history
how the tapes got rolling
1969 COLLEGE POINT, QUEENS
From the time Bill Popp wrote his first song in 1969 he wanted to form a band that would feature his songwriting. Through his teens and early 20’s his effort would hardly make it out of the living room of his parents' house where he would rehearse. Part of the reason for his failed attempts was due to lack of dedication and not being able to afford an electric piano (Fender Rhodes).
The death of his mother in 1978 was a wake up call for Popp and he realized that to get somewhere in the music business, he would have to make music the center of his life.
The death of his mother in 1978 was a wake up call for Popp and he realized that to get somewhere in the music business, he would have to make music the center of his life.
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triangle
So he started showcasing in the West Village of New York and solo gigs wherever he could. Popp formed a duet with female singer Mary Anne Christopher, which grew into a top forty disco band called Triangle which then changed its format to a New Wave cover band in 1980.
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the tapes
Popp never gave up his ambition to have an original band, so in the summer of 1980, he formed what was supposed to be a sideband, using members of Triangle to perform at such clubs as CBGB and Max's Kansas City, where Popp could promote his songwriting.
He asked Triangle bassist Paul Reilly and drummer Steve Baltunis, who had just auditioned for Triangle, to join. Paul had a high school guitar player friend named Joe Canale, who auditioned and got the gig.
The band kicked around names and came up with The Tapes. At the time it was considered a good name because most bands had the word THE before their name and all recordings were done at that time on magnetic recording tape.
He asked Triangle bassist Paul Reilly and drummer Steve Baltunis, who had just auditioned for Triangle, to join. Paul had a high school guitar player friend named Joe Canale, who auditioned and got the gig.
The band kicked around names and came up with The Tapes. At the time it was considered a good name because most bands had the word THE before their name and all recordings were done at that time on magnetic recording tape.
the tapes first show 1981
Popp knew the owner of a club called Gerde’s Folk City and, with a poorly recorded demo tape, was able to land the band their first gig there on Tuesday March 3rd 1981, and the rest is history. And the show got reviewed.
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Our first banner
The Tapes at CBGB May 10, 1981
The Tapes backstage 1981
The Tapes gained local popularity, mostly because the band had both a punk and a pop sound. “We were different. We had pop melodies with a punk edge, which I believe came from Joe’s raw guitar sound,“ said Popp. By August of 1981 the group had played CBGB, Max’s Kansas City, Great Gildersleeves, the Play Room, Camouflage, and a return show at Folk City.
But tragedy hit the band with the death of Joe Canale, and the momentum came to an abrupt halt. On a routine bank errand, the eighteen-year-old Joe Canale was abducted, robbed, and found murdered. "This was probably the worst thing I ever lived through," said Popp. "It was hard for me to play my own songs knowing how Joe had played on them. Part of me wanted my music to die with him, but I knew we had to live on."
But tragedy hit the band with the death of Joe Canale, and the momentum came to an abrupt halt. On a routine bank errand, the eighteen-year-old Joe Canale was abducted, robbed, and found murdered. "This was probably the worst thing I ever lived through," said Popp. "It was hard for me to play my own songs knowing how Joe had played on them. Part of me wanted my music to die with him, but I knew we had to live on."
THE RETURN OF THE TAPES WITH DAN COOPER
About three weeks went by before the surviving band members played together again, and decided then that the band should continue. In late September of 1981 they held auditions, and Dan Cooper became the new guitarist for the Tapes. The Tapes returned to the stage with a show at CBGB in November of 1981.
Above photo by George DuBose
1982
By January of 1982 The Tapes cut the rhythm tracks to their first single, 'Love and Lust' b/w 'Floating On A Teardrop,' which was engineered and co produced by Dave Lichtenstein, son of famed pop artist Roy Lichtenstein, and was released in June 1982.
1983
The band got favorable reviews from the local Aquarian paper and the national rock mag Trouser Press, which helped expand their sound to the tri-state area.
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In January of 1984 the Tapes returned to the studio to record their second single 'Too Many Stars' b/w 'Just Like In the Movies', this time produced by David Lichtenstein. The second single increased their popularity and landed them a review in Billboard as 'potential for chart entry in the pop format.'
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Unfortunately, the band’s momentum was undone once again when drummer Steve Baltunis announced in October 1984 that he was leaving due to his now working the night shift on his job.
