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The shelf activity of a power-pop bandage is short. The Knack had an anthology and a half. Big Star had three. The Raspberries archive could accomplish for a absurd aboriginal bisected of a CD.

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Fountains of Wayne, fronted by the songwriting and bearing aggregation of Adam Schlesinger and Chris Collingwood, seemed to accept silos abounding of hooks. Like Lennon and McCartney, they aggregate collective credit, alike if alone one of them wrote a song. In bristles flat albums and one compilation, they sang about alone about 18 to 28-year-olds active on the East Coast. They had one huge hit, “Stacy’s Mom,” but wrote dozens of funny or affectionate songs about Gen X misfits, like an earthbound Beach Boys serenading the suburbs rather than the sea.

In accession to his capital band, Schlesinger, who died on Wednesday of the coronavirus, formed several ancillary groups and wrote for the TV appearance “Crazy Ex-Girlfriend” as able-bodied as the stage. Actuality are 30 of his capital songs. (You can accept to the playlist on Spotify here.)

Fountains of Wayne, ‘Radiation Vibe’ (1996)

Sung to a babe who’s with the amiss , by a who thinks he’s the appropriate . The aboriginal song on the aboriginal Fountains of Wayne anthology is agilely adorned ability pop that became richer on consecutive albums, while befitting the downtrodden, hardly affronted tone. As in a Randy Newman song, the narrator has a bit too abundant confidence.

Nothing important anytime happens in a Fountains of Wayne song. That’s affectionate of the point: The bandage wrote about the big dreams and tiny victories of bodies who never get anywhere. “Sick Day” describes a “hell of a girl” who’s ashore in a abominable appointment job, and while Schlesinger and Collingwood amusement her with tenderness, the best they can apprehend is that she ability booty a ailing day (pause) soon. (The timing of that abeyance shows a agog banana sense.) It’s a attractive acoustic ballad, with a winking advertence to “I Appetite to Hold Your Hand” afterwards the third chorus, and it sketches out some account that came to accomplishment after in “Troubled Times.”

Fountains of Wayne, ‘Leave the Biker’ (1996)

Fountains of Wayne recorded its aboriginal anthology in a week, for alone $5,000, and at times, the low account is not alone obvious, it’s charming. “Leave the Biker” starts with a panned chicka-chicka guitar riff that sounds like a 10-year-old abating up at Guitar Center. Once again, our narrator is in adulation with addition who’s dating college on the aliment alternation — a biker with “crumbs in his bristles from the seafood special.” And there’s, you estimated it, addition winking Beatles rip at the end.

People who don’t like FOW accuse that all it fabricated is beautiful meta-pop abounding of references to added bands, but — ehh, you apperceive what, that’s not wrong. This fourth alternative from the band’s admission not alone inverts the archetypal AOR acute of agitation all night, it rhymes “care to” and “hairdo.”

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Tom Hanks wrote, directed and appeared in “That Thing You Do!,” a 1996 cine about a allegorical Erie, Pa. bandage who accept one big hit in the mid-60s afore it all avalanche afar on them. Crucially, the blur bare a abundant awakening song that a) articulate credibly like a British Invasion-styled song from, specifically, the summer of 1964; b) was abundant abundant to accept been a hit; and c) could angle up to actuality heard over and over in the movie. About 300 writers submitted songs for consideration, and Schlesinger’s song won. It was nominated for best aboriginal song at the Academy Awards and at the Golden Globes.

Second album, they’ve brought in a bagman and a advance guitarist to augment the sound, and they’ve got a recording budget. “Utopia Parkway,” a midtempo accord fest with a buzzing, adulterated guitar bandage (they’ve additionally confused from Beatles references to comatose at the Cars), is anecdotal by a complacent outer-borough wannabe with a custom van and a awning bandage who has never angry from boy to man and his babyish doesn’t understand.

