The Muffs 1997 swan-song for Warner/Reprise continued the hook-filled pop-punk of their previous pair of albums, but with an even tighter shock of guitar, bass and drums than the previous Blonder and Blonder, and vocals that wrap emotion in a frock of snotty attitude. Having burned in the trio dynamic on tour, the Muffs were more musically connected than ever before. Shattuck’s production really galvinized the album, and engineers Sally Browder and Steve Holroyd got a ferocious guitar-first mix on tape. Shattuck always wrote openly of her desires, and sings with a passion whose blisters can obscure the candidness of her admissions. She’s keenly aware of herself, whether testing the waters, surrendering to her emotions, standing up, stepping away or squarely laying the blame on her way out the door. And though she doesn’t mince words in eviscerating those who’ve mistreated her, there’s often a shadow of insecurity that makes her songs more than stock kiss-offs.
This 2017 reissue includes seven bonuses: a B-side cover of The Amps’ “Pacer” with “best guess” lyrics, and six previously unreleased songwriter demos. Shattuck’s guitar, bass and drums demos don’t have the sonic force of the album tracks, but they show how the band took her templates to finished product, and highlight her melodies. And her melodies are worth paying attention to, as she wrote great vocal hooks for “That Awful Man” and “Honeymoon,” and crafted a power-pop earworm in “Outer Space.” The commercial failure of Blonder and Blonder lost Warners’ interest, and though given creative freedom to record, the band was dropped before Happy Birthday to Me was released. Drummer Roy McDonald opines, “I couldn’t help but feel like we had hit a home run in an empty ballpark.” Omnivore’s reissue adds a 20-page booklet of photos, liner notes from McDonald and Barnett, and track notes from Shattuck, making for a terrific twentieth birthday present. [©2017 Hyperbolium]