The album is a radical departure from the punk rock sound of his previous band the Dead Boys,[6] and sees Bators venturing into 1960s-inspired power pop.

[2][4] Describing the album, Mike Stax of music magazine Ugly Things wrote that the album was "a surprisingly melodic power-pop effort" and that it showed the affinity Bators had for British Invasion-inspired 1960s garage rock and pop music, "favouring ringing Rickenbacker power chords and tough but harmonious backing vocals.

[8] The songwriting showed a strong 1960s influence, as Secich explained: "Stiv was a huge fan of American garage and power pop.

Bators and Secich (working under the alias Jeff Jones) had now assembled a band including guitarist Eddy Best and drummer Rick Bremmer.

With a recording date set in August at Perspective Studios in Sun Valley, California, the personnel for what would become Disconnected consisted of the last touring line-up of the Dead Boys: Stiv Bators, Frank Secich, George Cabaniss and David Quinton.

[1] Most of the basic tracks for the album were recorded on a basketball court next to the studio, due to its wooden floor having an "extremely "live" sound", according to Secich.

[1] When the album was released in December, Bators did a three-week tour of the Northeastern United States with former Damned guitarist Brian James in the band.

... We always did a combination of Dead Boys songs with the Disconnected stuff and other Stiv solo material, like "Circumstantial Evidence" and "Not that Way Anymore".