Artists like Josie Cotton are priceless. Unlike many of her peers, she didn’t follow the path to becoming a household name. Instead, she embraced cult hero status early on and did the work of becoming a legend.

Bomp! Records, founded by Greg and Suzy Shaw in 1974, became a pivotal force in launching bands like 20/20, The Romantics, and countless punk, garage, and power pop acts. And their best-selling single of all time? Anybody? “Johnny, Are You Queer?” by Josie Cotton.

Josie burst onto the scene with an energy that couldn’t be ignored. Her blend of talent, beauty, and bold spirit quickly landed her in the pop culture moment of the 80s with an appearance in Valley Girl, the Nicolas Cage classic that also featured The Plimsouls (man, what a time to be alive!). She released two albums during the 80s, then, after 1993’s Frightened By Nightingales, she stepped away from the spotlight to hone her craft behind the scenes, opening her own studio and working with artists like Elliott Smith. But by 2006, Josie was back to making music of her own, and she hasn’t slowed down since.

In a digital world where so much of today’s music vanishes from memory as soon as it drops off the charts, Josie Cotton’s catalog remains a physical and emotional bridge between eras. Her iconic albums, Convertible Music and From the Hip, still transport us back to the 80s, while her new releases (still on vinyl!) point toward the future with a sense of purpose few artists maintain after four decades in the industry. Josie Cotton not only stays relevant—she keeps pushing boundaries.

In this crazy world, I find that bridge to be as comforting as it is exciting. As long as we have Josie Cotton, things are going to be ok.

Break out the bubble wrap!

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I actually don’t feel guilty at all for liking The Bay City Rollers.

Sure, even as a kid I knew The Bay City Rollers Show was silly and proved a poor venue to showcase some of their obviously great songs.

But after Duncan Faure joined the band, replacing Leslie McKeown in 1978, the addition injected an artistic enthusiasm back into the band. With new songwriting and vocals, the band rebranded as “The Rollers” and released Elevator in 1979, a collection that stands tall with any other new wave or power pop offerings that year (and 1979 has an embarrassment of riches!)

I’ve read reviews online from people insisting that a name change was just putting lipstick on a…well, you know. That reminds me of when Donny Osmond shed his teeny-bopper image with 1988’s Donny Osmond. DJs played “Soldier of Love” without announcing the artist, letting callers weigh in. Without the baggage of parts of his cringe-worthy past (fittingly, the Donny and Marie show was a Sid and Marty Krofft production), Donny scored a genuine adult pop hit.

Controversial take: The Rollers’ newfound chemistry with Duncan Faure recalls the magic Badfinger had before Pete Ham’s death. Had Pete still been with us, this is the kind of album Badfinger might have made in 1979. And “Hello and Welcome Home” would have sounded great on Airwaves.

Elevator may not have been a commercial hit, but it deserves to be remembered as a standout in the late 70s power pop and new wave. No reason to feel guilty for enjoying great music—even if it comes from unexpected places.

The post Not a Review: “Elevator” by The Rollers (1979) appeared first on Pop Rocks Radio.

Recording under the moniker The Toms, Marolda is back with Rock Paper Scissors, his second album in just a year. Though his work is generally referred to as “power pop”, to apply that term here is limiting. Each project, starting from the self-titled album from The Toms in 1979, has its own blend of classic power pop and lo-fi DIY charm.

On this latest outing, some standout tracks for me include “Pilot,” “Stationary Bike,” and “It’s Personal”.

The album is available for download on Bandcamp, along with many others in his catalog!

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