It is interesting how some power pop singles, despite being a product of the DIY spirit of the punk explosion, sound as if punk rock never happened. A good example is the Action, an Ohio band who must have been the world's biggest Raspberries fans. The three 45s they released on their own Radiogram label are the kind of thing I expect some of you to hate, but they do have some serious devotees amongst power pop collectors. Trivial fact: Singer/guitarist songwriter Michael Purkhiser is the brother of Eric Purkhiser, also known as Lux Interior of the Cramps.

...is the new Pernice Brothers CD, Discover a Lovlier You. Joe Pernice is perhaps the best American lyricist in the game today, as well as a brilliant tunesmith who knows just when to throw in a minor chord. The band weaves a warm blanket of ringing guitars and layered harmonies (and an occasional Chills-like keyboard bit). Brian Wilson once stated that he wanted to produce an album of sounds hat "make the listener feel loved." He would surely be proud of the Pernice Brothers. Their fourth consecutive masterpiece? We don't know, but we are all hovering about six inches off the floor when this one plays in the vicinity.

Check out the band's very cool and amusing website, making sure to stop at the video for "Weakest Shade of Blue" and Joe's episode of "Cribs."

This Smart Remarks 45, more than any other, is responsible for my insatiable need to search out and own obscure pop singles. When I was in high school (around '83-84) I ordered a handful of 45s from the huge catalog of some failed distributor/mail order place back east. They consisted mostly of no-longer cool punk/wave titles. (A KBD collector could have cleaned up. Among the things I passed on were the Vains' "School Jerks," the Electric Eels, and, I seem to recall, Cracked Actor's "Nazi School".) Most of the ones I recognized were pretty expensive, say $2.50, which seemed like an awful lot back then, so I stuck to the unknown cheap stuff. I really had no idea what I was getting into, so I made my selections based on whether or not the band names and song titles sounded like they might appeal to my sensibilities (i.e. girls names in song titles, band names that hearkened back to the pre-Sgt. Pepper 60s). I scored big three times; among my selections were the Paper Tigers 45 featured a few days ago and the Riff Doctors' lovely "I Don't Want To Go Back." As great as those were, this one was special.

You know how so many punk and power pop records of the era have "ironic" lyrics about taking you out to the drive-in or meeting your parents, or whatever? This one evokes an innocence that seems completely real, an un-selfconsciousness that not even the fake British accents can negate. Perhaps that's why I like it so much; I don't mean to get all David Marsh on you, but it reminds me of that rare (and I do mean rare) hopeful feeling I occasionally had in high school that my interest in some girl might possibly be mutual. This is absolutely one of my very favorite records that ever lived.

Oh, produced by Tom Marolda, of the Toms. They had a 12" EP in 1985 which is rumored to be rather more slick.

The guys and I were discussing which of the Set's 45s we like best. Casey opts for the classic self-titled single (it appears on Rough Trade's Post-Punk 01 compilation), Shammy for "Alphaville," and Mickey and I like this one. I appreciate it for it's devilishly clever lyrics (a Monochrome Set hallmark) and spy theme ripoff chorus. I think Mickey likes it because of the reference to eating bugs.

Note to trainspotters: The version used for the 45 is the one from the Volume Contrast Brilliance LP. There is a longer version on Eligible Bachelors that was used on the Ambition: The Cherry Red Story compilation. It has a whistling intro and a longer guitar break. Just so you know.

Boston's Outlets were a beloved scene fixture at about the same time as the not terribly dissimilar Neighborhoods. They were definitely a pop band, but with more of a sneer than most. Several singles, an album for Enigma, and assorted compilation cuts were rolled out, but today Guitarist Rick Barton has much more notoriety with the Dropkick Murphys. I hope this doesn't blow his street-punk cred.

Casey wants to know "Would Chuck Warner put this on Teenline or Homework?" I remember seeing an article in Matter (still my all-time fave 'zine) about this obscure outfit back in the mid-80s, but the recorded output is scant, and a search of the internet reveals little. What we do know is that the mastermind appears to have been one Tony Kola, who was from Chicago.

Fowler Jones suggested this one. I saw the Balancing Act open for the Hoodoo Gurus in 1987 and enjoyed them far more than the headliners. In retrospect, they are far closer to Crosby, Stills and Nash (No Young) than I would ever have admitted at the time, but I find this LP, their first, to have maintained enough oddball charm that there are several songs from it I could have used without misgivings.

Playing catch up again today, so here are two of our favorite musings on the current season. The Da Biz track was also released as "Can't Wait 'Til the Summer Comes " under the name Ronnie Mayor, whom longtime Little Hits watchers may remember from the Tours track we ran a while back. Chris Stamey is of course one of our biggest heroes. This record was produced by Alex Chilton; the mix is erratic and effective in a way that recalls Big Star's 3rd, although the material obviously isn't nearly so dark. I was overjoyed to hear Mr. Stamey perform this song at his recent Bottleneck show, despite the depressing fact that it was atteneded by about five people.

The original dBs have reunited, and an album and tour are forthcoming. See the dBs website for details.