1985
The Tapes then went through endless auditions, tried out two drummer’s that only lasted one show each, finally finding Frank Palo in May 1985. From the strain of holding what seemed to be endless auditions, replacing drummer Steve Baltunis took it’s toll on the band. Disagreements over what direction the band should go in, and some silly talk about getting a new lead singer, divided Popp and Cooper. Though the band was moving forward, there was a negative vibe.
1986
The Tapes played a seemingly flawless show at CBGB on January 3rd 1986, but two days later Cooper and Palo quit the band, leaving Popp with his songs.
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THE BIRTH OF BILL POPP AND THE TAPES
Popp decided to put The Tapes back together and to start from scratch without Paul Reilly. He held auditions as soon as possible. Though it was difficult to coordinate, somehow by March 1986 the band returned to the stage with a new line up and played a show at the Bitter End. The band was now billed as Bill Popp and The Tapes and, for the first time, had women in the band. The new line up was Bill on lead vocals and keyboards, Perry Norton on guitar and vocals, Angel Eve on bass, and Bobby Reyes on drums.
But what started out as one happy family, turned into a soap opera and, by late August 1986, Angel and Perry left the band.
THE BEGINNING OF THE "POPP THIS" ERA
Popp tried to keep the co-ed image in the band so he found female guitarist Annie Husick and bassist Clair Pushay to fill the empty slots and in late October of 1986 the Tapes rolled into CBGB and continued to do shows after that.
THE BEGINNING OF THE DADDY TAPES BENEFIT
Popp lived like a kid at the age of 33. He lived cheaply at home paying board to his father. His band The Tapes would rehearse in the basement. If Bill had had to pay for both rent and rehearsal time with the money he made at his non-union plumbing job, the band wouldn't exist. This is why George L. Popp got the nickname Daddy Tapes. Besides providing studio space, he also addressed the mailing envelops for the band's mailing list (before the days of e-mail) and came to many of their shows.
But on November 1, 1986 Popp’s life got turned upside down when his father died from a heart attack. Daddy Tapes' dream had been to one day sell the house and move to Florida. But he knew that if he did that, it would most likely be the end for his son’s band. So instead, he remained in New York and kept his night watchman job till the day he died at age 73.
At the funeral Popp said he wanted to do something to keep his father’s spirit alive, so to honor his memory, he came up with the idea of doing a benefit in his father's name and donating the money to The American Heart Association.
At the end of December 1986, Clair Pushay left the band and Emily Shane became the new bass player. The group continued to gig. On March 10th 1987 the band played the first of what has become known as The Daddy Tapes Benefit, at CBGB‘s, on the late George L. Popp’s (Daddy Tapes') Birthday.
March 8, 2020 marked the 34th benefit in a row.
But on November 1, 1986 Popp’s life got turned upside down when his father died from a heart attack. Daddy Tapes' dream had been to one day sell the house and move to Florida. But he knew that if he did that, it would most likely be the end for his son’s band. So instead, he remained in New York and kept his night watchman job till the day he died at age 73.
At the funeral Popp said he wanted to do something to keep his father’s spirit alive, so to honor his memory, he came up with the idea of doing a benefit in his father's name and donating the money to The American Heart Association.
At the end of December 1986, Clair Pushay left the band and Emily Shane became the new bass player. The group continued to gig. On March 10th 1987 the band played the first of what has become known as The Daddy Tapes Benefit, at CBGB‘s, on the late George L. Popp’s (Daddy Tapes') Birthday.
March 8, 2020 marked the 34th benefit in a row.
1987
In spring of 1987 the band went back to the studio and by the fall released a three song cassette titled Bill Popp and The Tapes Unwind.
These songs and six others would eventually be the full length album POPP THIS, which would be released in 1990.
These songs and six others would eventually be the full length album POPP THIS, which would be released in 1990.
But again what was once a happy family again turned into a soap opera and the ladies left in December 1987.
1988-1990
Annie and Emily were replaced by Gerry Barnas on guitar - who remains to this day - and Stefanie Seskin on bass.
Their first performance in this line up was on March 10 1988, at the 2nd Annual Daddy Tapes Benefit at CBGB’s.
Starting in May 1988, and throughout the summer of 1989, the band continued recording their ten song debut album Popp THIS, which was released in January 1990. It got rave reviews from both The New York Daily News and Billboard. Stephanie played on 6 tracks of Popp This, then went on to form Blue Number Nine and was replaced by Pat McGraw.
Their first performance in this line up was on March 10 1988, at the 2nd Annual Daddy Tapes Benefit at CBGB’s.
