In punk terms, Rob Moss mightn’t be a household name, but he’s been a part of the US alternative scene forever. He’s been a member of Government Issue, Artificial Peace and, in his own words “a bunch of other bands”, and much like Kurt Baker, that Muck dude from Muck & The Mires and Dan Kopko – who features on this 2024 release – his relative lack of fame really doesn’t matter. What he has brought over the years in terms of musical energy and enthusiasm is far more important.

In some ways, if one should be required, ‘Records’ is actually a solid introduction to Rob’s work. It isn’t just a standard album; it’s a compendium of previously released tunes along with a previously unreleased surprise. However, despite being constructed from individual bits and bobs, it plays well as a full length in its own right.

The lead track, ‘We Just Don’t Know’ sets the tone by delivering a melodic punk rock riff that’s of the mid period Replacements variety injected with a little Johnny Thunders for good measure, which captures Skin-Tight Skin in a tight and fiery mood. The dirty guitar tones dominate, but Rob’s deep, almost spoken vocal adds a natural sense of attitude throughout, and he sounds great when sharing a very repetitive hook. If anything really works here, though, its a bright sounding, ringing lead guitar which takes equal cues from old New York Dolls Records and more contemporary works by Gaslight Anthem. With a touch more swagger and a dose of sloppy rock ‘n’ roll, the intro of ‘Hey You (We’re Sick of You)’ promises something even trashier – especially with the way the music has been loaded up with sloppy gang vocals – but as the main melody emerges, it becomes a tightly played number where a mid tempo is joined by a loud rhythm guitar. This provides another mean sounding backdrop for a vocal that wavers between a cocky sneer and near spoken moments. It’s safe to say that if you enjoyed the opener, then this will equally appeal, and with another heavy New York Dolls influence, it really helps the first time listener get a feel for Moss’s retro style.

‘In The Canebrake’ is a little tighter musically. A jagged riff peppered with tough rocking moments sounds like Watts in a bad mood. This gives a solid base for more howling lead guitars, with everything building to create one of this disc’s best arrangements. A sharper musical approach has the knock on effect of highlighting Rob’s vocal limitations, unfortunately, but what he lacks in power, he makes up for with narrative, and this tale of finding a dead girl creates striking imagery from a simple lyric. It’s like experiencing a Stephen King tale retold by the Misfits, so in terms of retro horror, it has a brilliantly schlocky charm, making it one of the key ‘Records’ within this collection. Another highlight, ‘Ink Blue Smoke Again’ opens with a chopping guitar riff that falls within the melodic punk spectrum, but it’s given a lift beyond the predictable thanks to a busy guitar that feels a little more rock-centric, and a fiery lead break that’s even more edgy. As before, Rob’s easy vocals provide an easily recognisable counterpoint, and the track’s punchy hook brings something catchy without resorting to any predictable clichés.

Taking the opportunity to branch out, ‘What Happened (To The Rock ‘n’ Roll)’ shares a strong blue collar arrangement where Moss and his assembled band hammer their way through riffs that sound like a cross between Watts and Nato Coles, and a chunky dual guitar sound – delivering a steady melody – is strong enough to carry the piece. Much like ‘Ink’, there’s another spirited lead guitar part giving everything a boost, and it’s lucky that this has some solid musical chops, as lyrically, it’s a little unfortunate. Rob spends three minutes lamenting the current music scene, writing stuff off as “junk”, before claiming it’s “not like the rock ‘n’ roll when [I] was thirteen”. This rose tinted view is lazy; there’s plenty of great music to be found at any time – you just have to look in the right places. There’s also a feeling that it isn’t today’s music that’s “wrong”, it’s the narrator’s wishing to be younger again. Luckily, this is contrasted elsewhere by the far more positive ‘You and Time’, an ode to life and wanting the passing of time to slow down. Rob says we need to “spend more time with the ones we love” and “let the haters rot”. Again, listeners who are already familiar with Skin Tight Skin at this point will recognise many of the chosen tones and musical hooks as being tried and tested, but Rob’s decision to employ a slightly more goth-tinged vocal works well enough to convey a different mood behind a piercing lead guitar sound.

Elsewhere, ‘Basement Party’ kicks off with a grubby rhythm guitar riff and howling lead, before settling into something that sounds like one of Dee Dee Ramone’s deep cuts from the mid 80s. Its mix of throwaway lyrics and taut riffs is typical of Moss’s other work here, but a particularly sharp guitar solo offers a definite lift, whilst a reworking of ‘We Just Don’t Know’ – titled ‘We Just Don’t Dub’ – adds a world of reverb to an already familiar track. In some ways, the vocal doesn’t really fit, but there are a few great elements to be found, including a punchy bass that’s present during the intro and a spacey middle eight where the bottom end rises to underscore a weird piano presence. It’s definitely not vital Moss, but in bringing the fun, it certainly hits the mark.

There are some good songs here, but it’s ‘The World (Is A Playground)’ which proves to be the unmissable track. Adopting a faster tempo, the guitar driven backdrop takes the shape of a top grade garage rocker with elements of The Downbeat 5 peppering the usual Skin Tight rock. This is due in no small part to Jen D’Angora guesting on second vocal, and as you might expect – assuming you’re already familiar with her past works and the brilliant Shang Hi Lo’s – her vigorous approach brings a very positive feel to the track. Her more melodic edge works as a great contrast to Rob’s slightly glum approach which, here, makes him sound occasionally like he’s channelling Iggy Pop. Factoring in a buoyant chorus carrying a lyric that creates an instantly familiar hook, this really shows what an on form Rob and band are really capable of.

With these ‘Records’, Moss aims to bring even more of a nostalgic bent to his music. Eschewing some of his more obvious punky influences for something more in line with grubby garage/retro rock/proto punk, the best material has a lot in common with a lot of the Rum Bar Records stable, and its no frills sound is often the perfect fit for Rob’s natural vocal – for better or worse. It isn’t necessarily the most varied of listens, but for fans of a no nonsense proto-punk style and with some great tracks to be cherry picked from a solid body of work, this is certainly a record with a raw appeal.

September 2024