American Alternative music reviews

This is an excellent discount album. The production is wonderful, Alison's vocals are clear and biting, and the rest of the band rocks. They were an excellent rock band and their live shows were one of the best I've ever seen. The title track is an upbeat and electifying hit, and this buzzing energy continues throughout the CD. My favorite track is "Toxic Home". It is a beautiful rock song with excellent emotional lyrics. It's a shame they weren't given the response they deserved (i.e. been more famous), especially since there are so few good rock bands out there and rock bands with female lead singers are rare.

How to describe this album? It's gritty, emotional, punkish alternative music that catches your attention with the first guitar riffs but holds on to you with their lyrical content, song construction, and perfect vocals.

It's really a shame Discount isn't more well-known, they deserve any bit of fame they get.

"You Don't Miss Your Water" was written by William Bell for Stax Records in the late sixties.

This debut from LA's most hard-rocking power trio is essential to any true-blue rocker's CD collection. The sound of this album is absolutely mind-blowing, with the boys sucessfully mixing a heavy dose of blues, country, and soul with full-speed rock and roll. Tracks like "Part-time Loser" and "Sneaking" manage to pack a powerful punch, while songs such as "You Don't Miss Your Water" show that while Jim Wilson, Marcus Blake, and Jason Mackenroth know how to kick out the jams, they can still write a damn fine acoustic song and play it just as well. This album and these musicians are every bit deserving of the Grammy-worthy liner notes penned by none other than rock icon Henry Rollins himself.
For anyone who has yet to indulge in the 'heavy soul experience,' I say have yours today with the boys of MS. It's a ride you'll never forget.

i bought this cd because i downloaded a few songs by Mudhoney and liked em. This was the only Mudhoney cd in the store, i was kind of disappointed since i was after thier first self titled album but i bought it anyway in disgust.
NEVER have i been so rocked out of my socks by any cd on first listen. words cannot describe how hard this rocks, if you're new to Mudhoney, buy this u wont be sorry
BLOWN THE F' AWAY ! ! !

The sticker on the album says that this album rocks by some reviewer and he was right. I was hesitant about giving this CD five stars, because those are common reviews on this site, but this CD deserves it. Mudhoney is one of those bands that I have every CD of out of respect for how much I like some of their CDs. I always loved their early CDs, but their latter CDs left a bit to be desired and most of them failed to match their intensity. This CD makes up for that.

Kind of like the Pixies bootleg, Rough Diamonds, this CD is Mudhoney at their rawest, and it's a welcome treat that I urge any Mudhoney fan to pick up. I'd also urge anyone in the mood for a rocking and raw CD to pick this up.

A few songs repeat, but you'll barely notice it. Even mid-tempo numbers like "By Her Own Hand" are pulled off with unexpected urgency (with some subtle lyric changes) that mark how great a band can sound. It's a shame they were never really able to match this intensity in the studio. Some songs off their later albums are given a great second chance they didn't intially get. Songs of off My Brother the Cow (not a very good album) like "Judgement, Rage, Retribution and Thyme", "Dissolve", "What Moves the Heart" and a few others are given great performances that make up for that album.

Other songs of Mudhoney's fine debut album (which is also an essential grunge-period release) show up in fine form here from "This Gift" to "You Got It"

Other highlights: "Here Comes Sickness", "You Make Me Die", "Touch Me, I'm Sick", "Suck You Dry", "Poisoned Water Poisons the Mind", and of course "Hate the Police".

All in all, this album is blisteringly raw, and I'm so glad that I bought it. No one seems to own it, and that's a shame.

Not alot of people are thrilled about buying CD singles, especially import ones. People like to ask "why do all the import CDs have all the cool stuff on them?" Well, in most cases (and I know fot a fact that this is true about the counting crows CDs) the enhanced content such as the secret sites that you get access to (like on Hard Candy and Films about Ghosts) is NOT available to people who don't live in the US or Canda. Because of this, the CD singles that are released overseas include other songs to help make up for the fact that they don't get the exclusive stuff that we do.

With that said, 'If I could give all my love' (also known as 'Richiard Manuel is Dead') is an incredible song by itself, and while there is a simply structured chord architecture, it's a brilliantly musical piece. One thing that the general public does not know is that the Counting Crows recorded a bunch of cover songs. These included old favorites, songs from bay area bands that Charlie (the piano player) and Dan (one of the guitar players) used to play in. The 'Blues run the Game' (Jaskson Brown), 'Friend of the Devil' (Greatful Dead), 'Big Yellow Taxi' (Joni Mitchell), 'The Return of the Grevious Angel' (Graham Parsons), and 'Ooh La La' (the faces) are some of the tracks that they recorded. 'Big Yellow Taxi' became a top 40 hit and 'Friend of the Devil' made it's way on to the greatest hits album, 'Films about Ghosts'.