Starting in May 1988, and throughout the summer of 1989, the band continued recording their ten song debut album Popp THIS, which was released in January 1990. It got rave reviews from both The New York Daily News and Billboard. Stephanie played on 6 tracks of Popp This, then went on to form Blue Number Nine and was replaced by Pat McGraw.
POPP THIS
Released in 1990
1. Everything is Thin2, Too Many Stars3. I'll Never Change4. Don't Hold It Against Me5. Satisfied6. 'Til Nowhere7. Go With the Flow8. Punk Girls9. She's in the Sky10. One Door Slams
Recorded at Sammy Fields in Sugar Hill, Omega Mix, and West Westside Music Produced by Bill PoppRecording Engineer, Associate Producer, and mixed by Alan Douches Bill Popp - lead vocals and keyboards Gerry Barnas - guitar and backing vocals Stefanie Seskin - bass, flute, and backing vocals Anne Husick - guitar and backing vocals Emily Shane - bass and backing vocals Bobby Reyes - drums and backing vocals
1. Everything is Thin2, Too Many Stars3. I'll Never Change4. Don't Hold It Against Me5. Satisfied6. 'Til Nowhere7. Go With the Flow8. Punk Girls9. She's in the Sky10. One Door Slams
Recorded at Sammy Fields in Sugar Hill, Omega Mix, and West Westside Music Produced by Bill PoppRecording Engineer, Associate Producer, and mixed by Alan Douches Bill Popp - lead vocals and keyboards Gerry Barnas - guitar and backing vocals Stefanie Seskin - bass, flute, and backing vocals Anne Husick - guitar and backing vocals Emily Shane - bass and backing vocals Bobby Reyes - drums and backing vocals
After the tracks were completed, Stephanie Seskin decided to quit both the band, and the music business altogether, and joined the corporate world.
Years later, Stephanie formed her own band, Blue Number 9.
In the beginning of 1990, Bobby Reyes left the band and was replaced by drummer Rob Holm. After a few fill-in bass players, bassist Mike Gellman joined in the fall of 1990, and this line up remained with the same members until 1997.
Years later, Stephanie formed her own band, Blue Number 9.
In the beginning of 1990, Bobby Reyes left the band and was replaced by drummer Rob Holm. After a few fill-in bass players, bassist Mike Gellman joined in the fall of 1990, and this line up remained with the same members until 1997.
1991
In 1991 the band started on their second album, INSIDES, which took five years to complete.
1993
In 1993 they released their first video titled, “Freedom's Blood," a song Bill wrote in 1989 in memory of those who had died in the Tiananmen Square massacre. The video was shown on Fox TV, and some national cable networks. (See this video on our Videos page)
1996
The INSIDES album was released in March of 1996 to great reviews.
Released in 1996
1. Stone to Throw2. Eleanor Rigby3. Rapline4. Just Say Love5. Sidewalk Dance6. Freedom's Blood7. When I Met You8. Walk in Circles9. Zippora10. The Sky is Blue Recorded at West Westside Music Produced by Bill PoppRecording Engineer, Associate Producer, and mixed by Alan DouchesBill Popp - lead vocals and keyboards Gerry Barnas - guitar and backing vocals Mike Gellman - bass and backing vocalsRob Holm - drums and backing vocalsTo read reviews of this album, please visit our Press page
1. Stone to Throw2. Eleanor Rigby3. Rapline4. Just Say Love5. Sidewalk Dance6. Freedom's Blood7. When I Met You8. Walk in Circles9. Zippora10. The Sky is Blue Recorded at West Westside Music Produced by Bill PoppRecording Engineer, Associate Producer, and mixed by Alan DouchesBill Popp - lead vocals and keyboards Gerry Barnas - guitar and backing vocals Mike Gellman - bass and backing vocalsRob Holm - drums and backing vocalsTo read reviews of this album, please visit our Press page
Bill Popp and The Tapes lineup from 1990 to 1997
1997
THE SONY MANAGEMENT DEAL
In January of 1997, Popp went to Cannes, France to attend the the Midem music conference, seeking out labels to get international distribution for the new CD. While at Midem, at one of the stands, Popp dropped off a CD at the Sony SW Network. The next day, two representatives from the company contacted Bill to do a management deal, outside of the Sony network. They led Popp to believe that, because of their access to radio stations around the world, and the people they knew from the SW network, they could get him airplay, which could generate demand for the new CD. Getting a licensing deal could backdoor the band's way into the record business.
