American Alternative music reviews

For those who knew Austin from the House Jacks, American Pi is a step in a totally different direction. However, most listeners will recognize that his quality songwriting, vocals, and tasty arrangements, although different from his work with the Jacks, are still prevailant and much more liberated. For those who don't know Austin from the Jacks, I think it would fair to say that this guy is an incredible vocalist and writer, whose songs speak from the heart and reach for the heart while provoking thought on all levels. I've always been fond of his work because he requires his listeners to work a little harder than your average singer/songwriter, this factor remains in American Pi.

I think the title of my review says it all. This CD is a gem, and is something you should add to your collection, not just because of its repeat-listenability, but because it is a truly fine piece of work. The songwriting alone is enough to make you step back and say, "wow!", but add to that the incredible vocal sensitivity, passion, and sensability that Austin gives in EVERY performance. His work is intelligent, yet accessable, and it just plain rocks. On top of that, he has a wonderful line up of other musicians with whom he worked very well. He is the best thing to happen to the very broad genre that I call rock. And somehow he has managed to create his own, that I've temporarily dubbed akw.rock. Buy it. Buy it. Buy it. Thank you, I'm done.

Matthew P. Selby songwriter/producer

Oh, if every new CD I buy could have all of the tracks be this intriguing and thought-provoking. This CD rocks when I want to and smoothes out in some melodic slower tempos with very interesting new sounds. Austin's voice is truly a beautiful and lush instrument all in itself...witness the song "anymore" to back me up on this one. This CD should be in everyone's collection. Every song is a gem.

If you must only have a snapshot of this incredible band, than a "best of" will do. Criminally, most of their crucial songs didn't even make the cut. Tragically under-represented is the MIND-BLOWING "Over the Edge" album, as well as the "Youth of America" EP. That's not to mention that "Is This Real" ain't even included (rights weren't held by Restless). All bitching aside, this is a taste of one of THE BEST bands of the late 70's and 80's (yah, yah, I know Sage is still around). FIND AND BUY ALL REISSUES. THEY ARE NOW AVAILABLE ON "GIFT OF LIFE" RECORDS.

I have most of the original records these songs are culled from, and fortunately most of them are still available if you look around. Check out Sage's new label as well... Certainly the older albums are classics, but the new ones are just as good and you'll hear how the music has progressed over the years, maturing and getting better all the time. The Wipers never gave a toss about being trendy or sounding like what's popular at a given time. Their music holds up after all these years, unlike so much of the stuff that fills used vinyl and cd bins all over the world.

They have a sound that I can't completely describe here. Some of the songs are blazing with distortion and speed, but through the noise you can hear every single tone and note in the chords being played. On others the band lays way back and takes you on a wistful and sad journey, with the guitar cleanly laying down timeless melodies. The spare instrumentation of guitar, bass and drums is sometimes filled out with piano or percussion, but no matter what, the guitar is ever present and his tone is incomparable. The closest thing I can think of is Hendrix's sound, but somehow Sage is more constrained and subtle than he was and never plays anything "wanky" if you know what I mean. It's not guitar playing for guitar playing's sake, every note counts toward making the song a whole statement. The bass and drums lay down some of the most driving, tight rhythyms I've ever heard from a rock band. The different drummers and bass players on these recordings deserve special praise for creating such a huge, hypnotic sound.

Okay, so this band rocks, and there are lots of other bands out there who do the same, but one thing I didn't mention above is that Greg Sage is also a fantastic singer. No need to hide the vocals under a mix of loud guitars because the guy has a beautiful voice that rings clear and true, always on pitch, full of expression without being overwrought, and able to convey the real emotion behind the songs.

Incidentally, if you get the chance to hear their live recordings you'll be stunned to find out that they sound almost exactly the same as they do on record. No studio trickery involved in these recordings, just masterful playing.

Although I consider myself rather knowledgeable about music, the music of Greg Sage was a very recent discovery. All the songs on this collection prove worthy of many playbacks. Actually, I find it quite baffling that this band did not get more recognition, for it certainly deserved much critical praise. This is guitar driven music that definitely influenced bands such as Nirvana. I highly recommend this album. I only wish that I knew of them sooner.

