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Record Reviews

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Below are some recently posted reviews.

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JOEY RAMONE:
Don’t Worry About Me: CD
I bought this disc a few days after its initial release several weeks ago, but I unfortunately haven’t had time to listen to it until now due to a hectic, unrelenting schedule of academics, homework, exams, beer, and sleep. Today has been particularly grueling and stressful (whatever could possibly go wrong has done so tenfold!), so fuck it, I’ve nonchalantly resigned myself to an inebriating afternoon of cold, ice-chilled brew and the spirit-rousing sonic uniqueness of Joey Ramone. As soon as the powerfully upbeat strains of the opening number, Louis Armstrong’s “What a Wonderful World," kicked into high gear, I suddenly felt alive and replenished with a youthful zeal for life, ready to conquer the world, baby! And it just gets more inspired and delightfully titillating from there: “Mr. Punchy” sounds incredibly like a long-lost out-take from The Who during their youthful speed-addled mod era; “Maria Bartiromo” could’ve very well been performed by Cheap Trick live at the Budokan in ’79; “Spirit in My House” is the closest semblance to a Kinks classic since their very own “You Really Got Me”; “Venting (It’s a Different World Today)” and “Like a Drug I Never Did Before” (with its fiercely smokin’ Steve Jones-style guitar swagger) sound similar to updated, more polished versions of the Ramones’ “I Wanna Live” and “Strength to Endure”; “Searching for Something” is acoustically along the lines of “Lonely Planet Boy” by the New York Dolls; the brutally honest lyrical content of “I Got Knocked Down (But I’ll Get Up)” is a heart-wrenching account of a bedridden Joey’s miserable suffering during his routine hospital stays; and then there’s a spectacular sizzlin’ rendition of The Stooges’ “1969” (a select treat hold-over from the Iggy tribute disc “We Will Fall”). With special musical guests Daniel Rey, Andy Shernoff, Marky Ramone, Captain Sensible, Dr. Chud, Jerry Only, Joey’s real-life brother Mickey Leigh, and other such multi-talented notables, this is one helluva aurally stellar release enthusiastically packed with some of the most well-scrubbed and crunchy rock’n’roll originality ever put to platter. Wherever Joey may be, he should be damn proud of himself for leaving such an indelibly unique imprint upon us all. –Roger Moser, Jr. –Guest Contributor (Sanctuary)


JEWWS, THE:
I Need Your Lovin: 7" EP
Sweet, snotty, no-nonsense garage rock that huffs fabric softener (for that instant, wicked high which leaves blisters in your nostrils but smells nice) that spazzes from the gate like a mis-medicated retard hucked off the short bus and dragged along by his leash. The music trips down to the bare essentials like a meth’d hooker in an ass-floss thong, kicks for the balls on the first note with combat boots and Converse All Stars (care of Omari and Matt), and doesn't stop until a spiked heel (care of Rebecca) grinds it all to a halt shortly after. For fans of the Kill-a-Watts, Motards, and Dirtys. Think Chuck Berry and radioactivity. Me like. Me like. –todd (Alien Snatch)


JEDI FIVE:
Relentless: CD
More useless pop-core for the just-starting-high-school crowd. Fuck music quality and relevance, the guys in the band are cute! Ain’t that right, girls? –jimmy (Hell Bent)


JANITOR:
There Are No More American Heroes: CD
The packaging would never lead you to believe what is inside. Even looking at the band picture, you would kind of expect more of a melodicore band to come out of your speakers. What spews out is a strong blaze of old school punk rock that is short and abrasive. The songs have a Discharge and the Varukers meets Negative Approach mixed with mid-'80s hardcore feel to me. I have no idea where these guys came from, but damn, they are good! –don (Plethorazine)


