Pop, it seems, is making a quiet comeback.  Let me explain; I have a different definition of pop than most do.  Most of the bands currently nestled in the Top 40 are not pop bands.  Most are hip hop, some are hard rock (they prefer the term heavy music, thank you very much) some are bubblegum, but very few are actually writing what I consider classic pop songs.  “Drops of Jupiter,” now that’s a great pop song.  That Five For Fighting guy, while I’m not a fan, is writing pop songs.  But Elliott Smith, Jon Brion, Aimee Mann and Owsley are also pop artists too, and for whatever reason, they haven’t been invited to play the same reindeer games as Vertical Horizon and matchbox twenty, who in my view aren’t worthy of being Jon Brion’s roadies.

Perhaps Sugarbomb’s new album, Bully, will help bridge the gap between the two.  There are elements of the current guitar pop that’s so in vogue on radio, but there are also pieces of classic pop rock songwriting (Cars, Cheap Trick) that shows they’re better than their peers.

The album’s leadoff track, “What A Drag,” has a chorus borrowed from Weezer and a verse courtesy of Smash Mouth.  “Hello” is the Radio Friendly Unit Shifter that will likely break this band.  It’s innocuous lite guitar pop ala Vertical Horizon, but unremarkable and nowhere near the best material here.  “Mail Order Bride” is an amusing ditty that sounds like the Backstreet Boys making a rock record, a concept far more horrifying than the actual result, surprisingly enough.  “Posterchild For Tragedy” is a vintage ‘80s style ballad that recalls the Rembrandts, and “After All” sounds more like Queen than anything Jellyfish ever did, and Jellyfish practically dedicated an entire album to Queen.

Sure, the albums tries a little too hard to be all things to all people, and as a result there seems to be a lack of focus, but Sugarbomb has the chops to turn into another Smash Mouth or, better yet, Owsley.  Maybe power pop will break through yet.