I remember when I first bought this album I was a little bit disappointed because I didn't think it was as good as it predecesors, Big Lizard and Eat Your Paisley. Looking back I realize how foolish I was as their first two albums are tough to beat. Bucky Fellini stands on its own and does so quite well. The mocking of Ballroom Blitz at the beginning of the Pit cracks me up every time and Big Time Operator, Instant Club Hit, and Jellyfish Heaven are real stand-outs. My personal fav is Watching Scotty Die, a humorous look at toxic pollution. The best song TITLE, though is definitely (Theme from) Blood Orgy of the Atomic Fern. How do they come up with this stuff? Highly recommended.

I bought this album (in 1987) having never heard a Dead Milkmen song, and as soon as the music started I was hooked. I've been a Dead Milkmen fan ever since. The music is raw, funny, and pure! From Rodney's unique vocal style (this guy has one of the best-sounding punk voices you'll ever hear) to Joe's grungy, garage rock guitar to Dean's caffeine-charged drumming, Bucky Fellini has it all. Best of all, this is one of the albums before they flip-flopped their format and ruined themselves; before Rodney, for some unknown reason, decided to hand over most of the vocal duties to Joe. (Don't get me wrong - Joe was GREAT, and still is! But the Dead Milkmen should never have tried to become Butterfly Joe in the midst of a great thing!!) Anyway...buy this CD! You won't ever regret it. It's as simple as that.

Really, I did. When it was recommended to me, it was as if, "oh what do you mean you don't have this? It's like standard issue." And when I got it, I thought, this album is so awsome, why did it take me so long to hear it. But now I realize, not everyone loves this album, or has even heard it, or even the heard of the Dead Milkmen. In some ways, the songs on this album are so tightly arranged, crafted, and played, that one could make a Beatles comparison. And Dave Blood's bass playing is worth mentioning, on this and all albums. He really was one of the best bassists. This is the most polished and well produced album they put out as well. It is their Dark Side of the Moon.

For music fans in the Boston area, this CD is a godsend. It features hard to find local classics such as "They saved Hitler's brain" by Unnatural Axe, "Lonely Hearts" by The Atlantics, "I want to help you Ann" by The Lyres and "Better off dead" by LaPeste. The Neats "6" is very interesting because of the swirling organ and numbers theme. Some of these tracks have been re-recorded by major labels. "When things go wrong" by Robin Lane & the Chartbusters was originally issued on Deli Platters Records and was a better mix than the Warner issued track here. For "Loretta" by Nervous Eaters and the Atlantics track, they used the original single versions. The only dud is the Cars demo. Get this now before it dissapears.

Having lived in Boston during this era, and having seen a load of these bands live, I have to congratulate Rhino on putting together a pretty good slice of the important Boston bands of the 80's. The majorityof the tracks have a lot of staying power ("When Things Go Wrong", "Mass Ave",etc.) and some are just fun to rock out to ("Loretta", "I Want To Help You Ann").

It always surprised me that so few of these bands got national exposure or recording contracts. (The oddest picks of the lot were the Cars, considering they rarely played the clubs). The disc is missing some good bands as well - the Atlantics, the Sex Execs and the Rings spring to mind - but all in all, a good sampling of what was at the time one of the hottest music scenes in the country.

Slap it into the player, kick back, and dream of a time 20 years ago when bands really had talent and weren't backed by huge corporations...

Although I first heard Robin Lane's "When Things Go Wrong" in Indiana of all places, I really became a fan of a number Boston punk/new wave bands when I was living in California. Our local college station had the good taste to play The Lyres, Del Fuegos, and Mission of Burma in heavy rotation. This CD picks some really choice selections from these bands. The Thrills and Atlantics both contributed unexpected gems to this CD too.

In addition, the incredible, hypnotic, organ driven tune "6" by The Neats is probably one of my all time favorite psychodelic tracks from the 80's. Without the aid the of any illegal substances, this song can project you into other worldly state of mind.

