's self-titled debut record from 1978 is a bright and shiny artifact of the punk rock era that lacks any fat, slack moments, or serious politics. It's basically bubblegum punk and that's why it's often written off as being too lightweight or too pop. Being bubblegum punk ain't all bad though. Especially when the songs are as sharp, the performances as lively, and the sound as wiry and tough as it is here. It was the group's second crack at recording an album. The initial sessions helmed by actual bubblegum producer were deemed too slick and went to to try and capture more of their live sound. The album definitely does have a live, exciting sound. The rhythm section is loud and pummeling, ' guitar is thrillingly raw, and 's sneering vocals ride on top of the noise like a cocky cowboy. and bassist collaborated on the songs and they knocked out (mostly) fast and hooky punk-pop gems that had huge choruses and fist-in-the-air sentiments. None of the words are particularly deep, but they are delivered in breathless fashion by . "One Hundred Punks" is a choppy, invigorating call to arms, "Ready Steady Go" is practically an amped-up '60s beat group tune, and "The Invisible Man" sounds like a ' album track turned up to ten. Along with the flat-out rockers, they stretch out some on "Promises Promises" and "Youth Youth Youth," a couple of songs that blow past the five-minute mark. The latter is a dramatic -inspired epic that has plenty of room for to show off his frantic guitar soloing. They also turned in one of the first great punk ballads with "Kiss Me Deadly," which features some great guitar parts, nice dynamic shifts, and an almost sensitive vocal from . Add it all up, and it may not be the classic punk rock album of the age, but it is a whole lot of rip-roaring fun and it did prove extremely influential to anyone who likes their punk delivered with a wink instead of a shove. ~ Tim Sendra