Everywhere at Once (CD - 1983)

Personnel: Peter Case (vocals, guitar, 12-string guitar, harmonica); Jeff Eyrich (vocals, guitar, keyboards, synthesizer, background vocals); Dave Pahoa (vocals, bass guitar, background vocals); David Williams , Andrew Williams (vocals, background vocals); William Norwood (vocals); Eddie Muñoz (guitar, background vocals); Steve Hunter (acoustic guitar); Doug Richardson (saxophone); Scott Wilk (organ); Louie Ramirez (drums, castanets, maracas, tambourine, background vocals); Brendon Matheson (tom tom); Phast Phreddie (background vocals).

Audio Mixer: Greg Ladanyi.

After their two initial Planet Records albums, the Plimsouls took the major-label bait and signed on with Geffen Records. Everywhere at Once, their first Geffen album, has mixed results. While the change to a major label did have a profound impact on the band, it wasn't always for the best. While Jeff Eyrich's somewhat heavy-handed production did take a little air out of their performance, the end result is far less clinical than other major-label mainstream rock records of the day. Everywhere at Once does contain the Plimsouls' greatest recorded achievement, "A Million Miles Away," which packs all of the passion and punch of some of John Lennon's finest recordings with a wonderful power-driven Byrds-like arrangement. Other standouts on this record include "Play the Breaks" which, while not quite as awesome as it is in a live performance (they were possibly the finest live band in Los Angeles in this period), still shines. ~ Matthew Greenwald

One of the greatest power pop albums of the '80s, EVERYWHERE AT ONCE contains at least two classics of the genre, the manic, near-desperate title track and the soaring, passionate yearning of "A Million Miles Away"--both of which Peter Case and crew perform in full in the cult classic film VALLEY GIRL--and a number of tracks that are nearly their equal. Perfectly balanced between smart pop and ballsy rock, sweaty noise and glossy perfectionism, the songs on EVERYWHERE AT ONCE are like a textbook of how to write perfect power pop. Singer/songwriter Case has a rougher voice than any of the choirboy-harmony power pop crowd, and his lyrics are similarly gritty, from the defiant "Play the Breaks" to the yelping, maniacal opener "Shaky City." Fans of Case's folky solo records may not recognize him in this setting, but any power pop fan worthy of the name should own this album. minimize