Despite being what you would call a Buzz Band, Girls always stuck to their guns. Despite the fact front man Christopher Owens'€™ story is legend now, they didn'€™t play on it (their press on the other hand...) and they just made straight up rock and roll with a certain twist. I wouldn't say that twist was anything more than a defining feature – even without Owens'€™ distinct voice, you could still tell if something was a Girls song or not. It’s that distinct sound that makes them, and it’s a sound that, while distinct, isn’t obviously matured.

However, as proved on this EP, they can develop, and how. There are elements of country, there's straight up rock and roll – not quite '€œBig Bad Mean Motherfucker'€, there’s no garage influence in there – there’s soul, there's Americana. There's a bit of everything for everyone, and proves that Owens knows more than just the charts from when he was a kid.

Again, like the album, this is undeniably a 70€™s influenced affair. Every influence (just about) can be traced back to that sort of era, and the whole album as a consequence sounds almost like a record lost from the early 80€™s, a logical progression by a band that knew the 70s music scenes inside out. This is the next step on; if the punk didn'€™t happen, bands would sound like this. As it was, young bands were too interested in being the Sex Pistols, rather than Fleetwood Mac, and so this style never developed. Don’t get me wrong, I’m not saying punk shouldn’t have existed, and arguably it was unstoppable and already happening by the mid 70€™s, but if it hadn’t we would have a lot more of these style bands.

As shown in opening track, the stunning '€˜The Oh So Protective One', a ballad for girls that feel left out and ignored by their other halves - "He'll never know about the times you cried in your bedroom"€ - Owens' status as one of the very few lyricists that can take what sounds cliche and sing it so unashamedly that it sounds profound is cemented. Listening to the music, the lyrics feel really personal and real, despite every element of the song telling you it'€™s a cliche. From the gratuitous horn section to the pseudo Hawaii style strumming of the guitar, it's a big mess of tired instrumentation, unfashionable influences and lyrics Neil Diamond might sing. But somehow it all makes sense, and makes sense in such a way that it makes everything else innocent – you almost want to dig out your parent’s copy of The Diamond Singer, or Rumours and listen to it all, taking in what fed Owens his brilliance. This is the sort of music that makes you want to pick up an analogue camera, grow your hair and play Frisbee. And as there is already a Girls brand Frisbee out there, why not?