American Alternative music reviews

Anti-Heroes have been my last baston for solid punk music for a few years now. The rest are eather dead or broke up years ago. Since they're a local Atlanta band catching one of their shows on the weekend was a common ritual.
My best decription has always been, imagine Sam Kinison fronting a Oi! band. Mark has a voice that could tear through sheet metal. Thats a good thing btw. And i'll side with some of the less ignorant reviews here, they are NOT nazis and they are NOT racists. I've met black fans at their shows and they didn't catch any grief from anyone.
That said, American Pie is a must have for anyone that is frustrated with the overabundence of pop-punk that is in the mainstream nowdays. And even those of you that can't live without your pop-punk, step up and check out a solid band that has a message without a pushy agenda.

The Anti-Heroes are one of the greatest Oi! bands of all time and "Amercian Pie" is the best Anti-Heroes yet. The politically charged lyrics in songs like "Heros and Zeroes" and "Murder one" make this music rise above most of the crap put out by the mainstream today. I think its sad when people like Ox say that the the Anti-heroes are racist when they do not bother to understand the meaning of the song in the first place, Please do us all favor and stick to the libral, politically correct bands like "NOFX" and "Sum 41" and leave the Oi! to us.
If you dig "Anti-Heroes" I recomend "Drop Kick Murphys" and "The Brusers"

This isn't Maria Cabel by the way - it's her husband Cabel. Anyway, I've got all the AH stuff and they're one of my favorite bands. American Pie is my personal favorite AH album. More politically oriented than their previous efforts this one has several songs that qualify as anthems in my opinion. The Anti Heros are what the Dropkick Murphys can only dream of being - a real American punk band. FYI - they are in no way whatsoever racist. Forget the Dropkick Murphys - this is the real deal. Also pick up "Underneath The Undergound". Cabel

I have to admit, I'm an 80s music fan, and I didn't find much to like in the early 90s grunge scene. This compilation provides a nice overview of what I did like about the 90s, especially some of the more alternative songs and bands. For starters, there's my favorite 90s group, the Gin Blossoms, featured here with their biggest hit "Hey Jealousy" (I would have preferred the less-played, more soulful "Found Out About You"). In other radio hits, you have Cracker's "Low," a gritty tune I found surprisingly appealing. A bit more off-beat but still-familiar tunes include "Dreams" by The Cranberries and "There She Goes" by The La's. The remaining tracks, a mix of hits and songs I'd never heard of, varied from upbeat and dancey to more garish and grating. However, most people will find something they like here, and if you're looking for an eclectic 90s collection, this might just fit the bill.

Whoops - i just reread my review and I have to say I missed the mark on one item: there IS some top-40 junk on here, namely the overproduced one-hit wonder "Everything About You", though that track is still amusingly subversive. There are also a few others that got way too much radio play as another reviewer noted. But overall still a great disc.

There were some musical trends I didn't like in the not-so-distant '90s liek grunge, boy bands and rap-rock, but plenty that was pretty good too, mostly in the mainstream pop and rock areas. This collection has a pretty good mix, it seems to focus on the '91-'97 period too, leaving out the very end of the decade.

I'm always a fan of one hit wonder songs on compilations, as many of these are. Plenty of upbeat pop/rock like EMF's "Unbelievable" Del Amitri's "Roll To Me" Jesus Jones' "Right Here Right Now" Blues Traveler's "Runaround" The Presidents' "Lump". Modern rock with a classic sound SmashMouth's "Walkin' on the Sun" Sheryl Crow's "Everyday Is A Winding Road". Melodic alternative pop/rock Toad the Wet Sprocket's "Walk On the Ocean" Gin Blossoms' "Hey Jealously" Cranberries' "Dreams" Even some fun hard rock in Ugly Kid Joe's "Everything About You" (used in the donut shop scene in Wayne's World).

That's already 11 out of 20 songs. Some are just good for laughs like Blind Melon's "No Rain". I can't really comment on the others since I usually skip past them.

i thought EVERYBODY had this...at least everybody that grew up in the 90s.

i admit it, i got this because it was 75 cents at half.com and because i had it back in the day and listened to it way too much. so this was a nostalgia purchase, and a good one, it turns out. despite the cheese factor of this whole shindig, and the datedness of the bands included, this compilation is actually really well put together. transitions are smooth, the stage announcements really make you feel like you're there, and some of the performances (though not all), like blind melon playing "soup," red hot chili peppers with "blood sugar sex magic," metallica with "for whom the bell tolls," peter gabriel with "biko," and especially, the best of all, primus with "those damn blue collar tweekers" (including a beautifully done, seamlessly inserted rendition of jimi hendrix's legendary "star spangled banner"), are jaw-droppingly good. not bad for under a buck.