While a couple of Boston reviewers were obviously taken with this collection, I want to assure the perspective buyer that this music transcends mere regional interest. Since there are quite a few indispensable songs on this album, you can't afford to miss owning a copy.

kinda the worst awful west coast caterin to THE EAST COAST bore wat past post punk PRIME before the ultimate bore FOR A FEW YEARS SETTLED IN, THIS IS LABORIOUS,impossible to listen to three times in a row,ONE OF THOSE AWFUL FINDS that doesnt reward repeated OR carefull LISTENINGS, is THERE one good tune? ALTHOUGH MIRACULOUSLY THEY ACCIEVED A NEAR brilliance on their latter ALBUM MEDICINE SHOW WHICH IS A STUNNER in a west coast STONER HEAVy LITERATE seventy take more neil young than lou REED crapaolla.

The Dream Syndicate share with a number of other fine 1980s bands the distinction of being a great band doing straight ahead American rock in an era when public attention was turned to other genres. Their particular take on post-punk was heavy on the "post", light on the "punk", as their influences--Lou Reed,
the Doors, and, in the case of their guitarist, the "acid rock" extended jam, were combined with a melodic and lyrical sense that was not simply retro. The centerpiece of this album is the band's finest song, "Tell Me When It's Over". This song sounds like the best song Lou Reed never wrote, and in particular, the
line "I thought I knew the answer, but no question was posed"
sums up a lot of moments a lot of us had and still have. This is excellent, intelligent, driving rock, well worth owning.
I just wish they'd re-release "This is NOT the New Dream Syndicate Album! Live!" in CD.

The Dream Syndicate produced two great albums; Medicine Show and The Days of Wine & Roses (I should also add their self titled first EP). Both are highly under-rated recordings from an under-rated band. If your interested in listening to some seminal recordings from one of the finest undergroud bands of the 80's- check both of them out. Unfortunately the Dream Syndicate lost it's edge after Medicine Show so I can't recommend their last three albums as whole-heartedly.

kinda the worst awful west coast caterin to THE EAST COAST bore wat past post punk PRIME before the ultimate bore FOR A FEW YEARS SETTLED IN, THIS IS LABORIOUS,impossible to listen to three times in a row,ONE OF THOSE AWFUL FINDS that doesnt reward repeated OR carefull LISTENINGS, is THERE one good tune? ALTHOUGH MIRACULOUSLY THEY ACCIEVED A NEAR brilliance on their latter ALBUM MEDICINE SHOW WHICH IS A STUNNER in a west coast STONER HEAVy LITERATE seventy take more neil young than lou REED crapaolla.

The Dream Syndicate share with a number of other fine 1980s bands the distinction of being a great band doing straight ahead American rock in an era when public attention was turned to other genres. Their particular take on post-punk was heavy on the "post", light on the "punk", as their influences--Lou Reed,
the Doors, and, in the case of their guitarist, the "acid rock" extended jam, were combined with a melodic and lyrical sense that was not simply retro. The centerpiece of this album is the band's finest song, "Tell Me When It's Over". This song sounds like the best song Lou Reed never wrote, and in particular, the
line "I thought I knew the answer, but no question was posed"
sums up a lot of moments a lot of us had and still have. This is excellent, intelligent, driving rock, well worth owning.
I just wish they'd re-release "This is NOT the New Dream Syndicate Album! Live!" in CD.

The Dream Syndicate produced two great albums; Medicine Show and The Days of Wine & Roses (I should also add their self titled first EP). Both are highly under-rated recordings from an under-rated band. If your interested in listening to some seminal recordings from one of the finest undergroud bands of the 80's- check both of them out. Unfortunately the Dream Syndicate lost it's edge after Medicine Show so I can't recommend their last three albums as whole-heartedly.

I got this for the title track - but really enjoy the rest of the CD too. If you hesitate as I did, because you only see one song you know, and wonder if these guys will be a one-hit wonder - I'd say go for it.

I heard samples from this CD and bought it instantly and I am not disappointed. This band has energy and an original sound. If you like the Wallflowers or 3 Doors Down, you'll like this group. The title cut is not the best track on the CD; each song has a different feel and drive.

What an incredible band. The raw talent here is quite obvious. "Whipping Boy" is by far the best song on the disc. Make sure to get their even better self-titled debut disc also.