Popp was going on 44 at the time, and figured his chances of getting signed to a major label were next to impossible, so this might be a great opportunity. Unfortunately, the Sony reps wanted to make their agreement only with Bill, and not the band. This divided the group and ultimately caused Mike Gellman to leave.
Popp signed a ten month letter of intent, but in the end, nothing came of it. Two months after the deal was signed, he requested a progress report to see where the managers were generating airplay for the CD. They told him they were instead trying to get a major deal first, but the labels wouldn’t bite when they heard Popp was 43. This approach was a total flip flop from what he was told when he signed the deal.
Popp was going on 44 at the time, and figured his chances of getting signed to a major label were next to impossible, so this might be a great opportunity. Unfortunately, the Sony reps wanted to make their agreement only with Bill, and not the band. This divided the group and ultimately caused Mike Gellman to leave.
Popp signed a ten month letter of intent, but in the end, nothing came of it. Two months after the deal was signed, he requested a progress report to see where the managers were generating airplay for the CD. They told him they were instead trying to get a major deal first, but the labels wouldn’t bite when they heard Popp was 43. This approach was a total flip flop from what he was told when he signed the deal.
1998
Alex Craven stepped in on bass, helping out on the Blind Love Sees Tears album
1997 - 2001
From 1997 to 2001, the band was a revolving door for bass players, but luckily kept bassist Alex Craven and drummer Rob Holm long enough to cut nine of the rhythm tracks for the third album Blind Love Sees Tears. Alex was trying to make a full-time living from music and The Tapes weren't paying the bills. So Alex had to quit in August 1999. And, after occupying the drummer’s throne for nine years, drummer Rob Holm also quit the band.
Luckily, during the first week of holding auditions, drummer Roger Foster showed up. Roger’s drumming style was a shoe in for the band's sound, as well as his vocal ability, which blended well with Gerry to produce the band‘s three-part harmonies. Roger also offered his computer skills to setup and maintain the Tapes’ web page, and has done the graphic design on all the CD‘s, starting with Blind Love Sees Tears.
Shortly after Roger joined the band, bassist Everett Henry joined, and stayed long enough to play on the upcoming album. On May 10th, 2001, Bill Popp and the Tapes released their third album, "Blind Love See’s Tears."
The release party was held at CB's Gallery and, halfway through the evening, the band marched their guests next door to CBGB’s main room, where they played a 20th anniversary show (exactly, for it happened to be May 10th, 1981 when The Tapes first played CBGB’s). By the end of July 2001, Everett Henry quit the band and moved to Florida to take a new job.
Luckily, during the first week of holding auditions, drummer Roger Foster showed up. Roger’s drumming style was a shoe in for the band's sound, as well as his vocal ability, which blended well with Gerry to produce the band‘s three-part harmonies. Roger also offered his computer skills to setup and maintain the Tapes’ web page, and has done the graphic design on all the CD‘s, starting with Blind Love Sees Tears.
Shortly after Roger joined the band, bassist Everett Henry joined, and stayed long enough to play on the upcoming album. On May 10th, 2001, Bill Popp and the Tapes released their third album, "Blind Love See’s Tears."
The release party was held at CB's Gallery and, halfway through the evening, the band marched their guests next door to CBGB’s main room, where they played a 20th anniversary show (exactly, for it happened to be May 10th, 1981 when The Tapes first played CBGB’s). By the end of July 2001, Everett Henry quit the band and moved to Florida to take a new job.
BLIND LOVE SEES TEARS
2001
In 2001, the band auditioned bass player Mary Noecker, who remains to this day, and was the only member to join the band who did not come from a classified ad in the Village Voice (excepting the original band). She was referred by bassist friend John Mantalbano.
Though Bill had been performing solo in Europe for years, Mary encouraged him to take the whole band there. They've since done five European tours. Bill has also performed solo shows in Asia and South America.
From 2001 to the present time, the band has reached a harmony within itself which has allowed their sound to go in different directions, while staying true to their Brit pop roots.
Though Bill had been performing solo in Europe for years, Mary encouraged him to take the whole band there. They've since done five European tours. Bill has also performed solo shows in Asia and South America.
From 2001 to the present time, the band has reached a harmony within itself which has allowed their sound to go in different directions, while staying true to their Brit pop roots.
2003 fifty years of popp!
In 2003, Popp was turning 50 years old, so rather than hide and lie about his age, he decided to exploit it. So on June 5th 2003, Popp threw a party at CBGB’s Gallery which was open to the pubic. The band performed and released a CD titled 50 Years of Popp, which included Love Many Trust Few and Garden Wall, both of which were later remixed and re-released in 2008 on the My Lonely Mind album.
