[8] They made friends with Bazz and Bateman, and together the boys were brave enough to go into Los Angeles blues clubs to watch their musical idols.

"[11] Gene Taylor joined after the release of American Music (1980), performing boogie woogie-style piano (he remained with the band through late 1985).

The Blasters' energetic live performances gained a local following, and they became fixtures of the early 1980s Los Angeles punk rock scene.

The L.A. scene of the time also featured the cowpunk genre, and a notable example was how The Blasters helped country artist Dwight Yoakam get established.

About five years later, The Blasters invited Los Lobos to open for them and also helped get the young men from East L.A. their first record deal.

Dave Alvin also quit, joining X for a brief stint, though he returned briefly in early 1986 amid plans to record a new album with Nick Lowe as producer.

Hollywood Fats (birth name: Michael L. Mann) came aboard in the spring of 1986, appearing with The Blasters at Farm Aid II.

In an odd twist, Fats was initially replaced as full-time lead guitarist by Billy Zoom, who had previously left X.

In advance of the album's release, the band was touring Spain, and Phil Alvin had a near-death experience owing to an infection from an abscessed tooth.

[20] The Blasters have a devoted fan base and have received largely positive critical reviews, but have earned only limited mainstream success.

Critic Mark Deming wrote of them, "the Blasters displayed a wide-ranging musical style [and] were a supremely tight and tactful band with enough fire, smarts, and passion for two or three groups.

"[21] Trouser Press cited their strengths: "tight ensemble work, swingin' original tunes in the classic mold and Phil Alvin's ageless, confident vocals.

"[22] The Rough Guide to Rock noted the ever-increasing numbers of originals written by Dave Alvin—songs about cars, girls, the working man and road dreams—and how he matured into a great songwriter.