| Pummel | ||||
|---|---|---|---|---|
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| Studio album by | ||||
| Released | April 11, 1995 (1995-4-11) | |||
| Recorded | October–November 1994 | |||
| Studio |
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| Genre | ||||
| Length | 34:39 | |||
| Label | Interscope (INTD-92528) | |||
| Producer | Bill Stevenson,Stephen Egerton | |||
| All chronology | ||||
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Pummel is the sixth studio album by the Americanpunk rock bandAll, released April 4, 1995, throughInterscope Records. It was the band's only album released through a majorrecord label, and the first album recorded atThe Blasting Room, arecording studio inFort Collins, Colorado, built by the band members and financed with money acquired from theirrecording contract with Interscope.
All's previous albums had been released throughCruz Records, anindependent record label that was an imprint ofSST Records. With the commercial success of punk andalternative rock bands in the early 1990s, All began considering offers from major labels. "Major label talk started probably around '93 or '94", recalled guitaristStephen Egerton. "We maybe were just looking to sort of go to the next place, maybe. We had done this slow building up to where as many as a thousand people might be coming to see us in some places, which for us was a huge deal, so we thought we'd try to see if maybe we could get the records out to more people."[4] "In the past year or so we've seen bands likeGreen Day andSeason to Risk turning up at theWalmart inBrookfield, Missouri", remarked bassistKarl Alvarez. "We really like the idea of getting our records in places where people go who aren't hip to the mom-and-pop record stores that traditionally carry the independents. People forget that punk rock was on the majors early on with bands likeIggy and theRamones. The fact that the major labels ignored the real groundbreaking rock of the '80s gave everyone a real bad feeling about the majors, but as it stands now, they are starting to get a little hipper."[5]
The band signed toInterscope Records, and in June 1994 used the money acquired from their recording contract to relocate from Brookfield toFort Collins, Colorado, where Alvarez had lived as a child and where drummerBill Stevenson's girlfriend lived.[6] "We moved to Fort Collins with the advent of the major label because we finally had enough money to live like normal people after all those years", Alvarez later said. "That was the first time we had ever lived in separate residences. At the time I was actually married, which was a new one for the band to deal with, and everyone’s moving in their different circles, but we kept touring and making records."[4] "Los Angeles was too big. Brookfield was too small. This is just right", he said in 1995. "When we lived in Brookfield and wanted to do a local gig, we'd have to drive two hours toColumbia or six hours toSt. Louis. It's a lot easier here, and the kids are real cool. So I think we'll stay."[6]
Using money from their Interscope contract, the band members designed and built their ownrecording studio,The Blasting Room, with the help of Egerton's father, Dan O'Reilly.[7] "[That] was the single smartest thing we probably ever did, really", said Egerton. "Bill and I had thrown around the idea of having a studio forever, because by then any time we were home, we were recordingBig Drill Car orChemical People. We were always recording somebody, so we really wanted a place where we could refine our skills that way. We read some books and tried to learn what we could about how to lay the place out, and we actually built the place ourselves."[4]
I think thePummel record, for whatever it's worth, is a really cool record, because I think it's one of the few in the All orDescendents catalog that's very dark and angry. I think it's an anomaly, and I'm not sure where that's all coming from, butboy. We were very much in control of what we were doing. We had control over virtually every aspect that was important.
As with their prior records, all four band members contributed to the songwriting ofPummel.[8] The album displayed a darker, angrier edge than most of the band's prior work. "It could possibly be our leastpoppy-sounding", said Stevenson. "It's very hard."[4] "If you've been listening to the last All albums, you could tell that we were pointing in this direction anyhow," said Alvarez, "and I think there's some staggeringly un-commercial songs on this record—songs like 'Uncle Critic' and 'Hetero', which don't fit into the cutesy-pie-punk routine that the radio's so enamored with right now. But we've always done stuff that might be considered more commercial than a lot of our peers have done, because we have a certain regard for pop construction andharmonies and things like that."[6]
Pummel was recorded in October and November 1994, and was the first album recorded at The Blasting Room.[7][8] Stevenson and Egertonproduced the album, andengineered the recording sessions with John Hampton and Brent DeRocher.[8] Eric Fletrich, Jason Livermore, and Jeffery Reed served as assistant engineers.[8] The recordings weremixed byMichael Barbiero atArdent Studios inMemphis, Tennessee, andmastered by Dave Collins atA&M Mastering.[8] Egerton was excited to have Barbiero mix the album: "[he] had doneAppetite for Destruction. He had done all these huge records. So that worked out well".[4] Acover version of the 1967 song "Ruby, Don't Take Your Love to Town" was recorded during the sessions but left off of the album; it was released in 1997 on a split record with the band Judge Nothing, published byThick Records.[9]
In terms of [Interscope's] promotion, I think they didn't understand our audience very well at all. But it was the '90s; they were just throwing money at anyone who could hold a guitar. It was weird for us because suddenly all these doors were open. That was the last boom time the major labels shall see, so we got our licks in and I think we got out of it a lot lighter than a lot of other people.