For the cover, we posed in front of Abbey Road Studios in London (but we did not record there)
photo from the 50 YEARS OF POPP party June 5th 2003
2004
MY LONELY MIND
Released in 2008
1. Paradise2. Perfect Idiot3. Heart Beat4. Love and Lust5. Your Hero6. Garden Wall7. Love Many Trust Few8. Glass9. I See Your Face10. Just a Little11. Old Grey Men12. Emily Lives in Ireland Recorded at Wats On Studios, New Milford, NJ Produced by Bill PoppRecording Engineer Steve WatsonMixed by Steve Watson Executive Producer Bill Popp Associate Producer Steve Watson
Bill Popp - vocals and keyboards Gerry Barnas - guitar and backing vocals Mary Noecker - bass Roger Foster - drums and backing vocals
To read reviews of this album, please visit our Press page
1. Paradise2. Perfect Idiot3. Heart Beat4. Love and Lust5. Your Hero6. Garden Wall7. Love Many Trust Few8. Glass9. I See Your Face10. Just a Little11. Old Grey Men12. Emily Lives in Ireland Recorded at Wats On Studios, New Milford, NJ Produced by Bill PoppRecording Engineer Steve WatsonMixed by Steve Watson Executive Producer Bill Popp Associate Producer Steve Watson
Bill Popp - vocals and keyboards Gerry Barnas - guitar and backing vocals Mary Noecker - bass Roger Foster - drums and backing vocals
To read reviews of this album, please visit our Press page
2009
25X30
In February of 2009 the band returned to Europe to promote My Lonely Mind. They played in Liverpool, England, Germany and Holland and returned to Germany in the summer to perform at the Eggs and Bacon Festival and finished the year riding high on the rave reviews from the All Music Guide and other music publications shortly after The 24th Annual Daddy Tapes Benefit in March 2010. Popp started to plan the 25th anniversary when it occurred to him that it would be the 30th anniversary for the band in the same month. Right before Popp left NY to play in Alaska, the Tapes cut the rhythm tracks for three new tunes and came up with the concept album called 25X30 to be released at the 25th Daddy Tapes Benefit on March 13th, 2011.
Released 2009
New Tracks:1. Sally Works in a Chinese Takeout2. Sure Hope She Show3. Love Takes So Long
from My Lonely Mind:4. Paradise5. Love Many Trust Few6. Your Hero
from Blind Love Sees Tears:7. To Build a Wall8. Speaks Little English9. Cecelia Elizabeth
from Insides:10. Stone to Throw11. Just Say Love12. Sidewalk Dance
from Popp This:13. Everything is Thin14. Til Nowhere15. Go With the Flow16. Too Many Stars
Early Singles:17. Just Like in the Movies18. Love and Lust19. Floating on a Tear Drop
Extras:20. Bill Popp Interview History of the Tapes21. Alone in the Moonlight (Live at Max's Kansas City July 1981)22. The Tapes first air play23. Glass intro - Daddy Tapes' voice New tracks recorded and mixed by Jon Altschuler at Seaside Lounge Studios, Brooklyn, NYProduced by Bill Popp Associate Producer Jon Altschuler To read reviews of this album, please visit our Press page
New Tracks:1. Sally Works in a Chinese Takeout2. Sure Hope She Show3. Love Takes So Long
from My Lonely Mind:4. Paradise5. Love Many Trust Few6. Your Hero
from Blind Love Sees Tears:7. To Build a Wall8. Speaks Little English9. Cecelia Elizabeth
from Insides:10. Stone to Throw11. Just Say Love12. Sidewalk Dance
from Popp This:13. Everything is Thin14. Til Nowhere15. Go With the Flow16. Too Many Stars
Early Singles:17. Just Like in the Movies18. Love and Lust19. Floating on a Tear Drop
Extras:20. Bill Popp Interview History of the Tapes21. Alone in the Moonlight (Live at Max's Kansas City July 1981)22. The Tapes first air play23. Glass intro - Daddy Tapes' voice New tracks recorded and mixed by Jon Altschuler at Seaside Lounge Studios, Brooklyn, NYProduced by Bill Popp Associate Producer Jon Altschuler To read reviews of this album, please visit our Press page
2013
POPP HITS THE 60'S
To mark Bill's 60th birthday, we recorded a 4-song EP
Released in 2013
1. The World She Knows2. In My Head3. I Love a Woman But She Don't Love Me4. When I Was Stoned Recorded, Mixed, and Mastered by Dave McKeon at Astor Audio Produced by Bill Popp Associate Producer Dave McKeon Executive Producer Bill Popp Arranged by Bill Popp and the Tapes CD booklet designed by Roger Foster Cover designed by Jonathan Krosky Photos by Pat Ossa and Roger Foster