IRONBOSS:
Rides Again: CD
Who needs that cliched, watered-down Nashville Pussy shit when these here true gods of thunder are sonically pillaging and plundering this great land of ours in all of their monstrously deafening fury?! Indeed, IronBoss sound uncannily like the screamin’ vengeful roar of 100,000 howitzer cannons unleashing a relentless torrent of fire, brimstone, death, and destruction. It’s as if AC/DC, Motorhead, Roller, a motorcycle-gang Molly Hatchet, and a harder rockin’ KISS (circa 1975) were all bitterly embroiled in a fever-pitched, aurally violent fist-flailing fight to the death! This is cacophonous, motor-revvin’ crankshaft rock’n’roll at its heaviest, meanest, and most ruthless. Sure as shit, it’ll put the fear of Satan into you pretty damn quick! In my entire brew-sponged lifetime, my ears ain’t never been this aggressively brutalized… and that’s a down-home god’s honest fact, bub! –Roger Moser, Jr. –Guest Contributor (Reptilian)


IRONBOSS:
Rides Again : CD
Post-AC/DC biker punk that’s all right for what it is, I guess, but probably won’t get more than a first listen from me. –jimmy (Reptilian)


IDIOT HUMANS:
Self-titled: 7" EP
If I remember right, these Cleveland guys were around from '83-'85 and the Ries brothers split up and went on to The Laughing Hyenas (fronted by John Brannon of Negative Approach, who was fucking amazing. If you want to get beat up by a record, listen to You Can't Pray a Lie.) and RC5. This EP is solid for the early-to-mid '80s – on that teeter totter, toying with all-out thrash on some songs and being arty and Joy Division-y on others, but the entire sound owes maybe a little too much to a blender of GBH, Subhumans, and slower Rudimentary Peni to become particularly distinct and memorable. It's okay. Not pioneering, not embarrassing. –todd (Smog Veil)


HOPELESS DREGS OF HUMANITY:
Rock Revolutionary Apocalypse: CD
Ain’t too hip on the rockin’ circa-'80s-Berkeley punk sound of this, but the lyrics are pretty witty and well written. Liked it for that reason alone. –jimmy (Ever Reviled)


HONOR SYSTEM, THE:
100% Synthetic: CD
I was about to start liking this, but it just had too much of an emo feel for me. Back into the case it goes. –don (Double Zero)


HELGAS, THE:
Why You Wanna: 7”
After several listens, The Helgas slowly grew on me like blue fungal mold on a loaf of bread. At first, I honestly didn’t know what to think of their distinctly unique musical quirkiness, but then I decided that they sound vaguely similar to the Ramones (rhythmically), Buzzcocks (vocals and catchy poppy edge), and even Buddy Holly to a certain degree. Yeh, I’ll definitely give this lively lil’ 7-incher several more spins on the ol’ turntable during the next few days, ‘cause it makes me feel all giddy and tingly inside. Aw, shucks! –Guest Contributor (They Still Make Records)


HARUM SCARUM:
Suppose We Try: LP
I read about this band in MRR awhile ago. That piqued my interest but I never got around to getting anything by them. I did see this release and said to myself, I have to finally check them out. I’m not sure how much they have put out in the past, but I need to get more! An insert announced that singer Erin no longer sings for them anymore. I’m more curious now that they seem to be perfect as they are. The music is strong and the lyrics are thought provoking. Socio-political are their leaning in regards to lyrical content. Musically, they are tight and mid-tempo in style that is reminiscent of the early '80s UK anarchist bands like Conflict meets Flux of Pink Indians meets Icons of Filth. The music is well written and has no hints of staleness. Power is produced by musicianship and not with overblown production. The female-led vocals are strong but also add a quality of fidelity that makes understanding the lyrics easier. Fantastic first taste for me from a band that I should have been listening to earlier on. –don (Hex)