'Ooh La La' and 'The Return of the Grevious Angel' sound absolutely great, and since you can't get this studio version anywhere else, I highly reccomend it. Counting Crows may come out with a covers album, they may not. But either way, this is definately something that you will want to pick up.

This is really a great song, by the greatest rock and roll band of history so far.

I strongly suggest you buy it.

This is really a great song, by the greatest rock and roll band of history so far.

I strongly suggest you buy it.

Remember the last time you listened to a new song and thought, "Wow that was perfect?" EVery once in a (too great) while, you hear something that came out just right. I was so torn between recommending this album and not.

On the one hand, it has some of the best music I've heard in years. Listening to "The Returning Hours" was one of those "perfection" moments--not perfection as in smooth, commercial, overproduced and so bland there's nothing to hang onto. Perfection as in just gritty enough, just polished enough. One of those songs that leave you wondering, "How'd they do that?" The more I listen to the album, the more these gems grow on me. I find a new favorite (Head Full of Worry for today)everyday.

On the other hand, if lots of people begin buying it, and radio stations start overplaying it and the band ends up standing with Carson Daly, will I still love them? Oh well, I guess I'll risk it. This album is AMAZING!

I've pretty much given up on radio and so-called "music" television. If we're not being inundated by scantily clad talentless girls and boys, writhing around singing passionless come-ons, we're being bombarded by "rock" acts who have tried to sanitize their music for the sake of a pop-centric audience or who are just regurgitating the classic rock sounds of The Stones and The Who, without putting any of said acts' thought, heart or originality into it. Yes, rock 'n roll is in critical condition these days. But there is hope. I've found a cure with Knockout Drops. Get this CD and swallow it down. Trust me, it's good for you.

Apparently the band has been around for several years now, but this is their first full-length release. They have quite a loyal following in New York, and have toured with such acts like The Violent Femmes, Better Than Ezra and Soul Asylum, whose influences can be heard here and there on "Killed By The Lights". This record is like a sweet mixture of all the best elements of alternative and rootsy rock, with a few secret ingredients thrown in.

The band consists of lead singer Chris Campion, guitarist Tom Licameli, bassist Phil Mastrangelo and drummer Vinny Cimino. Each member brings something special to the mix, but as with most bands, the focus tends to fall on the lead singer's shoulders. And what capable shoulders they are. Chris Campion's voice is somewhat similar to that of his brother Billy, formerly of The Bogmen (currently known as Vic Thrill). However, Chris has more of a countrified sound with a range that goes from sweet angel to raspy, down and dirty devil. There is nothing phony or contrived about this guy, and he delivers his lyrics with an urgency and honesty that is rare these days. For instance, when he sings, "You say that I was just a face for that time and place/And not just a precious memory instead" in "Say Something", I feel like finding the girl that made him write that and smacking her around a bit. The song may not even be about him, but he makes me believe that it is. He's just that good.

Obviously, "Say Something" is a favorite of mine, but the real stand-out track here is "Wrong Side of Love". It's one of those songs that is just so perfect that it's hard to describe why. But I have a dream that one day I'll walk into a bar or a party and instead of seeing a group of drunken revelers sitting around singing "Piano Man" or "American Pie" at the top of their lungs, they'll be singing "Wrong Side of Love". It has that timeless, classic quality to it. I can't imagine anyone NOT liking this song.

As for the rest of the songs, every one is wonderful in its own way and there is absolutely no filler to be found on this record. Songs like "Hellride", "Wasted" and "Only Man In The Universe" are great uptempo rock songs with irresistible melodies that make you wanna dance or drive real fast with the windows down. Two of the last numbers on the record, "Caught In The Headlights" and "In The Returning Hours" have a harder edge and make you just want to sit with your eyes closed, singing along to the lyrics. "..Headlights" is probably my favorite track next to "Wrong Side of Love", with its great opening riff, picture-painting lyrics and Campion's vocal mood-swings. "..Hours" is the epic of the record, clocking in at over 7 minutes. It's a beautiful, sweeping song that builds and builds to an ending that you want to shout from the rooftops. "Head Full O' Worry" is a perfect record-closer; an acoustic song that perfectly showcases Licameli's lovely, understated guitar work and Campion's gritty but pretty, honest vocals.

Well, I just flipped on the radio and surprise...Staind is on...again. I'm feeling a little weak; I think it's time for my Drops. Everyone, do yourselves a favor and pick up these Knockout Drops. Take care of your musical health.