Bill Popp - lead and backing vocals, keyboards, percussion, kazoo Gerry Barnas - guitar, backing vocals Mary Noecker - bass, backing vocals Roger Foster - drums, percussion, backing vocals Dave McKeon - Banjo (When I Was Stoned)
To read reviews of this album, please visit our Press page
Released in 2013
1. The World She Knows2. In My Head3. I Love a Woman But She Don't Love Me4. When I Was Stoned Recorded, Mixed, and Mastered by Dave McKeon at Astor Audio Produced by Bill Popp Associate Producer Dave McKeon Executive Producer Bill Popp Arranged by Bill Popp and the Tapes CD booklet designed by Roger Foster Cover designed by Jonathan Krosky Photos by Pat Ossa and Roger Foster
Bill Popp - lead and backing vocals, keyboards, percussion, kazoo Gerry Barnas - guitar, backing vocals Mary Noecker - bass, backing vocals Roger Foster - drums, percussion, backing vocals Dave McKeon - Banjo (When I Was Stoned)
To read reviews of this album, please visit our Press page
2015
POPP'S LAST FLUSH
Press Release“43 long years working at what I’m not…”
Veteran New York rocker Bill Popp will plunged himself into the world of being a full-time musician. Commemorating the occasion with a new single, “Flushing This Plumbing Job Down The Drain,” a party, and a live performance were held on Thursday, October 1st, 2015 at The Parkside Lounge (317 Houston Street New York City).
It’s no secret to anyone on the New York music scene that Popp survived financially through the years doing plumbing. He even used his trade to earn brownie points at many New York night spots, including the “legendary” bathrooms at CBGB’s, right up until the closing days of the club. “The first job I did for Hilly (the owner) was in 1981, replacing the toilet that was smashed off the wall in the men’s room. As I opened the door, a rat jumped out of the garbage can and ran across my feet! The last thing I did for Hilly was removing the bathroom fixtures, including the famous urinals. One of them was put on display at the Rock and Roll Hall of Fame Annex.” Popp was shown in the final scenes of Mandy Stein's 2009 documentary "Burning Down the House: The Story of CBGB," kicking the flush valve, flooding the floor.
In the early days, while showcasing his newly formed band, The Tapes, Popp worked for a non-union plumbing shop, where he often found himself close to being fired. He’d work through lunch breaks to get out on time to make it for sound checks. He would get home in the wee hours, set the alarm and wake up to a ringing phone and the foreman’s voice saying “Willy, are you coming to work? Move your ass!” Popp found his way to the plumbing trade because of his flunking attitude towards school. His guidance counselor got him enrolled in Thomas Edison Vocational and Technical High School, where he majored in plumbing. “The last thing I ever wanted to be was a plumber,” Popp says “but taking a trade was the easiest way out of high school.” Like many artists, Popp was hoping for that record deal that would propel him into stardom. Despite the favorable press, occasional airplay, TV spots and years of performing live, the break never came.
In 1988 a friend coaxed Popp to take a job working as a plumber for the city of New York and for the last 24 years has worked as a plumber for New York City Parks and Recreation. Now 62, he is able to receive a city pension and is finally, “Flushing His Plumbing Job Down The Drain." To commemorate the occasion, Popp is threw a good riddance to plumbing party at The Park Side Lounge located at 317 East Houston NYC, on Thursday October 1st, 2015.
Guests received, at the door, a free copy of Bill Popp and The Tapes' new CD, titled “Popp’s Last Flush,” and were invited to eat, drink and be merry, complements of the host Bill Popp. This event was open to the public and kicked off at 6:30 PM. A live performance by the band “Bill Popp and The Tapes” was set for 8:00 PM, followed by two special guest bands. Sea Monster at 9 PM and The Bowery Boys at 10 PM. There was no cover charge. A splendid time was guaranteed for all.
Bill Popp and The Tapes have been a New York music institution for over 34 years and counting. Over the years the band received praise from publications such as Billboard, NY Daily News, NY Post, The Village Voice, The All Music Guide and many others.