HANK PLANK & THE 2x4s:
Venus Hair Trap: CD
Hot damn, these rural white-trash ruffians proudly produce a rowdy, rip-snortin’, horndog hootenanny of full-fledged, grade-A, countrified aural joviality! It’s backwoods, banjo-fuelled, “Deliverance”-style sonic sinfulness that’ll make the devil feverishly dance a jig in the shadowy pale moonlight with a hedonistic honky-tonk mama. During a couple of the dandy delightful ditties, a frenetically out-of-control fiddle shreds the inner sanctums of my ears with its wildly swirling banshee-wail of screeching insanity. Sure as shit, this is some sourmash-stewin’, moonshine-brewin’ mountain music that’ll quiver your liver, twist your titties in a knot, and knock your dick in the dirt somethin’ fierce! So hey now, Junior, just do this for ol’ Rog right this very minute: grab your partner and swing her around, tap your toes, then go to town, and when you get to town, lay your money down (for the saucy swaggerin’ sounds of Hank Plank and his 2x4 compadres, of course!). Yeeeee-fuckin’-haw, this is damn near as invigoratin’ as passionate, sweat-drenched sex with a farm-bred girl in a tub full of Jim Beam and maple syrup! –Guest Contributor (no contact address)


HAMMERLOCK/LIMECELL:
Split: 7”
“Die Hard” is the single by Hammerlock. Hammerlock is a great hard-ass southern rock band but this is not one of their better songs. I think I just listened to it for the last time. Limecell, another great band in the same category as Hammerlock, have the better side. “Buried Alive” and “Live Like an Angel, Die Like a Devil” are their songs. The first drags too much but the second is up to par for them. I’d go buy any of their CDs and ignore this. –toby ()


GUAPO, EL:
Super/System: CD
Moody synth-driven music. Not particularly manic, kinda jazzy sometimes and maybe a little more artsy than is good for it, but an interesting listen nonetheless. Yup. Definitely interesting. Recommended for the robot voice on track fifteen alone. I’m a sucker for robot voices. –jimmy (Dischord)


GRANDPRIXX, THE:
…Drive Me Crazy! : CD
I used to pronounce this band “grandpree” until several people informed me that its pronounced “grandpricks.” Ack. Even worse. Very mediocre pop punk with slightly annoying vocals. Reminds me of the lesser Mutant Pop bands. If this were a cereal, it’d be generic Fruity Pebbles. Not much here to get excited about. –Maddy (Fork in Hand)


GOVERNMENT ISSUE:
Complete History Volume Two: 2XCD
Dr. Strange finishes up its look at the career of Government Issue on this disc, compiling their last three albums (two studio and one live) and a couple unreleased tracks onto two CDs. Taking both volumes of this as a whole, it’s pretty neat to see how the band went from point A to point B, from playing tuneless, over-the-top hardcore to mid-tempo punk with pop overtones. You can hear the progression and see more clearly how they ended up where they did. While I’ve never been a fan of their later work (and still ain’t, to be honest), I can now say I’ve earned considerably more respect for it, and can now see that what I once thought was a total 180-degree turn in abject wimpdom was actually (as was the case of many of their peers in DC) an attempt to stretch the narrow parameters they found themselves in by aligning themselves with punk rock, and create a new kinda ruckus from the old. Can’t say it works for me, but it is good for what it is and I appreciate their effort, even if my appreciation is 10+ years too late. As I said in my review of the first volume a few issues back, I really wish they’d seen fit to include the early demo with “Everybody’s Getting Mad” and their version of “Stepping Stone,” but, this gripe aside, both volumes of Complete History still serve as an essential look at an often essential, usually underrated band that had the gumption to slam and spit with the rest of ’em and had the balls to take a chance on growing up. –jimmy (Dr. Strange)


GENERATORS, THE:
State of the Nation: LP
Pretty solid old style punk band. They just sound too much like a mediocre version of the US Bombs. However, it still isn’t bad. They can be found on TKO’s latest comp if you are weary about buying this before you hear what they are like. –toby (Deadbeat)


GENERATORS, THE:
State of the Nation: CD EP
Damn straight, I wish more punk bands had the balls and sonic blister of The Generators. This crazed mad-dog quartet of insurgent noise-makers sure know how to raucously kick it into high gear while furiously thrustin’ their middle fingers into the wan, expressionless face of our complacent, corporate-fed society. Both melody-wise and within their surly snarlin’ attitude, The Generators are very much chaotically akin to the U.S. Bombs. The songs irately scream with bile, venom, emotion, and unrelenting snottiness. This is auditory destruction at its most severe with seven bone-crushin’ originals, a skull-splittin’ cover of Cock Sparrer’s “Runnin’ Riot," and a bit of video-enhanced imagery, as well! DESTROY! –Roger Moser, Jr. –Guest Contributor (TKO)