In my opinion this is one of the best "90's" albums in my collection.(by the way this isn't a box set... lol) all it is is a 2 cd set. Anyways, as you read in the title, i think that soup by blind melon and dreams by the cranberries are the two best songs on this album. Most of the songs like the ones by the violent femmes, the rollins band, and of course who could forget...nine inch nails.
Those are all the music of the 90s. If you don't like any of the bands., then don't buy it. But if you grew up in the 90s like me, and you like these artists, than i suggest you buy this album. (By the way... don't buy woodstock 99, its a s*** fest! if you buy any woodstock stuff make it either woodstock 1969 or woodstock 1994) :D

5 stars for Blind Melons Performance of 'Soup'... Worth the price and more. That and Nine Inch Nails 'Happiness in Slavery'. I've had this since it came out, haven't really listened to it since, cept' the pre mentioned songs. But it's worth all of it just for those 2 songs.

I LOVE Mannheim Steamroller. Before this CD, I could honestly say they had not made one CD I didn't like. The only music I did like on the CD was from other CD's I already owned. I felt fortunate since, when I took it back to the store where I'd purchased it, I told them I had played it but just didn't like it and was hoping they would give me a discount on another. They let me exchange it out right. Very disappointing. NOT typical of Mannheim.

Mannheim Steamroller music, in general, is very pleasing to my ear. I love the sounds of nature! With all that goes on in our world today, it is nice to relax and be soothed by "The Music of Nature"! The orchestrations are beautiful!

I really like this CD, because it is of my favorite place, Yellowstone I have been there 5 times already and plan to go somemore. This CD really does remind me of Yellowstone and I would encourage everyone to buy this.

For anyone who can't get enough of Matchbox Twenty, this CD is well worth the cash. Rob and Paul are equal parts informative, profound, and amusing. The interview was done after YSOSLY was big, but before "Smooth" and _Mad_Season_. It's especially interesting to hear them speculate about the future when we already know what happened. The interview is laid back--it almost sounds like Rob and Paul are just hanging out and talking to each other. This relaxed atmosphere almost, but not quite, makes up for the inanity of the guy conducting the interview and the shortness (22 minutes) of the interview itself.

Matchbox 20 spends 25 glorious minutes talking about different topics from Eddie Vender to being happy. Rob and Paul let their sense of humor shine through. This is a must have for any true fan!

As usual, matchbox20 and they're witty comebacks have done it again! This is a must have for any matchbox20 freak like myself. I am very pleased with "The Interview" and I recommend it to everyone. Rob is extremly funny and he had me laughing hystaricly. A MUST HAVE!

I've been a fan for many years and these guys always seem to surprise me with their new albums. Whats sad is they have so much thats hasn't made it to an album. If you ever can hear them live do it. I haven't seen them in years, but Rod used to work for me in a music store and I've been hooked since. I've heard so much of their early stuff that should also be on albums but they don't seem to get the recognition that they deserve.

(EXCERPT) By THOMAS CONNER Tulsa (Okla.) World Entertainment Writer 02/15/2003

Rod Bryan keeps the Little Rock faithful alert to his Anthro-Pop
record-shop inventory through an online message board. His occasional missives wear his attitude on their e-sleeve.

There's some self-promotion to this. In fact, Anthro-Pop as a whole exists as an outpost of Rod's personal interests.

"Got a bunch of great used '80s vinyl from the Replacements, XTC, Elvis Costello, the Smiths, the dB's," he announced in December. Then he added, "Also good stuff from Arkansas natives Johnny Cash, Jim Dickinson, Ho-Hum, Jason Morphew ... Levon Helm."

Rod and his brother Lenny are foundation members of Little Rock
semi-legendary pop band Ho-Hum, the band that's usually playing on the stereo at Anthro-Pop. It's a band that sounds like all of the above listed cornerstone acts playing at once, particularly if some of the records had been warped by the southern Arkansas sun in the back of Lenny's car.