These recordings have been remastered from tapes belonging to Ernie Brooks and it is a shame they were not released before. This is pure rock in progress and the unique chance to catch the young and angry Jonathan with his perfect "highway" band, the Modern Lovers.
Had the world been submitted to those songs when they actually were performed, the story of rock would certainly have taken a different path. None of any marketing undercoverstrategy is present here, this was done before punk era and it is pure fun and passion.
The version of "I'm straight" which is here is my all time favourite, it is raunchy and Jonathan is playing it like a genuine episode of his life. "Wake up sleepy head" with the intro with John Felice, still 16 and a Real Kid to be, is one of those great lost Jonathan anthems. These recordings are essential, and are the perfect match to "Precise Modern Lovers", but for die hard fans it is different and better. "Foggy notion" is the obvious tribute to the Velvets which Jonathan still worships nowadays. In many other songs, the Modern lovers sound like the true followers of the NYC band.

This cd is worth it just for "96 Tears" & "Wake Up Sleepyheads", which you can only find here. Throw in the only live versions of "Old World" & "Modern World" out there, & an "I'm Straight" that's different from the one on "Precise M. L.s Order", & it's essential. All in all "Precise" is better for rarities, but until they come up with a "Complete Live Lovers", you must have both. The most interesting songs to me are the cover songs "96 Tears" & "Foggy Notion", which sound like they could've been written by Jonathan & point out the influence that 60's garage rock & the Velvet Underground had on them. What was completely new was Jonathan's lyrics & delivery, which were very influential (the guy from the Violent Femmes is the only one that really came close).

This is the butthole surfers at their best. their rendition of the Black Sabbath song ''sweet leaf'' is better than the original. this is by far the greatest butthole surfers album ever, also Hairway to steven and Widowermaker! were really good weird but tasteful noise.good music to listen to while taking a dump. this is the butthole's 6'th recording,the previous 5 were more punk, this is an experimental album.
this is the 1992 touch and go version of the cd.
the remastered version contains less artwork, but the music is pure entertainment on both. it's interesting to check out.
buy it if you don't have it, it will change your life. 5 stars+

Listening to this ablum is like going through pyschotherapy with a Klingon in heat. It's stinky, grating and plays like Kenny G in a garbage disposal. My favorite tracks are 'U.S.S.A', 'Graveyard' (both versions) and "22 Going on 23' (which makes me cringe when I listen to it). Ah hell, the whole album is a masterpiece.

And if you see your mom this weekend...make sure and tell her...best surfers record! Listen to the birds chirping and the cows mooing last July.

Seeing Cowboy Mouth live is a religious experience. This CD really does not do their amazing shows justice, of course, but it is excellent. As a rule I am suspicious of live albums, which often are neither as good as a bands live shows nor their studio albums. This is true even of this album, but because CM start at such a high level the album is still excellent. This album was originally released in the early 90s (as Mouthin Off) and was actually CMs first release, and they sound righteously raw and energetic. It's a great addition to any fans catalogue, especially since it includes a number of songs unavailable elsewhere, including two tracks (Don't Come Home A Drinkin' (With Lovin' On Your Mind) and Listen To What I Say) that are actually studio recordings that are available nowhere else. There is an expanded version of the album that was released in 97 and is even better, but best to buy this sucker now while it's available, you won't regret it. Additional standouts include `Down By The Riverside' and `Light It On Fire'.

Anyone who's been to a Mouth concert knows that's their forte. If Fred LeBlanc hadn't started CM, he woulda become either a motivational speaker or a preacher. When he plays he feels good, and he wants everyone around him to feel good, too. It's hard to transfer that feeling to a studio recording, but we get that "let it go" vibe loud and clear on "LIVE!" The only way to hear "Jenny Says" is live, we feel the hopelessness of "Man on the Run" so much more keenly with the audience as back-up singers, and "Love of my Life" will get you up and dancing, no matter where you are. Plus "LIVE!" includes "Maggie Don't Two-Step," a hard to find song, but a concert favorite. Paul Sanchez finishes out the cd with his "Little Blue One," gently lulling us into his story with his beautiful voice. Buy this cd, go to a concert, and afterwards, with your head still swimming in the euphoria, go meet the guys in the lobby and have em sign it.

I must preface by explaining that I'm in no way an experienced review writer, nor am I a knowledgeable music critic. I am, however, a longtime fan of The Freddy Jones Band, so when I found out Marty Lloyd was releasing a solo album, I had to get a copy.

This is a strong effort by Marty from start to finish--there honestly isn't a bad track on the entire album. The tracks on the album incorporate a diverse range of musical influences, and you can bet that there are a few with those FJB-signature, semi-sweet refrains ("Sinkin' Like a Stone" comes to mind).

If you're an admirer of FJB, this album is a must have.

