Is Paul Collins truly the King of Power Pop? That’s the kind of statement guaranteed to open a can of worms among record collector types, but Collins certainly has a more honest claim to the title than most folks, given the great records he made in the 1970s and ’80s with the Nerves, the Breakaways, and the Beat (aka the Paul Collins Beat). Collins has cut a handful of fine records since the breakup of the Beat, but King of Power Pop! is the first one in ages that captures the tough, upbeat sound of his most memorable work, and it proves the man hasn’t lost his touch for writing tight, hooky tunes with killer hooks and energetic guitar figures. Collins’ voice is a little rougher than it was in his salad days, but he makes that work to his favor, giving the songs a touch of defiant swagger even when he’s sounding sweet and heartbroken, and when he and his lead guitarist Eric Blakely lock in, this sounds like the perfect follow-up to the Beat’s classic albums for Columbia, bursting with tuneful vigor and rock & roll passion (and arriving a mere quarter-century after the fact). Collins recorded King of Power Pop! in Detroit with producer and engineer Jim Diamond (who also plays bass), and the album features a crew of Motor City notables who give these songs the fire and muscle they need, including Dave Shettler on drums, Wally Palmar (of the Romantics) on harmonica and harmonies, and Nikki Corvette on backing vocals. But the album wouldn’t work if Collins didn’t have a batch of great songs on hand, and "C’Mon Let’s Go," "Doin’ It for the Ladies," and "Don’t Blame Your Troubles on Me" are instant power pop classics that all but explode from the speakers. – Mark Deming / AMG
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(Paul Collins) new album is called King of Power Pop! and it takes guts to go with that
title, but Collins has the chops to back it up. – The Washington Post
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In his liner notes for his newest album, Paul Collins describes King of Power Pop! as “the record that connects the dots, from The Nerves to The Breakaways to The Beat to today”. This may be one of the most accurate assessments I’ve ever read an artist make of his own work. The record has a distinctly nostalgic feel in the best possible way, sounding both fresh and familiar at the same time. On the first listen, you almost feel as if you’ve heard these songs before. This isn’t a criticism of Collins’ originality. It’s a tribute to his ability to craft solid, punchy, thoroughly enjoyable rock and roll.
The record kicks off with the 50s-style rave-up “C’mon Let’s Go!” and that song sets the stage for what’s to come. Bright, crisp guitar work blended with Jim Diamond’s smooth bass lines and Dave Shettler’s driving drums. Collins’ power pop influences are front and center throughout. “Hurting’s On My Side” and “Many Roads To Follow” sound like early Lennon-McCartney compositions that wouldn’t have been out of place on Beatles For Sale. Other songs, like “Off The Hook” and “Don’t Blame Your Troubles On Me”, could have been tucked into the back catalogs of The Kinks and The Byrds. But there’s more to the album than retro 60s throwbacks. “This Is America”, one of the strongest songs of the album, is a passionate, no-holds-barred snarler that sounds like nobody other than Paul Collins. – Music Tap
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Recording in Detroit with Jim Diamond producing, Collins sounds as if he’s fresh off the end of a tour with the Beat – his voice a tad ragged but still thrilled by the glories of power pop. He charges hard into the bluesy “Do You Wanna Love Me?” and cuts the difference between the Beatles and Everly Brothers on the opening “C’mon Let’s Go!” His lyrics haven’t yearned so dearly and his voice hasn’t sounded this unbridled since he sang “Rock ‘n’ Roll Girl” and “Walking Out on Love” thirty years ago. Collins and Eric Blakely’s guitars rumble and sting, Jim Diamond’s bass and Dave Shettler’s drums propel, and the vocal harmonies and backings capture the joy of a summer’s night cruise with the windows down and the radio up.
Shettler adds tympani to “Many Roads to Follow,” and with the duet harmony sung at the top of Collins’ and Blakely’s ranges, they conjure the deep teen emotions of the Brill Building. Given his track record, it’s not really surprising that Collins still has great albums in him, but that he so effortlessly reaches back to the sounds he helped coin in the mid-70s (and whose invention he details in “Kings of Power Pop”), and it’s inspiring that he finds such satisfying ways to use the wear in his voice. Particularly noteworthy is how easily he matches Alex Chilton’s gravelly tone on a cover of the Box Tops’ 1967 hit “The Letter,” and how beautifully he covers the Flamin’ Groovies’ “You Tore Me Down.” The heartbreak of his original “Hurting’s on My Side” is rendered in the sort of ragged-voiced emotion John Lennon shouted out in 1964. Anyone who loves the Nerves EP and the Beat’s albums (particularly the debut) should grab a copy of this one ASAP. – Hyperbolium
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If ever an artist has fully embraced the spirit of power pop and evangelized the merits of the genre, it’s Paul Collins. This is a full fledged return to his roots with a sound reminiscent of The Nerves and The Beat in it’s prime. With help from Dave Shettler on drums, Wally Palmar (of the Romantics) on harmonica and harmonies, and Nikki Corvette on backing vocals it’s as solid as you can get. The quick tempo and distinctive guitar riff of "C’mon Let’s Go!" gets off to a great start. Paul is just ageless here as he rocks out "Do You Wanna Love Me? and the built in crowd pleaser "Doin’ It For The Ladies." The Merseybeat jangle of "Hurting’s On My Side" is another in a line of tracks that are both short and sweet.

It’s not all Beatles meets Ramones styled guitar songs either. "Many Roads To Follow" has a steady strum and Spector-like Kettle drum, and in honor of the recently departed Alex Chilton is a note perfect cover of "The Letter." The title track "Kings Of Power Pop" is loving look back on Collins career and other bands like The Beat. A few tracks are a bit repetitive ("Off The Hook") and "This Is America" seems a guitar version of Billy Joel’s "We Didn’t Start The Fire." But there are so many excellent tracks here, it earns a nod for top ten album of 2010. All Hail The King! – Powerpopaholic
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