Pummel was released April 11, 1995, throughInterscope Records. Amusic video was released for "Million Bucks", and the band performed the song on the May 22, 1995, episode ofLate Night with Conan O'Brien.[11] They also performed "Long Distance" on the June 18, 1995, episode of120 Minutes. However, the album did not sell enough copies to reach theBillboard charts. The band later remarked that they felt Interscope did a poor job of promoting the record.[12] "[Interscope] bought The Blasting Room's equipment", said Stevenson. "Other than that, though, we didn't really have much involvement with them. I don't know if we were below their radar, really, and they didn't care that much. It didn't feel like we were on a major."[4] As a result, All left Interscope and signed to independent labelEpitaph Records, makingPummel their only major label album.[13] Stevenson said in 1996:
Interscope gave us, like, a million bucks last year, and we built a recording studio, and then they basically didn't do too well withPummel, so we bailed out and took our recording studio with us. I think the thing they didn't realize, and we did realize, is that it's easier to market some of those mall punk bands because you've got the fashion that's there with it; you know, the nice hairdos and the fake British accents. But with All orDescendents, it's basically these ugly dork people playing music. They thought they could market it because it was the right music, but the fact of it is that the music doesn't have anything to do with anything, really. We knew that.[13]
AfterPummel, the band reunited with singerMilo Aukerman of their precursor group, theDescendents (the Descendents had changed their name to All upon Aukerman's departure from the band in 1987).[13] They decided to operate as two bands, performing with Aukerman as the Descendents and withChad Price as All.[13] Their next album was the Descendents'Everything Sucks (1996), followed by All'sMass Nerder (1998).[13]
Michael Roberts ofWestword said thatPummel was "no departure for the musicians, but given the changing tenor of the times, it sounds newly accessible—probably the most immediately attractive All album yet."[6]Stephen Thomas Erlewine ofAllMusic called it "no great step forward, featuring the same punk-pop grind that their cult has grown to love in the band's decade-long existence. If anything,Pummel displays signs of inertia, as the group not only fails to develop their music, but they are incapable of capturing the raw energy of their independent records."[3]
The song "Hetero", with lyrics written by Stevenson, drew some negative remarks. Reviewing the band's May 25, 1995, performance atIrving Plaza,Jon Pareles ofThe New York Times called it "openlyhomophobic, and it goes on to describe the narrator as a 'cigarette smokin', seal killin'redneck.'"[1]Jon Ginoli, openly gay frontman of thequeercore bandPansy Division, called it "an obviously anti-gay backlash song. In it [Stevenson] proclaims himself as a normal straight guy who can't get laid, and he's blaming gay guys. What? In his words, 'the only way you're cool is if you're gay or dead'. Huh? 'Maybe I should pierce my butt or get a few tattoos / Maybe I should wear a dress and be a homo like you / Normal, hetero, straight guy / Yeah that's right, I'm a straight, normal, girl fuckin', coffee drinkin', titty suckin', cigarette smokin', seal killin', redneck-ass bastard from hell'. Hmm, I don't think thegay guys are to blame forthat [...] Hearing the song, it was hard not to take it personally [...] At the same time I felt sad for the guy, who so obviously appeared threatened by gay people having more visibility and acceptance."[14]
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1. | "Self-Righteous" | Karl Alvarez | 1:38 |
| 2. | "Million Bucks" | Bill Stevenson(music and lyrics), Alvarez(music) | 2:07 |
| 3. | "Uncle Critic" | Stevenson(lyrics),Stephen Egerton(music) | 0:54 |
| 4. | "Miranda" | Chad Price | 2:33 |
| 5. | "Not Easy" | Price | 2:55 |
| 6. | "Long Distance" | Stevenson | 3:05 |
| 7. | "Stalker" | Price | 3:47 |
| 8. | "Button It" | Price | 0:50 |
| 9. | "This World" | Alvarez | 2:17 |
| 10. | "Gettin' There" | Alvarez | 1:17 |
| 11. | "Breakin' Up" | Stevenson | 2:45 |
| 12. | "On Foot" | Egerton | 2:23 |
| 13. | "Broken" | Alvarez | 3:12 |
| 14. | "Hetero" | Stevenson(lyrics), Egerton(music) | 1:32 |
| 15. | "Black Sky" | Stevenson | 3:24 |
| 16. | "Away She Went" (Bonus Track; Japanese release.) | Stevenson | 2:05 |
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