The quartet is comprised of the Bryan brothers -- plus relative
newcomers Brad Brown and Sam Heard -- hulking but otherwise nondescript guys who grew up in Bradley, Ark., a dying town on a forgotten railroad southeast of Texarkana. It's the kind of place where listening to a band like the Minutemen earned frowns from the townsfolk. Selling the same records -- and their CD reissues -- to a new generation in the capital
city is poetic justice. If it trains young ears to like those same sounds that are now muddied and metamorphosized in the aural ambrosia of Ho-Hum, even better.

For whatever it's worth, though, Ho-Hum has its core following. They are anxious, underappreciated fans who will lean into your personal space with set jaws and proselytize fiercely about the most exciting, innovative and invigorating band you've never heard. There aren't enough superlatives in their vocabularies, and -- for Ho-Hum -- there aren't enough such fans.

"We're a word-of-mouth sensation," Rod says.

Ho-Hum's street cred, though, is off the charts in Little Rock. At least a half dozen Little Rock bands are currently at work on a Ho-Hum tribute CD. Tulsa favorites the Boondogs are contributing a track, "Funny," from Ho-Hum's 1997 album "Sanduleak."

"I think there's a pretty tight group of artists we've influenced regionally," Rod says. "We've gotten into New York and L.A., too, but kind of what we do tends to speak to people around here. I mean, it might speak to more people around the country if we'd ever have any marketing. Even our major-label record had a very ramshackle marketing effort."

--The end is the beginning

OK, there was that one break.

After rising through the Arkansas rock scene in the early '90s, Ho-Hum attracted the attention of Tom Lewis, a scout for John Prine's Oh Boy record label. Shortly after, Lewis wound up at Universal Records. He remembered Ho-Hum and offered them a contract.

The band recorded its national debut, "Local," at the famed Muscle Shoals studios in Alabama. At the production helm were no other than Clive Langer and Alan Winstanley (the Smiths, David Bowie, Bush). Universal helped the band tour the continent. The recipe for success could not have been seasoned any better.

"But it was a disaster," Lenny says. "I hate that record. I've never liked it."

The problem: Langer and Winstanley's production ideas ran contrary to what the Bryan brothers wanted. Under contract for the label, the Bryans had virtually no say in the matter. "Local" was not promoted and wound up in bargain bins by the end of '96.

That was not, however, the end of the story. In fact, it was the beginning.

The very things that made "Local" difficult to produce and promote remain the things that make Ho-Hum so unique. The frustration they experienced with Universal only strengthened their resolve. They continued making records at home in

Arkansas, and their records increasingly sounded like Arkansas.

"That was really why 'Local' failed. It's because we wanted to sound like ourselves -- like these guys from Bradley," Rod says. "Once we were done, they just wanted us out of the way so the producers could make it sound like New York."

It's the same sentiment often expressed by the Flaming Lips, the now famous and respected rock trio that has insisted on basing its operations at home in Oklahoma City. Such stubbornness, usually over time, allows a distinct musical personality to form and grow. Eventually, after cultivating itself in relative isolation, the band sounds like the Next Big Thing.

"I mean, I like being a critic's darling," Lenny says. "Our integrity is pretty much intact."

-- The magical mystery four

The band's cult breakthrough was, undoubtedly, 1999's "Massacre" on HTS Recordings. The melodies swirl. The emotions heave. The arrangements are so organic they practically make your stereo perspire.

"That was the first record that finally sounded like us," Lenny says. "Our lives were falling apart," Rod says. "Everything was crumbling around us. We had that record to make, and we . . . well, we explored a bit."

Some will say that as this band gets less financial support its records get better. This is true. Does this serve as a commentary on the relationship between art and economics in America? Possibly. But Ho-Hum clearly is not making product, pre-prepped for the market, music as commerce. No. This is a band that believes in art, expression, beauty. Track after track, every song is brilliant. First, you should listen to this record alone--I suggest at night, perhaps in the car--several times. Absorb it. Allow it to sink in to you--it will become your new best friend. Then, play it for you friends--start with the intelligent ones first, they'll get it. Force everyone you know to hear it. If they don't like the record, then it's time to get new friends. Greatness of this magnitude cannot be denied. Ho-Hum is without a doubt THE GREATEST BAND IN AMERICA right now. Believe it.

So back in the day, after the Residents' prosperous days in the 1970's, the band decided to make a run at covering songs by the most beloved American musicians in history. The plan was to do something like 20 different artists' songs, each artist taking up one side of an LP. The first entry into the American Composer's Series was a collection of George Gershwin and James Brown songs. From what I understand, it isn't much to scream about, save for the Residential version of "It's a Man's World."

