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The Muffs
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The Muffs
Current price: $17.99
Barnes and Noble
The Muffs
Current price: $17.99
Size: CD
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Kim Shattuck
spent five years playing bass with
the Pandoras
before she left and formed a band of her own, and as a result the 1993 debut album from
the Muffs
is a bit like
Shattuck
's pop-punk version of
George Harrison
's
All Things Must Pass
-- having spent years piling up demos for worthwhile songs that didn't have a home,
and her bandmates had plenty of winners to choose from, and though
could more than deliver the goods, it's the consistent quality of the tunes that really made this album click. The punky, downstroked guitars of
and
Melanie Vammen
and the crash-and-bash rhythms of bassist
Ronnie Barnett
and drummer
Criss Crass
were the perfect vehicle for
's songs, but it's the irresistible melodic hooks of "Eye to Eye," "Lucky Guy," "From Your Girl," and "Every Single Thing" that elevated
The Muffs
from good pop-centric punk (or punk-centric pop) to something that truly stood out.
also proved to be an astute and skillful lyricist, with a strong witty streak and a punk gal's snarky sensibility, but her take on relationships on
is significantly more articulate and heartfelt than nearly any of her peers -- it's hard to imagine someone delivering two breakup songs that hit their target as well as "Saying Goodbye" and "All for Nothing" while taking such strikingly different approaches, and it takes courage to wrap a song about stalking around a melody and guitar hook as addictive as "Everywhere I Go." The production by
Rob Cavallo
David Katznelson
is just a bit indulgent -- the album could have played better without the
Korla Pandit
organ interlude, the goofy wind effects track, or the 31-second
Angry Samoans
cover -- but they get the sound of this band down beautifully, and given how closely
Cavallo
would follow this production template on
Green Day
Dookie
the following year, one wonders if a few of these tunes could have been radio hits if
Billie Joe
and his pals had gotten there first and greased the wheels for an album of similarly hooky punk tunes. Time has been kind to
, and more than 20 years after its initial release, it sounds like one of the best and brightest albums to emerge from the '90s pop-punk explosion. ~ Mark Deming
spent five years playing bass with
the Pandoras
before she left and formed a band of her own, and as a result the 1993 debut album from
the Muffs
is a bit like
Shattuck
's pop-punk version of
George Harrison
's
All Things Must Pass
-- having spent years piling up demos for worthwhile songs that didn't have a home,
and her bandmates had plenty of winners to choose from, and though
could more than deliver the goods, it's the consistent quality of the tunes that really made this album click. The punky, downstroked guitars of
and
Melanie Vammen
and the crash-and-bash rhythms of bassist
Ronnie Barnett
and drummer
Criss Crass
were the perfect vehicle for
's songs, but it's the irresistible melodic hooks of "Eye to Eye," "Lucky Guy," "From Your Girl," and "Every Single Thing" that elevated
The Muffs
from good pop-centric punk (or punk-centric pop) to something that truly stood out.
also proved to be an astute and skillful lyricist, with a strong witty streak and a punk gal's snarky sensibility, but her take on relationships on
is significantly more articulate and heartfelt than nearly any of her peers -- it's hard to imagine someone delivering two breakup songs that hit their target as well as "Saying Goodbye" and "All for Nothing" while taking such strikingly different approaches, and it takes courage to wrap a song about stalking around a melody and guitar hook as addictive as "Everywhere I Go." The production by
Rob Cavallo
David Katznelson
is just a bit indulgent -- the album could have played better without the
Korla Pandit
organ interlude, the goofy wind effects track, or the 31-second
Angry Samoans
cover -- but they get the sound of this band down beautifully, and given how closely
Cavallo
would follow this production template on
Green Day
Dookie
the following year, one wonders if a few of these tunes could have been radio hits if
Billie Joe
and his pals had gotten there first and greased the wheels for an album of similarly hooky punk tunes. Time has been kind to
, and more than 20 years after its initial release, it sounds like one of the best and brightest albums to emerge from the '90s pop-punk explosion. ~ Mark Deming
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