The Point-Magic Circle (1983)

Along with groups like Action Now and the Things, the Point are still one of the more unheralded bands that were on the outskirts of the Los Angeles scene in the early to mid-‘80s. Their overall sound can be slotted somewhere between garage rock revival, power-pop and those Willfully Obscure college rock bands. In fact, their bass player Greg Edwards was a UCLA pre-med student during the time of the band.

Century City Rag

In 1979, the boys from Livermore, arrived in Los Angeles in pursuit of their Golden State dreams. They accomplished step one as they were able to land their 5-song cassette demo in the hands of Greg Shaw. As might be predicted, Kim Fowley then tried to get involved and intervene in their affairs. What’s more, Stiv Bators loved them to the point of even trying to join the group or was it that Fowley wanted Tom Alford and Jon Stebbins to be guitarists & writers in support of Stiv Bators? Nonetheless, a 4-song 10’’ recorded at Mystic Sound Studio reached Joe Nolte of the Last, who shared the recording with friend and bandmate Vitus Mataré. Vitus was in the process of putting together the rakish WarfRat Tales compilation. They landed an appearance on that comp, however it was unfortunately their polarizing jam “Pothead” which would have been better kept to band practice. Their Magic Circle album took shape in spring and summer 1983. It was produced at Radio Tokyo Studio in Venice by Vitus Mataré and recorded by engineer Ethan James. 

The Last (Steve Andrews, Vitus Mataré) The Echo-Echo Park, Los Angeles
WarfRat Tales (Unabridged) release show-Sept. 2005

Little Brother & Sister Bands of the Last

The Three O'Clock and the Bangs (The Bangles) were typically the openers for the Last. When those two bands broke through and went on to be national touring acts, the Point and Wednesday Week were ushered in as new openers for the Last.

Fault Lines
Their first and only long player has them all over the stylistic map, which actually may have limited them. Further listens reveal the many striated layers of L.A. scene seeping into their music: folk-rock, rockabilly, garage, roots rock, power-pop, punk, new wave and what went on to be known as Paisley Underground. While they reflected the diversified and sprawling nature of Los Angeles, the lack of an overall consistent sound might have hindered them as a recording act. On the other hand, their malleability might have helped them on the live circuit and cross over to different audiences.    

Here Today · The Point-You're the Fix I Need

After the so-so mid-tempo title cut, they cover the Sonics’ album cut “Strychnine” which probably caused the paint to peel when they shared shows with the Unclaimed and the Crawdaddys. Tom Alford's composition “You’re the Fix I Need” combines the economy and effervescence of Uni-Boys with the dB’s angularity. This is stripped-down canvas sneaker power-pop that could have been a single. Their knack for vocal arrangements and harmonies begin to shine through on this number that also features Wednesday Week’s Kristi Callan on backing vocals. Jon Stebbins would later go on to achieve renown for his well-regarded books on the Beach Boys. Further, the intertwined guitars on the solo explore the territory between Younger Than Yesterday and The Notorious Byrd Brothers.

“All My Life”

In a way, the Point are the consummate compilation band.  I first heard the glorious “All My Life” on the Rebel Kind comp. that I found used at Flat, Black & Circular in East Lansing in the early ‘90s. They also appeared on the aforementioned WarfRat Tales and Rhino's Children of Nuggets box set. I do wonder if the welcomed inclusion of the flute in “All My Life” was suggested by producer Vitus Mataré. His flute playing can also be heard on some Last songs as a nod to both the Association and Jethro Tull. You can also hear the song’s possible influence on later UK bands like the La’s and the Lightning Seeds along with the Optic Nerve from New York City. “All My Life” would go on to be heard by ensuing generations and also reach its largest audience when it was somehow included on an episode of the Gilmore Girls television program.

Here Today · 09 Someday

Stampede of Sound
Side 2 continues with their version of “I Like Girls” which is a cover of a Gary Valentine (ex-Blondie) song that he recorded with his band the Know. “Someday” starts with doo wop and builds to a dynamic peak to witness an expanse illuminated by lightning flashes and the sound of Love’s “Seven and Seven is” still thundering in the distance. Its rough hewn production makes it sound like it was recorded in a Kleenex box, but it works in context. This song and the adjoining “Street of Warsaw” were recorded at Lyceum Sound. Overall, their only album is an uneven affair, but it does have its shining moments. There has been mention of some unreleased recordings from the Point that were done under the auspices of  Vitus Mataré.  Perhaps one day, the wider world will be able to hear these additional aspects of the Point.

The Point in Century City, L.A. (L-R) Greg Edwards (bass-vocals), Mike Alford (drums)
Jon Stebbins (guitar-vocals), Tom Alford (guitar-vocals)