Spare Some Change. That was the name of the recording an old band of mine made some six years ago. Envisioning ourselves clever wordsmiths, we punned "change" to denote the stylistic changes apparent on the album relative to our earlier material (as if we had an audience that was following our every step... as if we had an audience, period!). T.S.O.L. seem to have used the same word for similar purposes.

Let me establish a crucial difference at this point: T.S.O.L. had an audience, and a damn near impressive one at that. They could justifiably be classified as a punk "sensation" by the time this record first appeared in 1982. They had also already established the accuracy of their full moniker, True Sounds of Liberty. Though they originally established their reputation by being champions of more traditional strains of punk, they had previously thrown their audience musical curve balls with their albums Dance With Me and Beneath the Shadows. With the latter recording, a more daring and experimental outfit was emerging. So, when Change Today? reintroduced some of the rawer elements apparent in the band's earlier material, it seemed disorienting to some, which was probably the point. The beauty of these oft-mentioned "glory days" of punk rock was that there was no predetermined path-– the more a band challenged preconceived notions while maintaining an accessible focus, the more they were esteemed.

Part of the reason Change Today? was disconcerting in its changes is because it introduced a new singer and drummer. Nonetheless, the new members proved themselves equal to the challenge demanded by their high- profile band. Joe Wood added an appropriate voice to the band's increasing interest in gothic- tinged melodies-– songs like "Black Magic" and "Flowers by the Door" seem virtually haunted by his Danzig- like delivery. Mitch Dean plays at a brooding pace for these songs, but blazes just as easily through no- frills rockers like "In Time" and "American Zone."

An interesting quality of this album is the way it manages to morph between songs. From goth-punk, to surf-punk, to hardcore attack, to gloomy meditation ("Red Shadows" is highly reminiscent of the Cure's "A Forest" in its subtle intensity), the band makes sure they keep one step ahead of their audience at every given point.

It's refreshing to think of a time when change was venerated rather than chastised. In the punk community today, subverting audience expectations is legitimate grounds for dismissal. With the re-release of Change Today?, perhaps listeners will take a cue from the "legends" and begin looking backwards in order to move ahead.

-Kevin Ruggeri