GBH:
City Baby Attacked by Rats: CD
GBH is one of those second-wave British punk bands that seems to have had a lot of influence on current hardcore music. It’s hard to tell how much influence, though. Sometimes I wonder if bands like the Exploited and GBH are more popular now for their music or for their cool t-shirts and patches. So I don’t really want to get into a history lesson and debate the band’s place in punk rock history. What I’m more concerned with is how this, their first full-length album, measures up today. Because I know that the Exploited and Crass were awesome, but I just can’t get myself to listen to them anymore. So what about GBH? Well, listening to this re-issue of City Baby Attacked by Rats twenty years after its first release, I’m glad to find that it still holds up. Sure, there are a few too many wanking, metal guitar riffs, and sometimes the singer gets too close to belting out a Ronnie James Dio-style scream. But the songs are still fast as hell and the drummer keeps a tight control on the tempo of the songs. And if you have a heartbeat, this’ll make you want to pogo. So, yeah, it’s still good. With all the great hardcore that came out last year, though, I can think of about three dozen CDs I’d spend my money on before buying this twenty-year-old album. But since I got this one for free, I’m all for it. –sean (Captain Oi)


GASOLINE:
Take It to the People: CD
Japan’s Gasoline is truly a sight to behold. They ripped a new one to each and every member of the crowd that was lucky enough to witness the all out rocking at the Garage in beautiful sunny Los Angeles. Singer Gan glides effortlessly through a host of front man antics including the James Brown, getting’ so down, he has to crawl all over the stage while he dons a majestic shameless metallic purple embroidered cape; inducing the crowd to lay low during a hushed portion of their cover of “Shout” by the Isley Brothers then commanding them to leap to their feet at his discretion; as well as a full frontal cover of The Pack’s classic punk anthem “Nobody Can Tell Us.” Man, these Japanese soul bros take it to the heart! So, ReTodd was nice enough to pop over their latest full length CD, courtesy of the fine folks at Estrus records. It starts off with a swampy blues harmonica thang – Take It To The People (which they reprise at the end of the vinyl version, but what do you know the CD version actually has more bonus tracks – get smart and buy the CD version will ya, cause they’ve got classics like “We Are Gasoline” for your edification) but don’t fall asleep on that sweaty Mississippi porch yet my friends because Pearl Harbor #2 is goin’ off right in your ear! There’s a consistent garage punk tone but it’s laden with hefty servings of soul sonic reduction Detroit rock and early rhythm and blues influences to keep your feet moving and your butt shaking. Gan gets downright gutwretchingly blues vocaled out (he’s a virtual Japanese Son House), Hiroshi anchors the tunes with precision bass lines, and drummer Shuhei hits ‘em hard babies! Mr. Tim Kerr takes the reigns and makes it swing. Take It To The People is another instant classic from Japan that belongs in your record collection. Can I get an amen? –nam (Estrus Records)


GASOLHEADS:
Red Wine and White Russians: 10”
They thank Teenage Head! They are from France! This is pretty decent rock and roll. If only they sounded like a French Teenage Head! Then I could die happy! If this were a cereal, it’d be regular Cheerios. Not great, not bad. And could all bands from non-English speaking countries stop singing in English, please? –Maddy (Dead Beat)


