Uni Boys-S/T

The third album is the charm for the Los Angeles band originally from Aliso Viejo. Whether you call this power pop, new wave like Tempe, Arizona artist Oliverio Balcells or just rock ‘n’ roll, they check all the boxes with their latest. Their guitars gleam and their vocals soar on their self-titled album with melody at the forefront, hooks galore and overlapping Pacific Coast harmonies.

Valley Bar in Phoenix, AZ-April 20, 2026
L to R: Reza, Noah, Michael

Noah and Reza trade off lead vocal duties and both are apt at writing infectious upbeat numbers and tales of romantic heartbreak. Additional magic happens when the duo blend their highly complementary voices in harmony.  The rhythm section provides the strong foundation as well as shifting the tempos. Artie’s drumming is the band’s not-so-secret weapon. Overall his style is reminiscent of the late Jack Reynolds of the Last and Scott Miller of Agent Orange as his surf-beat playing serves the songs. Equally important, he carries and advances their sound to propel the songs forward as well as offering some remarkable flashes. On bass, Michael strikes the balance between dependability and dashing with his versatility, while also adding some wonderful harmony vocals. Michael is also a songwriter & guitar player where timeless influences (doo wop, Beach Boys, Lou Reed) shine through his sounds.   

The record gets off to a speedy start with “Victim Of Myself,” Reza’s composition of getting out of one’s own way.  They find the sweet spot between power pop and pop punk along lines of the Shame Idols, the Hum Hums, and the Parasites. With its catchy title-chorus “I Don't Wanna Dream Anymore,” Noah’s dashing declartion could be the album’s strongest candidate for sync licensing. It’s like a reflection of the Taxi Boys in 20/20’s mirrored sunglasses. "You'll Curse His Name Again” is the album’s most unabashed Beatles-esque tune not far stylistically removed from the Poppees. Next, Reza’s atmospheric ballad, "Abra," has a majestical Chris Bell quality that melts into some Beach Boys harmonies. This paean is for the romantically inclined, the lovers, the dreamers… A chiming organ adorns “Maybe I'm Wrong” and leads Noah’s skip-along into the paisley lands of the Three O’ Clock suspended under a twilight canopy and billowy harmonies furnished by the Lemon Twigs brothers. This ebullient Bruce & Terry-tinged pop number flows into Reza’s “Want You Back.” Be sure to catch the outro that plays homage to the single version of the Last’s “She Don’t Know Why I’m Here.”  

During their live show, I noticed that Noah’s voice sometimes evokes the quivery style of Chris Stamey and it comes to the forefront on the dB’s-ish “You're So (Phisticated).” Reza’s gliding vocals and the Flamin’ Groovies-ish intro and outro makes his composition “Look On The Bright Side” both a live and recorded standout. My jaw dropped when I heard “Genevieve” as I wondered, is that a quote of “Silhouettes” by Herman's Hermits by way of the Rays?!? Noah’s vocals take on a real Joe King quality when the Queers ride the bubblegum surf waves. “Sin Your Life Away” unfolds with Reza's impressive arrangement burnished by those bittersweet Big Star filigrees. With the dramatics of the Raspberries and the straight-ahead clarity of the BMX Bandits and Honeyrider, Noah's “Without A Broken Heart.” lands the proper album on a pop-tastic strong note. Be sure to hear the two bonus tracks that were recorded in Billy Tibbals’ garage. “Can’t Do It” contains an ultra-catchy refrain that will sneak up to you when you are going about your day, while “Our Last Kiss” follows in the baroque pop tradition of Emitt Rhodes and the Left Banke with its ornate instrumentation and string section.   

Songs made to endure
While continuing to adhere to the power pop aesthetic, Uni Boys proceed further into Century 21 as they have refined and expanded their melodic sound to reach an even wider audience. They have already received the Billie Joe Armstrong stamp of approval and caught the attention of those who came of musical age circa ‘79/’80. The band with the infectious hooks and the striking Southern Californian looks have fully realized the sound that many listeners were wishing for and achieved the rare feat where every song could be released as a single. This is currently the top album I have heard in this very competitive year and also consider it among the best power pop albums since 1979.  

Valley Bar in Phoenix, AZ, April 20, 2026
L to R: Reza, Noah, Michael

Tempe, AZ Nov. 2023

Tempe, AZ Nov. 2023

Reza scoring a Yellow Balloon single
at the Dana Point Record Show
Photo by Chris Owen (MUSK, Killer's Kiss)

Michael checking up on "Lies" by the Knickerbockers
at the Dana Point Record Show
Photo by Chris Owen (MUSK, Killer's Kiss)

 

Valley Bar-Phoenix, AZ-April 20, 2026
L to R: Rez, Noah, Artie

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 stirred up small riots 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)