It had to seem like a good idea, particularly in this day and time. What if you bring together members of some of the most iconic Punk and Metal bands in history to write and record together? It seems perfectly logical, as the days of the "supergroup" are still in full swing throughout the music industry. So here we have THE LIMIT, with their debut release "Caveman Logic".

The band is made up of Bobby Liebling, of the Doom Metal pioneers PENTAGRAM, on vocals, former bassist for THE STOOGES and THE NEW ORDER (the mid-seventies American band...not the offshoot of JOY DIVISION), Jimmy Recca, Sonny Vincent, of the seminal New York Punk band TESTORS on guitar and vocals, and Hugo Conim and Joao Pedro Ventura, of the Portuguese Metal band DAWNRIDER, rounding out the lineup on guitar and drums, respectively. What could go wrong?

I have been a fan of Punk music since my teen years, primarily focused on the Los Angeles based S.S.T. lineup of bands such as MINUTEMEN, HUSKER DU and BLACK FLAG; but having great interest in the origins of the genre, as well. It was in those years that I was able to go back and take a look at bands such as THE STOOGES, TELEVISION, TESTORS and RAMONES; those bands who had kindled the fire for the artists I was more in tune with. Indeed, the roots ran deep, and some of the musicians from those early bands still remain some of my favorites to this day. I was fairly excited reading about the formation of THE LIMIT, particularly due to the inclusion of Vincent and Recca.

This record starts out promisingly enough, with the beautifully nasty sounding "Over Rover". The song feels like it could have been recorded in 1969, and considering what these guys are up to here, that is a perfect fit. The music on this tune, and on others throughout the release, is brash, three-chord, straight ahead rock 'n' roll. Liebling's vocals are more in line with Punk than with the Doom Metal heritage he brings to the mix, and the lyrical work is nicely filled with the angst of the generation. The songs are short, choppy ventures, with only two of the twelve checking in at over four minutes and seven of the remaining ten coming in under three.

The real issue I have with this release, I suppose, lies in my own expectations. To me, the album feels somewhat redundant in its presentation; almost a regurgitation of what has come before. There is some great musicianship here, but nothing new being done with it. For fans of early Punk music, this could be an incredible find...for a while. Once the newness wears away, however, I believe it would become more of a neat novelty.