121 Street Records 718-359-4110
It’s no secret to anyone on the New York music scene that Popp survived financially through the years doing plumbing. He even used his trade to earn brownie points at many New York night spots, including the “legendary” bathrooms at CBGB’s, right up until the closing days of the club. “The first job I did for Hilly (the owner) was in 1981, replacing the toilet that was smashed off the wall in the men’s room. As I opened the door, a rat jumped out of the garbage can and ran across my feet! The last thing I did for Hilly was removing the bathroom fixtures, including the famous urinals. One of them was put on display at the Rock and Roll Hall of Fame Annex.” Popp was shown in the final scenes of Mandy Stein's 2009 documentary "Burning Down the House: The Story of CBGB," kicking the flush valve, flooding the floor.
In the early days, while showcasing his newly formed band, The Tapes, Popp worked for a non-union plumbing shop, where he often found himself close to being fired. He’d work through lunch breaks to get out on time to make it for sound checks. He would get home in the wee hours, set the alarm and wake up to a ringing phone and the foreman’s voice saying “Willy, are you coming to work? Move your ass!” Popp found his way to the plumbing trade because of his flunking attitude towards school. His guidance counselor got him enrolled in Thomas Edison Vocational and Technical High School, where he majored in plumbing. “The last thing I ever wanted to be was a plumber,” Popp says “but taking a trade was the easiest way out of high school.” Like many artists, Popp was hoping for that record deal that would propel him into stardom. Despite the favorable press, occasional airplay, TV spots and years of performing live, the break never came.
In 1988 a friend coaxed Popp to take a job working as a plumber for the city of New York and for the last 24 years has worked as a plumber for New York City Parks and Recreation. Now 62, he is able to receive a city pension and is finally, “Flushing His Plumbing Job Down The Drain." To commemorate the occasion, Popp is threw a good riddance to plumbing party at The Park Side Lounge located at 317 East Houston NYC, on Thursday October 1st, 2015.
Guests received, at the door, a free copy of Bill Popp and The Tapes' new CD, titled “Popp’s Last Flush,” and were invited to eat, drink and be merry, complements of the host Bill Popp. This event was open to the public and kicked off at 6:30 PM. A live performance by the band “Bill Popp and The Tapes” was set for 8:00 PM, followed by two special guest bands. Sea Monster at 9 PM and The Bowery Boys at 10 PM. There was no cover charge. A splendid time was guaranteed for all.
Bill Popp and The Tapes have been a New York music institution for over 34 years and counting. Over the years the band received praise from publications such as Billboard, NY Daily News, NY Post, The Village Voice, The All Music Guide and many others.
121 Street Records 718-359-4110
2018
BILL POPP SOLO
In 1981, Popp debuted his all original band, The Tapes, better known today as Bill Popp and The Tapes. With nearly four decades of live performances, personnel changes, eight CDs released, write ups in publications from Billboard to The New York Daily News, the band is still going strong.
All through the years, besides performing with The Tapes, Popp would do an occasional solo performance. In recent years, he performed solo shows more frequently, as well as touring on his own. When it came to selling CD’s at his solo shows, the only ones he had to sell were with the band, which was not representing what he was doing solo. So it became apparent he should record a solo album with just Popp at the piano singing --- BILL POPP SOLO
All through the years, besides performing with The Tapes, Popp would do an occasional solo performance. In recent years, he performed solo shows more frequently, as well as touring on his own. When it came to selling CD’s at his solo shows, the only ones he had to sell were with the band, which was not representing what he was doing solo. So it became apparent he should record a solo album with just Popp at the piano singing --- BILL POPP SOLO
Released 2018
1. In My Head2. Cecilia Elizabeth3. Sucker for Pretty Face4. To Build a Wall5. One Door Slams6. Rock to My Roll7. My Little World8. Garden Wall9. Love and Lust10. Rosemary Sweet Dream11. Old Gray Men12. When I Was Stoned13. A Girl No One Loves
1. In My Head2. Cecilia Elizabeth3. Sucker for Pretty Face4. To Build a Wall5. One Door Slams6. Rock to My Roll7. My Little World8. Garden Wall9. Love and Lust10. Rosemary Sweet Dream11. Old Gray Men12. When I Was Stoned13. A Girl No One Loves
DisclaimerNot everyone who ever played with Tapes is mentioned on these pages.These are just the highlights.
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2022 melt my heart and then my brains
Bill Popp of Astoria has been on the New York music scene for more than 40 years and has performed on five continents. But he will be in his home ballpark on Feb. 21 when his group “Bill Popp and the Tapes” debuts its new EP at a record release party at The Irish Whiskey Bar at 28-24 31st St. at 7 p.m.
