'Here Comes the Night' was the single of the week in "Record Mirror", but, without national distribution, the chance for chart success had gone. Citing musical differences, Paul Daley left the band (with Edwards telling him, ironically, 'you'll never make it with that attitude'). Stan Gretsch (real name Ralph Littlejohn) proved to be the Rivals' final drummer. With Gretsch's death in a car accident (in a stolen car) in 1981, and Edwards' move to Naughty Thoughts, the Rivals dissolved. With the resurgence of interest in first wave punk that began in the mid-1990s, it was probably inevitable that a Rivals' collection would be produced. A twenty-track compilation album called "If Only" came out in 2007. First single 'Future Rights' was something of a hit in 1979 in the Kent punk scene (at least in Thanet), and the Rivals drew (sometimes ambivalent) comparisons to the already-defunct Sex Pistols. One zine declared, extravagantly, that 'it has now become the norm for people of all ages to be seen unashamable & openly in the streets whistling the bass line of "Future Rights" the debut and a very fine indeed release.' Another writer appreciated that 'Flowers', the flip side, 'is good for a laugh as the big bullies wreak mindless violence on an innocent daffodil.' This was sharp, sneering punk, and was appreciated as such. But it was 'Here Comes the Night' that attracted attention in London. Mike Read made it his single of the week on Radio 1 and Paul Burnett and John Peel were both enthusiastic about it. The scenesters were less unanimous. Some praised the record as 'a spirited version of the song that owes more to enthusiasm than expertise, but . . . thankfully free of cliches and worn out platitudes', but others cited it as an example of 'how to ruin a good song using an ancient Pete Townshend guitar technique and a surplus of unharnessed exuberance', and yet others wished that the Rivals would get back to recording their own material. Nevertheless, for the listener today, 'Here Comes the Night' is probably the band's signature recording, sharp and bright, and the A-side is one of the most frequently anthologized punk obscurities of its time. This article is heavily indebted to Paul Leinster's excellent history of the Rivals for the Detour Records website. The Rivals have an entry in the amazingly comprehensive and specific Kent MusicBiz Project.