Stars and Hank Forever! is basically everything you could expect from a collection of Hank Williams and John Phillips Sousa covers by the Residents. Are they being respectful or are they making a joke? Usually it's hard to tell, but with this record it's pretty safe to say that they really are paying homage to the greats.

The Hank Williams side is alright, but I don't think it holds up under repeated listenings to well. It sounds just like what you'd expect from this era of the Residents. They get extensive use out of guitar and synths. The arrangements are slightly off and the singing Resident growls through every song. One of the more unfamilar Williams tune sounds immediately familiar because of a perfectly placed sample of the bassline from Michael Jackson's "Billie Jean." It transforms this old cowboy song into some kind of vampire disco song in a New York City club. The story of the wooden Indian is given an especially eerie quality as well.

While most people seemed to like the Williams side better, I find the second side of Sousa marches absolutely superior. It's produced as if you're at a parade. You can hear the crowd, and as each track starts, the band comes in from the left and plays their song until leaving to the right, making way for the next marching band. Not only are the arrangements strange, but it sounds the Residents aren't even reading their sheet music right. Every note seems to be a little off, making most of the songs into dark and hectic carnival music. The evil bearded face of John Phil swings in front of you. Nevertheless, the music still holds up, although the cover of "Stars and Stripes Forever" now seems completely unpatriotic. For now, I can't rid myself of the images of the Cuban Missle Crisis-turned shooting gallery from the video of it from the Residents DVD. As for the rest of the disc, expect much more of Sousa's crazily morphed compositions. It's probably enough to give a kid nightmares.

In the mid 80s The Residents started an "American Composer Series" which only lasted two albums. Each side of each album consisted of cover tunes from one of four different american composers. "Stars and Hank Forever!" consists of Hank Williams songs, followed by Sousa marches.

The album opens with a bombastic "Hey Good Lookin'" featuring the chaotic guitar of Snakefinger. "Six More Miles (to the Graveyard)" and "Jambalaya" are very dark but beautiful pieces. But my favorite song on the album, and possibly from The Residents in general, is the very catchy "Kaw-liga". This song also spawned a number of remixes, but the original here is still my favorite.

The second side consists of John Philip Sousa compositions, done with The Residents' own electronic instruments. On top of all that, the whole side is meant to sound like you're watching a parade! The songs fade in and out, reverbing in such a way that it sounds like a marching band passing by on the street as each song begins and ends. Before and after each song you can hear what you'd normally hear as an observer in the crowd: applause after each song, some talking, an airplane overhead, etc.

Aside from compilations, I think this particular album best represents a good mix of what the band can do and is musically known for: crazy versions of tunes written by other artists, eerie yet disturbingly catchy songs you can sing along to, and vast-sounding instrumental collections that string together conceptually.

I only started listening to The Residents two years ago, and they've become my favorite band since then. I have just about all of their albums and other odd releases, but "Stars and Hank Forever!" certainly gets some of the most spins on my CD player. The songs are simply done really well, and are a pleasure to listen to.

Trust The Residents to couple Country Music and Marching Band Music!

Many people question if this is a joke or an homage. It's both actually. The Hank Williams side,does some twisted things,but the attention to details,means they are obviously fans of Hank. I particularly enjoyed "Six More Miles ( To The Graveyard)",as concieved by a Chinese orchestra,complete with violins,kyoto,and gong,and "Kaw-liga" gets turned into a techno-beat parody of "Billie Jean".

The flip side is even funnier,but you probably won't play it as often,since it's all tied together as one long concept piece. An easy description would be: Devo Thanksgiving Day Parade. A better decription would be to imagine a parade of tone deaf windup monkeys playing Souza marches. If you were ever in marching band in school,or ever had to sit through parade after parade of Souza marches,you'll laugh like mad,as The Residents march the parade route,complete with annoying airplanes,dogs,talkative parade goers,and fire engines!

This one is for fun,I recommend it to the adventurous among you.

Is it just me who finds Jolene's music sounding all the same these days? Don't get me wrong, "Hell's Half Acre" was incredible. I just have found recent albums to have focused more on lushness instead of alt country rock. Maybe Jolene is too talented for their own good. I guess I sum up this album as good but no "Hell's Half Acre".

