was left off of the album but released as a B-side on the "When I Get Old" single. Chad Price sang backing vocals on the album, while Stevenson and Egerton produced and engineered it. All had previously been signed to major label Interscope Records for 1995's Pummel, but were dissatisfied with the experience. Both All and the Descendents signed to Epitaph Records, who released Everything Sucks, the subsequent All albums Mass Nerder (1998) and Problematic (2000), and the All/Descendents double live album Live Plus One (2001). It was rumored that Epitaph would not sign All without getting the Descendents as well, but Stevenson explained that the arrangement was made because Epitaph head Brett Gurewitz would allow both bands to make albums at their discretion: When we signed with Epitaph it was for both bands. It was a thing of knowing Brett forever, and so I just sat down and said, "Well, we want to make records!" At the time we were leaving Interscope. We weren't happy with Interscope at all. So we sat down and told them we wanted to make both All and Descendents records whenever we want, at our choosing. Brett and I worked out a deal like that, so it was really flexible and we could basically do whatever we wanted. The Descendents supported Everything Sucks with a series of tours from September 1996 to August 1997 covering the United States, Canada, the United Kingdom, and Europe, touring with Swingin' Utters, The Bouncing Souls, The Suicide Machines, Shades Apart, Guttermouth, Less Than Jake, Handsome, Electric Frankenstein, Social Distortion, Pennywise, H2O, and others. Music videos were filmed for "I'm the One" and "When I Get Old", and both songs were released as singles in Europe. Reception Everything Sucks became the first Descendents release to chart, reaching #132 on the Billboard 200 and #4 on Top Heatseekers. Ned Raggett of AllMusic remarked: "take this out of its surrounding context and this was and is a prime Descendents album. All the humor and heart-on-sleeve showcasing one could hope for are here [...] anyone dismissing this as just like any other pop-punk around misses the point that these characters helped found it as much as anyone!" Rock critic Robert Christgau, however, merely gave the album a "neither" rating, indicating it as neither impressive nor a dud, which "may impress once or twice with consistent craft or an arresting track or two.