A nice can alone angle so abundant bounce from the fairer afore he gets drunk, s some Bactine and a .38 Appropriate CD, takes the alternation to Coney Island and signs up for a fierce-looking tattoo. The accompanist does it alone to cloister a girl, who, you can be sure, will not be confused by the gesture. “Red dragon boom is aloof about on me/I got it for you, so now do you appetite me?” the dim ball pleads. The band’s aboriginal complete power-pop masterpiece.

The affected pre-chorus is addition adumbration of songwriting growth, and Collingwood brings the appropriate bulk of desolation and affinity to a lyric about a boy acquisitive for a babe and apperception it will assignment out. Bittersweet abundant to soundtrack a season-ending, burst boyhood affair for a alternation on the CW Network, and that’s aerial praise.

They’ve confused from the Beatles to Wings in this brief, beefy rocker about a abundant tristate ritual for benumbed tristate teens: the laser appearance at the Hayden Planetarium in New York City. Collingwood adds chapped action to his adolescent articulation as he sings, “We’re gonna sit back, relax, watch the stars/James and Jason, Kirk and Lars.” It’s not mockery, it’s not apology or irony, it’s a anniversary of boyish thrills for kids from Bridgeport, Westport, Darien.

A new aberration on songs about aerial school: It’s accounting from an earlier angle of disappointment (“We’ll abound old and lose our hair/It’s all decline from there”) but builds to a brave, innocent affront in the choir (“Tonight we’ll ability for the stars/We’ll hire big-ticket cars”). The adjustment is bedeviled by a adapted cord adjustment for two violins and a cello.

Schlesinger was allotment of a catholic pop leash fronted by Dominique Durand, a Frenchwoman who’d relocated to New York City. The highlight of its third abounding anthology is a ablaze ballad, focused on Durand’s soft-focus voice, which dives into abreast trip-hop. Nearly as good, on the aforementioned album: “Lucy Doesn’t Adulation You.”

Kay Hanley, who was the advance singing articulation in the 2001 agreeable ball blur “Josie and the Pussycats,” wrote this on Twitter about Schlesinger, who bound the song: “His aptitude as a songwriter is so special, so enormous, it never overwhelms, alone sweetens any airspace it inhabits.” Jabbing, on-the-beat guitar catapults this track, and the babe can’t amount out why the boy, who’s clearly a shlub, won’t acclaim her or beam at her jokes.

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Fountains of Wayne actual the post-recession balloon with a able third anthology about adolescent appointment workers in the bosom of quiet crises — generally restless, usually unfocused and apparently drunk. It’s allotment John Cheever, allotment John Hughes. This slow-building rocker cycles about a abundant description of addition ashore in place: “I approved to change, but I afflicted my mind/Think I’ll accept addition bottle of Mexican wine.”

Top 40 bare a song about hot moms, and this was the bandage to do it. Fountains of Wayne didn’t accept a almanac accord aback it wrote this (Schlesinger paid for the recording sessions), and the accumulation ped it to “just about everybody,” he said. Alone S-Curve offered them a deal. The song hit No. 21 on the Billboard singles blueprint and becoming a Grammy nomination.

When Ric Ocasek of the Cars heard “Stacy’s Mom,” he anticipation the bandage had sampled his own “Just What I Needed.” What could he accept fabricated of this, the best blatant, loving, accomplished Cars cheat in the band’s repertoire? The accompanist has a arid board job and a babe who doesn’t adulation him, but at atomic he has his cordless phone. Hilarious, tragic.

The appellation is a cliché football announcers use aback a quarterback isn’t actuality pressured by the defense, and Schlesinger gave the music a slow-motion bounce and arrangement, including lots of tremolo guitar effects. The narrator, who’s earlier than the cocky quarterback, knows article the quarterback doesn’t: No one has all kinds of time.

Another actual specific claiming from Hollywood: if a done 1980s superstar were aggravating to accomplish a improvement two decades later, what would his songs complete like? There are no jokes or able quips in this ability ballad, aloof a skyborne melody that, in the blur Music and Lyrics, brings Hugh Grant and Drew Barrymore together, and later, aback together.

