I always thought the “punk vs ted” war that raged in the late 1970s was farcical; both liked music that was energetic and produced songs that were short, sharp, sonic shocks. However, by the time 1980 rolled around the two genres had formed a kind of alliance (soon to be solidified by psychobilly at the Klub Foot) and that’s where Pearl Harbour steps in. Moving to London from her native United States, Pearl set about assembling an all-star band and produced one of the era’s most exciting (and underrated) albums in Don’t Follow Me, I’m Lost Too, which finally gets a loving reissue via those cool cats at Liberation Hall.

When UK punk came to prominence in 1976, vintage style rock ‘n’ roll was seen as the complete antithesis to the spiky tops, and became a kind of alternative to the alternative, it was seen as something uncool, but was beloved by many. Subsequently, an underground scene developed via word of mouth and flea markets, and that made the scene ripe for revival, but Pearl Harbour was no mere revivalist and even a cursory listen to album opener ‘Alone In The Dark’ will make that abundantly clear. This was undoubtedly rock ‘n’ roll, but unlike anything the public had heard before; it was fused with an amphetamine-fuelled brand of rhythm and blues and the result was fairly intoxicating. This was rockabilly twisted into new forms, and that’s thanks in no small part to guitarists Wilko Johnson (Dr Feelgood), Steve New (Rich Kids) and the Clash’s Mick Jones (guesting on several tracks) who sprinkle their magic on proceedings and turn this nineteen song jamboree into a carnival for the ears.

In the pioneering spirit of rock and roll, of all the thirteen tracks that comprised the original album, only two cuts break the three minute barrier. Each song is devoid of extraneous frills (but big on thrills) and takes the most direct line to what it’s all about. Recorded and mixed inside three weeks, and with minimal overdubs, there’s a sense of urgency bursting from the grooves and that garners Don’t Follow Me, I’m Lost Too a live feel; it’s rather refreshing and gives the album a unified feel. That’s important, because this record is far from generic with ‘Everybody’s Boring But My Baby’ (the biggest hit that never was) capturing the golden age of ‘60s girl groups, ‘Do Your Homework’ having a definite Stax influence, alongside the blink-and-you’ll-miss-it, cowgirl-on-acid ‘Out With The Girls’. Backed by a stellar cast of English musicians, this album has a perfect Anglo-meets-Americana vibe, and is one undiscovered gem that’s well worth uncovering.

Pearl Harbour blazed a trail that would soon be followed by The Stray Cats and perfectly illustrates why you should never be first, but second; The Stray Cats refined Harbour’s sound for mass consumption and therefore achieved global fame. However, when Don’t Follow Me, I’m Lost Too originally dropped, there was nothing like it and it’s energetic brand of rock initially confused people (including the record label) meaning it got lost in the shuffle. Yet, time has been very kind to this record, and hopefully this reissue (on CD and vinyl) will shine a spotlight on this most underestimated album. But if you want to know who dragged rock ‘n’ roll into the 1980s, the answers found in Don’t Follow Me, I’m Lost Too.

• Don’t Follow Me, I’m Lost Too is released via Liberation Hall on 22nd March 2024 and is available here.

Track List:

1. Alone In The Dark
2. Fujiyama Mama
3. Everybody’s Boring But My Baby
4. You’re In Trouble Again
5. Do Your Homework
6. Cowboys & Indians
7. Losing To You
8. Filipino Baby
9. Let’s Go Upstairs
10. Rough Kids
11. Out With The Girls
12. Heaven Is Gonna Be Empty
13. At The Dentist

Bonus Tracks:

14. Nerves (B-Side)
15. You Got Me All Wrong (B-Side)
16. Voodoo Voodoo (UK Single)
17. You Don’t Fool Me (UK Single B-Side) 
18. What I Should Have Said (Demo) *
19. I Can’t Tell You On The Phone (Demo) *

* CD Version Only