Angry, dark, brooding, sludgy, this is the equivalent of a heavy duty sledge hammer crushing it's mass on the head of the mainstream.

SWANS sound like they've just climbed out of the sewer and haven't washed up yet. This analogy works especially well when discussing their very early work, namely "Filth." The first words that will come to mind will probably include "heavy," "sludgy," "ugly," and quite possibly "filth." If you're an adventurous listener, and tolerant of an oppressive, miserable, hellish atmosphere, and believe that noise and screaming can be musical, your words might also include "very cool."

"Filth" is really not that unlistenable. The grating noise and dissonance will be off-putting to many, but when it's placed in the framework of steady, pounding, almost catchy industrial rhythms, as it is here, it seems at least partially tamed and ultimately tolerable if the listener is patient with it - and Swans is a band that demands much more attention than it's gotten. They are true innovators of heavy music, from grindcore to death metal to noise rock, and carved a truly singular niche for themselves in the post-punk/alternative world. Combining the depression of Joy Division with the anger of Throbbing Gristle, and the repetative power of both bands, then adding the messy, slow noise, growled vocals, themes of power and degradation, and wrenching two and three note riffs that were to become their trademark, Swans make a noise that effectively depicts a very dark and murky worldview. All underground music fans owe it to themselves to investigate immediately. Listening to Tool, NIN, Slayer and other popular outfits is fine, but to be truly hip I think you need to know the whole story.

The album begins VERY strongly, with a blast of feedback, a grumbling bass riff, and a powerful, menacing industrial rhythm. They are the backdrop for a roaring guitar drone and Michael Gira's repeated commands of "Flex your muscles" and "Be Hard" in an increasingly loud and angry growl. The song, "Stay Here," is a perfect kickoff for the set, combining everything about the album that is great: the ever increasing intensity, the dark lyrical themes, the massively heavy sound, and the uncompromising brutality. Among other highlights: "Big Strong Boss" approaches Danceability but before reaching it is very suddenly cut off, in an uncommon moment of Swans' gallows humor; "Blackout" showcases Gira's vocal chords getting a workout with loud, raspy growls; "Freak" is a rare break from the slow tempo and sludgy riffs, experimenting with tape loops and Gira's yelled ramblings about murder; "Weakling" gets into Einsturzende Neubauten-ish territory with metal percussion and groaning guitar drones. All of this music is actually a lot of fun, and with a little imagination from the listener - catchy. Of course, these aren't singalongs, they're "roaralongs."

Check this band out. You know you're interested. NOTE: The edition of 'Filth' that Amazon has released also contains a CD of collected Swans tracks from the 82-84 period called "Body to Body, Job to Job." Very good, but I don't have time to review it right now.

is how Filth was described by a prominent reviewer when it came out in 1982. This is the most utterly brutal, punishing music I've ever heard. At the time, there was nothing quite like it though there have since been many attempts to emulate the sound (most notably Helmet and early Neurosis). A great album from a great band. The other disc, Body to Body is insanely good too, PURE EVIL unfiltered hatred and loathing. The thing to keep in mind about the early work of SWANS is that it isn't necessarily an endorsement or celebration of negativity but rather a statement about it and maybe even an attempt to exorcise it through the cathartic effects of the music.

Back when this album appeared, I was so enthusiastic about this band that I read O'er the Town of Pedro in a high school English class as a comparison to T.S Eliot, much to the consternation to my pinched-faced English teacher Mr. Mitchell. It's impossible to look at this, or any fIREHOSE album, alone--although it's a great album. It's important to look at it in the context of the Minutemen and the other fIREHOSE albums to see how Mike Watt dealt with the loss of his closest friend and partner in crime (see History Lesson pt. 2 on Double Nickels on the Dime and Contemplating the Engine Room for some poignancy). I still love this album not only for representing a moment in my life, but for being, in my mind, truly timeless music. This one is right up there with Ragin' Full On, If'n, and Live Totem Pole for the best fIREHOSE albums. I only give it 4 out of 5 stars, because I gotta reserve 5 stars for truly classic albums (like Double Nickels). This is scientist rock: experimental and raw. Mike Watt is a mad scientist on the bass, and his lyrics contain life-altering poetry for certain ears. For me fIREHOSE is a band dedicated to the recovery of a tragic loss, honest and personal, it's about doing what you do, doing it well, driving around in a van to get where you need to be to do it, and selling your own t-shirts to the fans. These guys are what rock (punk or otherwise) is all about.

