w Count On Me (USA [Albatross #HRS 2002] 1981) Two non-LP tracks. "Count On Me" reveals the poppiest side of the band and it just sounds excellent. "Rivals" tends towards the more greasy sound of the 2nd LP, although Fab Four influences can still be heard.
  • LP BURNIN' LIVE (USA [Sushi Records #SU-1801] 1983)
  • CD SMOKE (USA [ Chuckie-boy Records #CB1008]1980,1983/sept.1998) Chuckie-Boy, a Steattle-based label, has released this 13-tracks compilation which virtually includes all of the tracks from the "HAVE AN IDEA" LP (strangely the Knack-tinged "Remember Me" is an hidden track and "Questions Questions" is missing) as well as two tracks from "Burnin' Live". Powerpop of the highest calibre !
  • Keith HERMAN [?]
    Discography
  • 7" She's Got A Whole Number b/w (USA 1980) Florida label. #100 at the Cash Box Top 100 Singles in November, 1979
  • Richard X. HEYMAN [New York, New York]
    Biography Richard X. Heyman's first release. Eight songs were recorded during the same sessions at The House of Music studio in New Jersey, featuring Dino Danelli (formerly in The Rascals and Fotomaker) on drums.
    Discography
  • 7" Vacation b/w Takin' My Chances (USA [Flying V Records] 1980) Two simple, unpretentious ditties that RXH recorded with help from former Young Rascal Dino Danelli [JB]. The single got a favorable review in Billboard at the time ("pick hit") and WNEW in New York played it a few times.
  • The HITMAKERS [San Diego, California]
    Biography Oakland, CA label.
    Discography
  • EP 7" (AMERICA'S NEWEST HITMAKER - JEFF SCOTT/JOSEF MARC) I'll Be Your Mirror The One I Like I Found Her b/w It's Where You Are Grow Up With Me (USA [Mirror Records #12155] 1977)
  • EP 7" It's Only Sad b/w Everything Is Gettin' Better Lose (USA [Mirror #22857] 1978) Kind of sharp-edged pop-rock (with a mid-70s garage genuineness) not unlike The Real Kids powerpop with high-pitched vocals. The A-side might confirm the obsession any kid had at the time with The Rolling Stones. Quite good. "Everything is gettin' better" and "Lose" have recently resurfaced on the Back Seat Love compilation, vol.1.
  • The HITS [New York City, New York]
    Discography
  • 7" All The Girls (Wanna Be In Gangs) b/w Count On You (USA [Nobell Records #45-1] 1980) Muscular playing that could be qualified as hard-pop or glam-punk (although innocuous). Quite a few aspects of the songs may sound predictable and kind of clumsy, but I have to admit that the chorus is pretty catchy. The flip is decent powerpop.
  • Tommy HOEHN [Memphis, Tennessee]
    Discography
  • 7" Blow Yourself Up b/w Love You (All Day Long) (USA [Power Play #PP-1954] 7/1977) B-side does not appear on the LP. Features Andy and Chris Bell on guitars.
  • LP SPACEBREAK (USA [Power Play] 1978) Hey Polarity/Losing You to Sleep/ The Heat/She Might Look My Way/Blow Yourself Up/I Know I Love You/Mean Nancy/Fight You
  • LP LOSING YOU TO SLEEP (USA [Power Play] 1978)
  • LP I DO LOVE THE LIGHT (USA [Power Play #HLPP-5052] 1981)
  • CD OF MOONS & FOOLS... (USA [Frankenstein Rds #FR0069]197?-1992/1996) Most of the tracks from "I DO LOVE THE LIGHT" are included here as well as early demos and new material released circa 1992.
  • Pete HOLLY AND THE LOOKS [USA]
    Discography
  • EP 7" Baby Please Believe Me b/w What Did I Say ? Look Out Below (USA [Bomp! #130] 1980)
  • HOT LIPS [USA]
    Biography A band on a label called "Power Pop Records" !
    Discography
  • 7" Hold On To Me b/w Here Comes That Girl (USA [Power Pop Records] 1980)
  • HOT TIP [Canada]
    Biography Hot Tip originally released their first LP under the name of Numbers (see the corresponding entry).
    Discography
  • LP STOP ALL MOTION (Canada [Lat 1089 #Attic Rds Ltd] 1981) By 1981, things were going to be difficult for the future of powerpop and apparently, up to a certain point, a kind of subtlety (or restraint) seemed incompatible with the hope of a commercial success (mainstream "arena rock syndrome", as if every detail was to be exaggerated to be seen from a long way off, a syndrome which is, unfortunately, still present in independent powerpop releases of today). Hot Tip's Evans, York & Blecki were undeniably talented songwriters and it's too bad that, production-wise, they've been overdoing things (big guitar, big vocals, big sound ... big "bof"). More slick than The Numbers but recommended anyway.
  • 7" Teach Me Something b/w Bridge To Manhattan (USA [Attic #AT 244] 1981)
  • HUMANS [Santa Cruz, California]
    Biography I'm not sure whether this band has his place here, but The Human's first single was a stunning piece of frantic quirky pop. Drawing the attitude from the sixties instead of imitating it but with strong `80's new-wavey elements, both sides are killers. It seems that Kim Fowley was more or less involved in the promotion of the band at a certain time even if it sounds like er.. a kind of pleonasm. They've had in 1981 an album entitled "Happy Hour" which was produced by David Kahne.
    Discography
  • 7" I Live In The City b/w Wild Thing (USA [City Records #IR9009] 1980) Starting out with the kind of riff reminiscent of The Nazz, "I Live In The City" had a new-wavey twist with a pop feel, a quirky cross between teenage Modern Lovers and UK bands like The Buzzcoks or The Boys. The cover of "Wild Thing" on the flip is really good and is one the best I ever heard.[PG]
  • EP 7" Play : Live In The City Play b/w Tracy Pipeline (USA [Irs #ir 7700] 1980) Another pretty good song by The Humans called "Play" which might remind earliest bands like Milk & Cookies or maybe (NY) Mumps. Side two is live with a pretty good cover of "Pipeline".
  • IDOLS [USA]
    Discography
  • 7" You b/w Girl That I Love (USA [Ork Records #NYC2] 1979) featured the ex-Dolls Jerry Nolan (drums) and Arthur "Killer" Kane (bass) as well as Steve Dior (vocals, guitar) and Barry Jones (vocals, guitar) later in the London Cowboys
  • [1][2][3][4][5][6][7][8][9][10][11][12][13][14][15][16][17][18][19][20]