Great CD Marty!!! It great to hear music that is original both lyrically and in sound. This one is easily one of my favorites!!!

Marty Lloyd, the long-time frontman of the Freddy Jones band, struck gold in his solo debut. This album brings the listener in from the first song, Justified, and follows with great track after great track. Lloyd's songwriting ability is evident as he folds folk and country influences into his own down-home rock. American Dream (with a pop-edge), Marigold (anthemic, emotional rock), and Fall From Grace (some blues influence) are three very different, but all wonderful tracks that show Lloyd's versatility. This album could easily break into the Top 100, but Lloyd's focus on making great music keeps a natural sound. His songwriting reminds me at times of Ryan Adams, another talented artist, but Lloyd takes his own route in the end producing one of the best start-to-finish albums of the year.

This is their latest release, 2001. There's nary a song on here that sticks to the ribs. Nothing stands out. Just meandering, wandering, not hitting the mark.

These guys know how to make awesome records. I consider Music to Strip By and The Band That Would Be King and Charmed Life to be three of the finest albums ever made. Period.

This stuff doesn't even come close. There's no solid song writing, nothing musically that sails, that swings, that makes ya say, "If there was real radio in the world HALF JAPANESE would be chart toppers." No, not on this record. One can only hope for the future.

If this is the first album a person hears by HALF JAPANESE they may be struck by the complexity of their sound, of their ability to not adhere to traditional musical forms in Western (punk) pop music. Just do yerself a favor, listen to those other three albums and you'll know what's missing here. chrisbct@hotmail.com

Jad Fair along with longtime bandmates John Sluggett, Jason Willett and Gilles Rieder somehow manage to keep evolving and stay fresh. While most bands that manage to make it to their their 13th release get repetitive, this band sounds better than ever and Jad continues to explore new visions of romantic love at its peakiest.
Paradoxically refined and retarded, they squirm out from under your thumb just when you think you've figured them out. It's one helluva entertaining album and highly listenable by any standards, even to those who found their early stuff to be rough listening (refer to Lester Bang's Guide To Horrible Noise). They surprise with lots of sonic interest and a stunning variety of approaches on Hello's 17 songs.
This record features sweet sounding natural instruments like thick Hammond organs, crystal pianos and lots and lots of guitars.
"And the Angels Said Go To Her" opens Hello with a laid back feel and goofy accents that suggest a musical game of leap frog.
"10 AM" is a wild punk-rock rocket ride with upside-yo'-head guitar explosions, guitar missile whistling sounds and a guitar 'solo' that sounds suspiciously like a broken guitar cable buzzing.
The gem, "Red Sun," is intimate, lovely and languid with sweet ringing guitars that collide with innocence. Actually, there are several fine sounding ballads here and on "No Doubt" you can hear Jad declaring his love (our love) "maple syrup pure." "Summer Nights" unpredictably mutates from teenage hand-holding purity into hideously tortured guitar tones, kinda wack-a-doo. While "Jump Into This Mess" conjures a funky bouncy hoedown groove, "Best of the Best" might have been Diamond Dogs' alien spawn with its crunchy circular guitar riff and hand claps. The ironically titled "Happyland" takes the record out with a crawly, ominous vibe and Sluggett's Dark Shadows piano echoes in the canyons of your mind after the record ends.
A couple of weaker tracks could have been omitted: "Our Turn" reworks the old Steam riff and not much happens, "Whatever The Outcome" actually sounds pretty good, like Echoes era Pink Floyd, but it's too sombre compared to the forward-looking vibe of the rest of the album.
As a whole, Hello is a very fine release. This time it shows that Half Japanese may be slightly touched, touched by genius too.

Before everyone was raving about some guy named Calvin Johnson and this thing called twee pop, there was David and Jad Fair, two odd ball brothers who first took to making music in the late 70's. These guys were among the first pioneers in naive rock and took to becoming the greatest rock 'n' roll band on the planet before they even learned to play chords.
"Hello," the 2001 release retains the spirit and playful simplicity of albums predating this release by 20 years. Stand outs on the disc include the sensitive ballad "Red Sun" with lyrics that include "Heaven must have sent her/Heaven must have meant her for me/And who am I to fight with the judge/Who am I to argue with perfection." Exuberance and joy just fill me when listening to "Summer Nights," a song about love and good times in the summer.
Some songs get strange, such as the bouncing beats and the use of a duck call in "Jump into the Mess." After over 20 years of playing, Jad Fair still can not play a chord but the band has had a lasting influence on many popular bands today such as Sonic Youth and Pavement. Overall, I would have to say "Hello" is great. Each song on "Hello" is able to stand alone but the listener will also find joy in listening to album as a whole.