Screw that guy with his long speil, comparing fIREHOSE to Minutemen. I think all their albums are great, especially numero uno.

and Ed fROMOHIO Crawford, not to mention the unparalleled percussion work of George Hurley.

"Toolin'" alone is worth the money for this album. A lot of folks would say that the Minutemen were the best incarnation of Watt and Hurley's musical talents, with D. Boone as their idiosyncratic and brilliant frontman, rattling off 5 songs in less time than most guitar solo's took in the eighties. I agree they were great, but if you want true musical crack-high you have to get into fIREHOSE. Ed Crawford's guitar playing is genius, in fact all three of the players shine soo brightly on the albums by this band.

The Globe Sessions is a remarkable release, and it is, in my opinion, Sheryl Crow's best work to date (even taking the remarkable follow-up C'mon, C'mon into consideration). Every track is a delight to listen to, and over four years after the fact, the purchase of this DTS disc is well worth the wait. And though it is worth waiting for, I would, however, recommend that you get this as soon as possible.

It is true that My Favorite Mistake and Anything But Down were not the chart toppers that Ms. Crow's previous top 40 releases were, and it is perhaps the main premise upon which critics might argue that the Globe Sessions recordings merely reflected a period of when the creativite energy levels of Sheryl Crow were nearing exhaustion. If you listen to the other tunes that The Globe Sessions is comprised of, I believe that you would think otherwise.

The Globe Sessions is a separate release of its own. The nearest thing to it is perhaps the music in George Harrison's All Things Must Pass, for quite a few of the guitar riffs are a bit reminiscent of those once played by the late, great former Beatle. And what is also great about The Globe Sessions is that it is both laid back and energetic at the same time.

All in all, it seems so apparent that this was a project that Sheryl Crow wanted to produce and release, regardless of how it would fare in the rankings of the Billboard issues.

Please get this on the DTS-ES disc. The sound is encoded in 6.1-Channel Extended Surround and is absolutely superb.

When I first recieved this CD as a gift, I didn't listen to it for several weeks. I don't know why, I just didn't get the chance or something. Soon, however, after I placed it in my CD player, I was blown away by its artistic consistency, lyrical depth, variety and so much more. I remember seeing Ken Burns Jazz, and a man remarked that when he had purchased one of Louis Armstrong's old records, he would listen to each song till he totally absorbed it then moved on to the next. I had never remembered having such an experience, except with this CD. Now, Sheryl hasn't invented anything with this album. But she is doing it, arguably, better than anyone else. And her personal investement in the CD makes her more that just a great performer. She's one of the best singer/songwriters of the 90's, thrown around with names like Sarah McLachlin.

Some standouts:

*"Riverwide" is the best song of the CD. The story is fresh, the emotion true, and the music wonderful!

*Despite being radio songs, "My Favorite Mistake" and "You Don't Bring Me Anything But Down" are pop rockers that please without being trite. (Just listen to the latter's title)
*"The Difficult Kind" and "Crash and Burn" are poetry. They show why breaking up and starting over, with a dash of shame, longing, and determination, are a cocktail that's hard to sip.
*"Mississippi" was written by Bob Dylan, performed by Sheryl Crow. Need I say more?

Globe Sessions--buy it, love it.

Truly an amazing DTS CD. It is recording in discrete 6.1 channel sound but is compatible with 5.1 channel. For those with a 6.1 channel DTS discrete system (currently only Denon consumer products), the CD actually starts in the rear center channel. That is one of the few times the mix is "gimicky".

Compared with many unbalanced DVD-Audio mixes, this DTS CD is truly a treat. And, unlike most DVD-Audio releases, this artist is still recording.

Excellent music, excellent mix. Couldn't be recommended more.