Popp said the EP, titled “Melt My Heart and Then My Brains,” features five new songs. While The Tapes have undergone personnel changes in the past, the existing lineup of Popp on lead vocals, keyboards and percussion, Gerry Barnas on guitar, Mary Noecker on bass and Roger Foster on drums has been together for more than two decades.
“It’s been seven years since the last album,” Popp told the Chronicle. “The songs have been around. ‘Irish Whiskey Bar’ I wrote back before the pandemic. I probably wrote that in 2019. The last song, ‘Claim on Your Love,’ was probably March 2021. I had five songs ready to go, I didn’t want to make a whole album. It would just take too long and we had to get something out. We had these five tracks and I thought they were all strong.”
And yes, the ballad “Irish Whiskey Bar” is about the watering hole where the record launch will take place.
Popp is a retired plumber with the city’s Department of Parks and Recreation.
“I’ve always had a day gig,” he said. “That was the best move I ever made.”
The release marks Popp’s 12th album either with the Tapes or as a solo performer. His first, in 1982, came out on vinyl. His second, in 1984, was produced by David Lichtenstein, a recording engineer and the son of pop artist Roy Lichtenstein.
On one album they did a cover of the Beatles’ “Eleanor Rigby”
“I did pay the licensing fee — I know Paul [McCartney] needs the money,” he joked.
He said the creative process can come any time, anywhere and could be inspired by anything.
“Sometimes I’ll get something in my head,” he said. “What I do now is I talk it into my phone. I’ve got loads of blips and bloops on my phone. If somebody got a hold of it they might think it belongs to a mental patient. I might be sitting in a bar having a beer and something will come into my head or something triggers it. I’ll record something or say a line into my phone. Then I get home and sometimes it’s good. And sometimes ...
“You never know. I’m never writing enough. I want to write songs that people like. I like to think that I could play one of my songs after playing a good cover and people will like it.”
And he admits that some of the tracks on the new album are, like many of his other original songs, the stories of and salutes to the lovelorn.
“I’ve always been a romanticist,” he said. “That’s always been my weak point. Or my strong point. It depends on who you ask.” Queens Chronicle by Michael Gannon, Senior News Editor, 2/17/22
Popp said the EP, titled “Melt My Heart and Then My Brains,” features five new songs. While The Tapes have undergone personnel changes in the past, the existing lineup of Popp on lead vocals, keyboards and percussion, Gerry Barnas on guitar, Mary Noecker on bass and Roger Foster on drums has been together for more than two decades.
“It’s been seven years since the last album,” Popp told the Chronicle. “The songs have been around. ‘Irish Whiskey Bar’ I wrote back before the pandemic. I probably wrote that in 2019. The last song, ‘Claim on Your Love,’ was probably March 2021. I had five songs ready to go, I didn’t want to make a whole album. It would just take too long and we had to get something out. We had these five tracks and I thought they were all strong.”
And yes, the ballad “Irish Whiskey Bar” is about the watering hole where the record launch will take place.
Popp is a retired plumber with the city’s Department of Parks and Recreation.
“I’ve always had a day gig,” he said. “That was the best move I ever made.”
The release marks Popp’s 12th album either with the Tapes or as a solo performer. His first, in 1982, came out on vinyl. His second, in 1984, was produced by David Lichtenstein, a recording engineer and the son of pop artist Roy Lichtenstein.
On one album they did a cover of the Beatles’ “Eleanor Rigby”
“I did pay the licensing fee — I know Paul [McCartney] needs the money,” he joked.
He said the creative process can come any time, anywhere and could be inspired by anything.
“Sometimes I’ll get something in my head,” he said. “What I do now is I talk it into my phone. I’ve got loads of blips and bloops on my phone. If somebody got a hold of it they might think it belongs to a mental patient. I might be sitting in a bar having a beer and something will come into my head or something triggers it. I’ll record something or say a line into my phone. Then I get home and sometimes it’s good. And sometimes ...
“You never know. I’m never writing enough. I want to write songs that people like. I like to think that I could play one of my songs after playing a good cover and people will like it.”
And he admits that some of the tracks on the new album are, like many of his other original songs, the stories of and salutes to the lovelorn.
“I’ve always been a romanticist,” he said. “That’s always been my weak point. Or my strong point. It depends on who you ask.” Queens Chronicle by Michael Gannon, Senior News Editor, 2/17/22