Not sure why I haven’t written about this guy and his work before. I’m quite sure that Knoxville’s John Davis was one of the best power pop songwriters in the ten year span from 1996-2005. And while that was his peak period, both commercially and in terms of quality, his second act with Superdrag bandmate, Brandon Fisher, as the Lees of Memory, is also noteworthy, especially for Superdrag fans.
John Davis and Superdrag became semi-famous in 1996 when their major label debut album Regretfully Yours spawned the hit single “Sucked Out,” which still sounds great almost thirty years later. At the time, it felt a bit like a Weezer knockoff without the Harvard snark, but John Davis was just getting started.
The Superdrag albums that followed, Headtrip in Every Key (1998) and In the Valley of Dying Stars (2000) were a quantum leap forward, representing two of the best power pop records from that period, behind only Teenage Fanclub’s run of five power pop classics from 1991-2000 in my estimation.
Headtrip in Every Key is a perfect record and one of the best albums of the late 90s that not enough music fans have heard. Produced by Jerry Finn, who engineered Green Day’s Dookie and produced bands ranging from Blink-182 to Rancid before dying tragically of a cerebral hemorrhage and massive heart attack at the age of 39, this album may even be his greatest achievement. Imagine if Big Star and the Beach Boys had a baby with…John Davis. It received great reviews at the time, but didn’t sell well, because apparently Elektra refused to promote it. Not sure why, but it ended the band’s relationship with the label.
In the Valley of Dying Stars includes power pop gems like “Keep it Close to Me,” “Baby’s Waiting,” and “The Warmth of a Tomb,” kick ass pop punk like “Some Kind of Tragedy,” the Elliott Smith-esque “Unprepared,” and the superb album closer and title track. This album also saw bassist/songwriter Sam Powers join the band.
Quick aside: many aren’t aware, because of the dominance of grunge and Britpop during the 90s, that the 90s was also the second golden age for power pop after the 70s heyday of Big Star, the Raspberries, the Flamin’ Groovies, and Cheap Trick, including superb practitioners like Jellyfish and the Posies in addition to the ‘Fannies and Superdrag.
Superdrag followed up these two albums with Last Call for Vitriol (2002) before breaking up. This album is unique in their canon, because half the songs were solely written by Davis, including the excellent album opener “Baby Goes to 11” and “Feeling Like I Do,” and the other half were co-written with Powers, including the equally excellent “The Staggering Genius,” “Way Down Here Without You,” and “Remain Yer Strange.” But the album feels very unified and consistent with the previous albums.
Powers went on to tour with Guided by Voices during one of their many peak periods, whereas John Davis, grateful for his sobriety, next recorded the second best Christain rock record of all time, his eponymous solo debut. Or the best if you don’t count Chris Bell of Big Star’s posthumous solo album, I am the Cosmos. Davis’ sounds more like a Superdrag album than whatever you imagine a Christian rock album should sound like, though a notch mellower than Superdrag. The opening trio of songs, the Brian Wilson-y “I Hear Your Voice,” the uptempo pop of “Salvation,” and “Me and My Girl” are all highlights as are the Tom Petty stomp of “Have Mercy” and the gorgeous “Stained Glass Window.”
In the last decade Davis has recorded three albums as The Lees of Memory, all worthwhile, all containing some career highlights. From Sisyphus Says (2014), check out “Not a Second More” and “Lower Atmosphere” for starters. From Unnecessary Evil (2016; reissued in 2021), the first six songs are all Superdrag level. And finally, produced by Foo Fighters producer and Knoxville-native Nick Raskulinecz, there’s 2020’s Moonshot. The first three songs are all excellent as is “The Wheel” among others. Right up there with Davis’ very best songs, and they sound fantastic.
He also has a new solo album due out later this year.
For fans of power pop, there is no way you’re not going to love this stuff if you don’t already know it. Enjoy!
Great piece on a great band/musician/melody maker. Longtime fan. Would also include Fountains of Wayne in your 90s power pop revival group. And I am the Cosmos always get's me.
In the Valley of Dying Stars is electric from start to finish. “True Believer” is an all-timer purpose built for airplay. How this song—and this album— weren’t bigger is beyond me.