Can't Stand the Rezillos is the debut studio album by Edinburgh-based punk band the Rezillos, released on Sire Records on 21 July 1978. The album has a more mainstream pop and rock and roll sound than the punk music of the time, and includes the UK top twenty hit "Top of the Pops", as well as several cover versions of 1960s songs: "Glad All Over" (originally a hit for the Dave Clark Five); "Somebody's Gonna Get Their Head Kicked In Tonight" (originally by Fleetwood Mac); and "I Like It", a Gerry and the Pacemakers hit. Can't Stand the Rezillos received positive reviews from the UK music magazines and reached number 16 on the UK Albums Chart. The Rezillos split four months after the album's release, and the band did not make another studio album until their reformation in 2001 and the release of Zero in 2015, but Can't Stand the Rezillos has continued to receive critical acclaim since its release. Recording The band released their debut single "Can't Stand My Baby" in August 1977 on the independent Edinburgh-based record label Sensible Records. Towards the end of 1977 the band's energetic live shows were gaining the attention of the music press and several major record labels. The group eventually signed with New York-based Sire Records which at that point was regarded as the major label most sympathetic to the emerging punk and new wave music scene, having already signed the Ramones and Talking Heads. The band's second single, "(My Baby Does) Good Sculptures", which was originally also scheduled to be released on Sensible Records, was released in December on Sire instead. Sire suggested to the Rezillos that they record the album in New York City, to which the band readily agreed, eager to travel outside the UK. The album was recorded during February 1978 at producer Tony Bongiovi's studio the Power Station (now renamed Avatar Studios), with Bongiovi and his assistant Lance Quinn originally scheduled to handle production duties. However, due to illness Bongiovi was unable to attend the majority of the recording sessions, and in his absence his engineer Bob Clearmountain ended up overseeing most of the album: the band recognised Clearmountain's contribution to the record and pressed for his name to be included on the production credits. Release Although mixing for the album was completed in March, its release was delayed for several months while Sire waited for its