Having been dumped by unappreciateive major label Sire, Jolene have self-released this, their third album. I bought my copy from their drummer out of the band's suitcase after their wonderful set at the Borderline last month.

Antic Ocean consists of 14 genuinely original, beautiful songs, imaginatively arranged. All 3 Jolene albums have their own distinct sound and are chock full of high quality material but this takes them up to a new level.

In an earlier era, they would have been feted as one of the best American bands and would have been fending off lucrative offers from the major labels. As it is, their existence and their wonderful music is one of the best kept secrets in music.

It would be impossible for them to keep improving at this rate. The few who appreciate them can only hope they don't become despondent at their lack of recognition and go on to amass a body of work of the same calibre over the next few years.

This is another amazing record from an amazing band. Jolene capture an awesome feeling when you listen to this album because there is so much to discover ,when you first listen and when you read what some of the tracks are about.....a classic. John's voice is as mature as ever and the rest of the band purvey a distinctive musical input that only Jolene can do so well. Well....whaddya waiting for....GO BUY THE CD!

Let me start of by saying I am a big Dead Milkmen fan. When I purchased this disc for the collection I was very dissapointed. This cd was made from two different recordings. One is at a party and is just unbearable to listen to. The other recording is from a radio show they did. The radio one is whole lot easier to listen to. My promblem with it is the music is edited. If anything edited music offends me. The only reason I gave the cd to stars is because there the Dead Milkmen. Don't be fooled this isnt a collection of there best material or a greatest hits cd. Go buy there other cds you wont be sorry

For those who had the luck of obtaining a copy of NOW WE ARE 10 through the DM Fan Club, this is the same album with two extra songs and a great insert. I was unsure about buying it, but the two extra songs suckered me in. As I said, the insert is great with different stories from different people about the Dead Milkmen. The song quality varies as the recordings were either home recordings (raw and just beautiful) or recorded when performed live at WXPN in Philadelphia (censored but fun). It rounds out a collection perfectly, and hearing their energy pre-BIG LIZARD is a treat.

This review is coming from a longtime Dead Milkmen fan who owns the original Now We are 10, (as well as the tapes that make up NWA10) and has a cassette copy of the other two tracks. To the person who stated that the sound quality of the live tracks.... well, the first four tracks are from a self-released tape from 1983. The show is in a barn in Bedminister, PA, 10.22.83. It was recorded on a boombox. (i am listening to the full show right now) The next 3 tracks are from another self released tape that was entitled "Death Rides a Pale Cow," which I believe was also from 1983. These are some of the rarest of Dead Milkmen tracks which were compiled onto the NWA10 CD as a fan club release... not intended to be a commercial release. Enough fans wanted this to happen, therefore the Dead Milkmen made it happen. For the old equipment used, and the fact that the source cassettes are pretty old (these are the days before DAT), I think it sounds excellent. I have heard live albums that sound much worse than the live and non-live tracks on this CD. This is basically a collection of rarities and demos.

Now if they could release their 1984 tape "Someons Shot Sunshine."

Sweet Child O' Mine is the best song of all time ... That is, Guns N' Roses's version, with Slash's catchy tunes, Axl's great voice, Izzy's amazing guitar, Duff's fun bass, Steve's great drums... And so came this !"$(="$! This is the WORST SONG of all time, it's like a slap in the face to Guns N' Roses! What happened to the amazing guitar solo? And who's this silly woman with that amazingly BAD voice? And why are so many "$)(" giving this crap 5 stars and saying it's BETTER THAN THE ORIGINAL? OMG! To like this song, you've got to be deaf. I hope Sheryl Crow is hit by a truck or something.

THIS IS THE BEST SONG IN THE WORLD, OF COURSE IN ONLY MY OPINION. I LIKE IT SO MUCH BECAUSE MY MOM USED TO SING IT TO ME WHEN I WAS A BABY. IT'S THE ONLY THING I CAN REMEMBER. SO THAT'S WHY I LOVE THIS SONG *SOOOOO* MUCH.

Sheryl Crow has demonstrated her keen abilities as a musician, producer, and interpreter on music on this cover song. When I first heard about Sheryl covering this Guns n' Roses classic, I'll admit I was skeptical. The GNR song is one of my all-time favorite rock-songs. But Crow's interpretation not only shines, it makes me forget all about Mr. Rose completely. Her work only gets better & better. If you don't get a chance to purchase Sheryl's version of "The Globe Sessions" that includes this song, definitely purchase the single - it's well worth the money.