Roaring their way to avoid it of New London, Connecticut, the Reducers had been among the great underrated rings from the ’80s. The music group recorded, in only under 2 yrs, three albums of punk- and pub rock-inspired rowdy rock and roll & move, chock-full of wiseass ruminations on existence and like. The Reducers had been post-punks using a formalist method of rock & move: two guitars, bass, and drums that echoed middle-’60s United kingdom Invasion and American garage area rock. What produced them not the same as the common retro-rock bar music group had been hip, funny, and smarter-than-most; plus having two ace songwriters in Hugh Birdsall and Peter Detmold, who composed wry and comically eager music like “Let’s Move” (“Let’s head to London/where all of the music’s great/Let’s head to Paris/they’ve got a whole lot of nice meals”), “Stones” (such as “New London seldom”), as well as the outstanding “Maximum Despair.” Eventually, what might have sunk the Reducers, or at the minimum limited the breadth of the market, was their nearly willful insufficient pretension. There have been zero gimmicks, fake pretenses towards stardom, or slick attitude; these were the real thing, working-class men who played rock and roll & roll since it supposed the wish of an improved existence and (probably) a solution from New London. This open fire and determination, without making them celebrities, made actually their weakest tunes still appear to be they designed it. The name of the third album, Luxury cruise to Nowhere, was unintentionally prophetic, because the music group slipped right into a split in the planet earth by the finish of 1986. A Compact disc compilation of the “greatest strikes” premiered in the first ’90s, but all three Reducers albums belong in the house of any self-respecting rock and roll fan who stocks an affinity for Dr. Feelgood, the Sex Pistols, and ? as well as the Mysterians, and lives in a location like New London.