On Fountains of Wayne’s fourth album, it spent beneath time referencing the ’60s and ’70s bands it admired and added time seamlessly synthesizing them. “’92 Subaru” is an athrill rocker that evokes the Doobie Brothers’ “China Grove” and revisits the from “Red Dragon Tattoo,” who’s now acclimation up his junker, on a budget, so he can win aback a girl. Psst, it won’t work.

The melodies weren’t vanishing but the afflatus was, as bodies started autograph off FOW as a one-hit wonder, which was besides the point. The songs were accepting added adult, including this one, with brushed drums and layers of active harmonies, about a brace who affected the agonies of accoutrements claim. It was accounting and alleged for a almanac controlling they’d formed with and his wife.

No one anytime alleged FOW the articulation of a generation, but no accumulation wrote added songs about the bread-and-butter tribulations and ambiguity of Gen X. The adjustment is bound — quarter-note piano, abrupt agency hook, a trumpet area — there’s a admiring Billy Joel advertence (“Heart attack-ack-ack”), and our hero avoids a assault from his accommodation shark, at atomic for now.

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It starts with a brace of old codgers in a diner, sends their waitress off to alive in Liechtenstein, sends her German admirer all the way to Kentucky, and allotment to the codgers. Everyone’s moving, no one’s content. Why hasn’t this been angry into a movie?

Schlesinger was bold for best anything, including a supergroup. He played bass in Tinted Windows and wrote best of the songs, James Iha of Smashing Pumpkins played guitar, Taylor Hanson of Hanson sang and Cheap Trick’s Bun E. Carlos manned the drums. This distinct from their abandoned anthology is like a appellation cardboard on the alleviative admiral of whoa-whoa accomplishments vocals.

Their fifth and aftermost anthology could’ve been alleged “More Songs About Tough Times and Bad Decisions.” Pals Richie and Ruben (rhymes with “don’t apperceive what they’re doin’”) accessible a bar, it goes apprehension fast, and again we ascertain the narrator of this jazzy, bouncing song invested in that bar, and alike gave them added money for a accouterment line.

As host of the Tony Awards in 2011, the above Doogie Howser bare a big aperture song. With “The Daily Show” biographer David Javerbaum, Schlesinger devised this bold angle for Broadway (“It’s no best alone for bodies who like dudes/Attention every breeder, you’re arrive to the theater”) with a ability that never flags.

Over the advance of four seasons, Schlesinger wrote or co-wrote 157 songs for this groundbreaking music comedy, an astoundingly breeding pace, in a huge array of styles. The references in these songs were consistently bright aural the aboriginal eight bars, and “Getting’ Bi,” a anniversary of biuality from Division One, paid admiration to Huey Lewis and the News (a bit of “Hip to be Square,” a smidgen of “The Ability of Love”). “I Could if I Wanted To,” a loser’s self-deceiving complaining from the aforementioned season, evokes second-level grunge ballads, and “What’ll It Be?” couldn’t adulation Billy Joel any added if it were affiliated to him.

From Division Two, “We Tapped That Ass” takes a amphitheater access to a affiliation amid two macho characters who arouse all the places they had (“On the table, you were accommodating and able”) with the show’s conflicted capital character, Rebecca. And “Where’s the Bathroom,” a agreeable amphitheater argot song for Rebecca’s abominable mom, played by Tovah Feldshuh, is history’s greatest archive of passive-aggressive behavior (“I see your eczema is back”). “The Fiddler on the Roof” violin pushes it over the top.

Here’s a ringer: not a song by Schlesinger, but a amusing song about him, by the alt-country apart cannon Robbie Fulks. The guitar addition and his upper-tenor articulation actor Fountains of Wayne; the narrator, who’s balked by a song he’s trying, phones up a hotline that gives adjustment admonition by advising the tricks that echo throughout Fountains of Wayne songs. It’s not base — you can’t challenge a bandage this carefully unless you adulation them. Enduring admonition for songwriters: “Try a added interval!”

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