GAS HUFFER:
The Rest of Us: CD
Wow. I wasn’t expecting this from Gas Huffer at all. It’s like they took the trashy rock’n’roll that made them famous and threw out the trash. Not in a bad way at all. This is the musical equivalent to the whole Pygmalion fantasy, where you take a hooker, clean her up and make her presentable to all your friends and everyone loves her and she’s a great girlfriend, etc., but deep down inside, you know she still fucks like a pro and you’ll never have to lose that. It just makes sense, though, that, when you have this much talent swimming around beneath the distortion, you should probably drain a bit of the distortion out of the pool. And that’s what The Rest of Us does. Everything about Gas Huffer is solid in this album: a sturdy rhythm section, catchy vocals, and good lyrics (“the kids are listening to the radio. They can’t tell the songs from the ads, but who can these days?”). But what makes this album amazing is Tom Price’s guitar. Without any kind of wanking or showboating, Price rounds out the songs with perfect sounding riffs. Every time I listen to this album, one of Price’s guitar parts will jump out at me and I’ll think, how the fuck did he do that with only six strings? I’ll think, people have been playing guitars for hundreds of years, why hasn’t anyone else thought to do that? And that? And that? It’s not just impressive; it’s great music. –sean (Estrus)


GADJITS, THE:
Today Is My Day: CD
First rule is: The laws of Germany. Second rule is: Never trust a ska band. Third rule is: Never trust a band that has formed within the past two years to play punk rock and roll. Fourth rule is: Never trust a ska band who jumps onto the punk rock and roll bandwagon. That’s really all you havta know about the Gadjits. If you’re one of those trend jumpers, HERE’S YOUR TREND! Bluesy punk rock, complete with retro/emo-y package design. If this were a cereal, it’d be whatever Cap’n Crunch is dishing up this month. (There have been a ridiculous number of different kinds of Cap’n Crunch – and all of them suck.) Can I declare a moratorium on more bands forming that sound like this? If not, please kill me. –Maddy (Thick)


FUSES, THE:
Self-titled: 7"
Not to be confused with The Fuse (singular, from LA) or The Short Fuses (the punk'n'roll band with the lady), it's The Fuses. I'll be honest. I yoinked this as soon as it came in because it had a playable cover, which is a pretty fucking cool thing. The packaging is impeccable. The songs? Ehh, so-so. "If the Communists Don't Dance" is jangly, androgynous, repetitive and disaffected. "The Fix Was In" continues the art-holeing. It gets right to the edge of being interesting, of exploding all over, then it recedes. "The Poor Need Opera" has a sparkle of Gang of Four angularity, but it just seems so, well, very not dangerous or risky but calculated: too much head, not enough heart. The cover song (in two senses of the word – it's on the cover and it's a cover of Fashion) is the best of the bunch. Spastic, jumpy, and short. It's never the best sign that my favorite song is written by someone else. Fair, but I doubt I'll be playing this much. I'll just be showing people the playable cover. –todd (Slamdance Cosmopolis)


FURIOUS IV:
…Is That You?: CD
This is intricate, energetic, and youthfully exuberant pop-punk spasticity that robustly thumped a whoppin’ dinosaur-sized knot upon my head in thirty seconds flat! It’s all-at-once melodious, mercurial, and frenetically charged like a motherfucker! Furious IV brazenly remind me of One Hit Wonder with snottier, more boyish vocals; and less I hesitate to mention the crunchy rapid-fire rhythms and riffs, stratospheric rocket-fuelled guitar leads, a startling bone-breakin' rumble of bass bombardments, and a thunderously raging display of skull-cracking percussive skillfulness. Indeed, these jubilant and juicy songs are feverishly performed with a fast-paced sense of urgency and the utmost of juvenescent swagger. I only have one valid complaint to lodge: the final detestable tune, “Cop-Out," is a mass-appeal acoustic abomination that sounds uncannily like an MTV Unplugged reject. Next time leave such lackluster musical bilge at home, fellas (I know acoustic-tinged antics like that are popular with the suburban mall-brat punks, but it’s a redundant and over-rated pop-punk cliché that’s been done to death already, gawddamn!). Anyway, other than the aforementioned, Furious IV have frenetically released a stellar first-rate pop-punk classic that’ll constantly be blastin’ from my stereo at all hours of the day and night. –Roger Moser, Jr. –Guest Contributor (Pointed Finger)


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