Pearl Harbor & the Explosions formed in 1978 during the same San Francisco punk rock/new wave uprising that brought forth Romeo Void, Dead Kennedys, the Avengers, the Mutants, the Units, Tuxedomoon, and many others.

However, Pearl Harbor & the Explosions were more tuneful and melodic than their brethren, taking cues from local pop/rock group the Tubes with whom singer Pearl E. Gates had gotten her start as a backup singer and dancer. When Gates was recruited from the Tubes to join Jane Dornacker in her band Leila and the Snakes, she met brothers Hilary and John Hanes (who billed themselves with the surname “Stench”).

After 18 months, the trio decided to split from the Snakes and go in their own direction. Pearl (vocals, percussion), Hilary (bass, vocals) and John (drums, vocals) recruited guitarist Peter Dunne (stage name “Peter Bilt”) and Pearl Harbor & the Explosions were born.

Based on the success of debut single “Drivin’” — which sold 10,000 copies for the fledgling 415 Records — Pearl Harbor & the Explosions were quickly signed by Warner Bros. Records. The band name “The Explosions” and Pearl’s name switch from Gates to “Harbor” were done in the spirit of the punk rock times during which they were working.

The group’s self-titled debut album was an early production by David Kahne, who went on to work with the Bangles, Tony Bennett, and Paul McCartney, among many others. For historical perspective, Pearl Harbor & the Explosions was released at the start of January 1980, during the same month that the world learned the name Chrissie Hynde with the arrival of The Pretenders’ debut album.

In addition to “Drivin’,” Pearl Harbor & the Explosions’ debut featured eight tracks that presented a unique blend of pop, R&B, rockabilly, jazz, and new wave energy. The jangly pop-rocker “You Got It (Release It)” was another spirited track that won favor at radio.

After a year on the road, Gates was feeling disenchanted by the direction of the band, with Bilt and the Stench Brothers wanting to go in a more “jazz fusion” direction. Much to the displeasure of Warner Bros., she decided to take a walk.

Gates, who is now in remission after a cancer diagnosis, enjoyed last year’s promotion for Don’t Follow Me, I’m Lost Too, and is eager to share her memories of Pearl Harbor & the Explosions. Liberation Hall will be releasing the same tracklist of the album that was reissued in 2019 by Blixa Sounds — including live covers of Ron Wood’s “I Can Feel the Fire,” Nick Lowe’s “Let’s Eat,” and Joe Bennett & the Sparkletones’ “Black Slacks” — but is now out of print.

The CD, vinyl LP and download all feature rare photography from Pearl’s archive alongside a liner notes essay by author and former San Francisco Chronicle music columnist Joel Selvin. Longtime fans of the band might be surprised by the album cover. Liberation Hall’s new package will feature the original UK album jacket, which is a colorful photo of the band, rather than Warners’ stateside 1980 design of an orange logo against a black background.

1. Drivin’ [4:39]
2. You Got It (Release It) [2:32]
3. Don’t Come Back [3:34]
4. Keep Going [3:24]
5. Shut Up and Dance [4:05]
6. The Big One [4:10]
7. So Much for Love [3:03]
8. Get a Grip on Yourself [3:34]
9. Up and Over [5:56]
10. Busy Little B-Side [3:03]
11. Drivin’ (415 Single Version) [4:18]
12. Release It (415 Single Version) [2:32]
13. Let’s Eat (Live 1979) [3:06]
14. Black Slacks (Live 1979) [2:00]
15. I Can Feel The Fire (Live 1979) [5:23]
16. 1979 Radio Spot [1:03]

This incredible flashback to an era that seemingly couldn’t put a musical foot wrong, opens on the jaunty pop-licious Drivin’ and the alt-pop beauty You Got It (Release It) and then we get the funky guitar piece Don’t Come Back, the mid-tempo rocker Keep Going, the vibrantly fun Shut Up and Dance, the soulful The Big One and both the rhythmic So Much for Love and the melodious Get a Grip on Yourself.

Along next is the funky grooved rock of Up and Over and the aptly-named Busy Little B-Side and they are in turned backed by another cut of Drivin’ (415 Single Version), the free flowing AOR of Release It (415 Single Version), then we get some live from The Tenderloin in 1979 tracks: the propulsive Let’s Eat, the alt-rockabilly vibe of Black Slacks and the guitar-tastic I Can Feel The Fire, the expanded version closing on a rousing 1979 Radio Spot.

Musicians:
Pearl E. Gates-Vocals/Percussion
Peter Bilt-Guitars/Vocals
Hilary Stench-Bass/Vocals
John Stench-Drums/Percussion