How To Destroy A Good Band, Vol. 1: The Glossy (But Great) Major-Label Debut

Long before The Bangles were associated with melodramatic power ballads and having more hair than talent, its group members were aspiring power-pop aficionados fresh from LA’s Paisley Underground. Consisting of Vicki Peterson (guitars), Susanna Hoffs (lead vocals; guitars); Debbi Peterson (drums) and Annette Zilinskas (bass; although she left in 1984 and was replaced with Michael Steele), the so-called ‘Bangs’ released an EP on a minor label; combining the brisker aesthetics of New Wave with the time-honoured guitar-pop sound of the Beatles (and later, Badfinger and Big Star). The group was promptly spotted and signed to Columbia records – and in the process, began one of the most disheartening musical falls from grace of the past thirty years.

The Bangles’ depressing tale actually begins on a happy note, with its first major-label release “All Over The Place” proving its artistic apex (yet commercial nadir). Although the band’s collaboration with producer David Kahne saw much of its prior grit being sandpapered away, this was of no hindrance to the consistently excellent songs. In keeping with the trail blazed by the group’s idols, “All Over The Place” is host to twelve short and snappy (most are less than three minutes long) pop-rock tracks that refuse to pander to the contemporary trends of the early eighties. Sounding quite unlike anything else that was released at the time, the record has aged incredibly well, and the smooth production ends up wonderfully emphasising the vivid guitars and catchy melodies. Furthermore, while none of the girls astound with instrumental virtuosity, each plays well, and the general dynamics create a full, rich sound. The guitars aren’t afraid to pull in a raw style with power chords and minor distortion when necessary (“Dover Beach”; “Restless”), and Debbi Peterson quickly establishes a solid drumming style with thick fills that keep things chugging along (like on the punk-acknowledging “Silent Treatment”).

Beyond the playing and recording, much of the credit for “All Over The Place” goes to Vicki Peterson, who’s credited as the sole author of the majority of the songs and evidences a clear, intuitive appreciation of hook-based pop music. Opener (and minor hit) “Hero Takes A Fall” instantly proclaims this, crashing in from a wave of choral vocals to a fast, energetic rocker led by a forceful beat and Susanna Hoffs’ sung kiss-off to an unspecified hypocrite. Her style is actually a long way from the ‘sexy’ mewling of the band’s big singles, feeling much more natural and genuine in the process. A likely candidate for the title of her best delivery is “James”, which has the record’s strongest chorus melody (“Oh-oh James… letting me down again, James”) and a great impromptu vibe, feeling like the girls spontaneously pressed ‘record’ as they were jamming (albeit with previously-designed, meticulous vocal harmonies).

Two other welcome surprises are found in the forms of well-chosen covers. Merry-Go-Round’s “Live” is given a fleshed-out arrangement with a sunny, jangling guitar presence, and a shout-out to British band Katrina and the Waves results in the wonderful “Going Down To Liverpool”. The glossy production is at its finest here, from the rich descending scales of the chorus (replete with its knockout “I’m going down to Liverpool to do nothing” hook) to the perfect balance of the instrumental tones, making everything feel right at home. Perhaps the bass could have been a little more prominent, but it gets a chance to shine on “All About You”, Michael Steele delivering some fine rubbery riffage during its driving bridge.

A final highlight is included at the record’s very end, with “More Than Meets The Eye” halting the guitar-philia in favour of a graceful string quartet. The song provides an appreciable opportunity to soak in some atmosphere, and there’s a certain dignity and sense of conclusion once its final minute arrives, the vocals fading away to emphasise the sweep of the violins. It’s creative, pretty and classy, and serves as a fine closer, full of promise as to what the band might have gone on to achieve – shame things didn’t turn out that way.

As tragic as the future would be for The Bangles, the incumbent issues don’t detract from the quality of “All Over The Place” for even a second. Every single song is well-performed, well-played and stuffed full of memorable instrumental and vocal hooks, and it’s even more satisfying knowing that a record like this was able to emerge in 1984. Any fan of guitar-based pop would be well advised to check it out, and I’d suggest that detractors burned by the horrors of “Eternal Flame” take a look too. “All Over The Place” shows Susanna and co., but not as we know them – and for once, that’s actually a good thing. 5 stars.