American Alternative music reviews

I really did not care for the live version of all I Wanna Do. Artists do not seem to know when they have a good song and they should leave it alone. I thought Strong Enough was a good song on this cd.

I haven't listened to Sheryl Crow's music in a few months, and for someone like myself who cannot live without music, that is a very long time. I popped her debut album on about 30 minutes ago and was blown away by the excellence that exudes from Sheryl, her vocals, her slick lyrical themes and her cool-cat style! What can I say, the woman is a true female rock icon - not quite as brilliant as Alanis Morissette, but very high up there! That debut album, "Tuesday Night Music Club," propelled Ms Crow to international superstardom in the mid-1990's, spawning countless massive hits that fuse country, pop, rock and folk. One of these songs was "Strong Enough," and is one of the album's best songs in my opinion.

I'm very disappointed to see that Amazon don't have all the singles from this album (such as "Leaving Las Vegas," "All I Wanna Do" and "Run, Baby, Run"), because I would have definitely reviewed them. Instead all it has to offer is "Strong Enough" and "Can't Cry Anymore," the latter I feel being the better of the two. This song, however, is such a content and simplistic piece of light pop. The lyrics are gentle, calming and the beat is very soothing. I could chill out to this song anyday - preferably on the back porch overlooking fields in the middle of the countryside as the sun sets. I'm aware that sounds corny, but just picture yourself there and you'll find yourself in agreement...

Strong Enough opens with a gentle hum and the soft plucking of guitar strings. Sheryl opens with the first verse, "God I feel like Hell tonight. Tears of rage I cannot fight. I'd be the last to help you understand. Are you strong enough to be my man? My man." What Sheryl actually does here is blend the verse with the chorus, ever so simply and sweetly. She then continues, "Nothing's true and nothing's right. So let me be alone tonight. You can't change the way I am. Are you strong enough to be my man?" She then sings the bridge, "Lie to me. I promise I'll believe. Lie to me. But please don't leave." A short instrumental then kicks in before she then continues with, "I have a face I cannot show. I make the rules up as I go. It's try and love me if you can. Are you strong enough to be my man? My man." A soft interlude then follows where you can relax and really enjoy this song's relaxing effect as Sheryl and backing singers harmonize. Sheryl then continues with, "When I've shown you that I just don't care. When I'm throwing punches in the air. When I'm broken down and cannot stand. Will you be man enough to be my man? Lie to me. I promise I'll believe. Lie to me. But please don't leave."

The song then ends softly as it started, leaving you with a fine Sheryl classic. You don't even notice the song much when you just think of the songs on this album because it passes by almost unnoticed, not because it's a poor song, but more because it is soft, understated and subdued. In conclusion, a brilliant piece of soft, light rock-pop from one of rock's finest solo female artists.

I think this is one of Sheryl Crows best songs, I would love to have it on my web page if I could, it is a great song.

Been listening to their albums and traveling to Pansy Division's concerts for 11 years now. Brought this CD, Total Entertainment within days of its release. And after 4 months of on and off listening, I have decided: No songs from this CD will be burned to a CD of favorites. At the recent concert in Atlanta, the new stuff got played, but what excited the crowd, (all 30 of us), was the older music. If Jon Ginoli hadn't announced it at the start of the concert, I doubt anyone there knew that the theme of Total Entertainment was 'sports'. The high energy and fun found on the first 6 albums is missing from this album.

I have been a fan since 1992 when I first heard Surrender Your Clothing on Undressed. Since their first release, Pansy Division has been out front announcing load and clear that their music was Rock, Roll, and Queer ("With loud guitars, we're gay and proud" from ANTHEM (sic). The liner notes from early on included not just the lyrics, but advice on how to use a condom. The songs were about being gay, the pain and the joy. Even the 'cover songs' were great fun to listen to because of the Pansy Division spin. ("Against all odds, we appear. Grew up brainwashed, but turned out queer" from Smells Like Queer Spirit.

Reading the lyrics of the songs from Total Entertainment I see the same constant issues dealt with on the other 6 albums. The problem is discovered in the listening. It all sounds over-produced and that sucks the life out of this album. Total Entertainment sounds like the last album from a band rushing towards retirement.

Don't waste money on this album, but buy all 6 of the other albums.: Undressed, Deflowered, Pile Up, Wish I'd Taken Pictures, More Lovin' From Our Oven, and Absurd Pop Song Romance. All have better music and much better album artwork. All these have songs you will want to add to your favorite listening music, unlike this dead Total Entertainment.

This a a very fun C.D. that like the title promises delivers Total Entertainment. Like the other reviewer I had the opportuity to hear the material from this album played live and the crowd loved the new material as much as the old. What does need to be said though is that Pansy Division's C.D.S do not capture the incredible energy of the band in a live setting. Never the less, Tracks like "No Protection" and "He whipped my ass in tennis..." and the secret bonus track, are classic Pansy Division, conveying both a sense of humor and liberation that are hallmarks of the band.

Saccharine Trust was originally a spellbinding punk/hardcore band of the very late seventies. Then, something happened: after numerous personnel changes, they went free-jazz. this album has been the only jazz album of its kind that I have found, and well worth the listen. the musicians push the limits of tonality (purposely)and bring the common jazz listener and the hardcore/punk together... for a spot of very strange tea. Although it isn't the best album I have heard, I still believe that albums like this should be bought, listened to, and contemplated. I grew up with this band, and am a fan of both punk and jazz. if either fit your taste, pick this album up.

This is a terrific album by one of the seminal punk/fusion bands of the 1980s. The songs are saturated with desperation, fear and longing. A real smack epic.Finally available on CD.

complete with jangling electic guitars, occasional steel and a subtle touch of accordion. superb guitar (reminds me of what another minneapolis guitar wiz could have sounded like if he would have remained true to the cause). Heddy is a rocker in the old-style Uncle Tupelo vein; Junior Tuesday has Ragged Glory Neil written all overe it. 5 pts. Girl is a song that will stick in your mind for a long, long time. There's not a skipper on the whole CD. And while Bard Meier proves throughout to be a great song writer (excusing the bubble gum and circus rings line), American Paint has the impecable taste to end the CD with a song written by perhaps the greatest song writer of all, Hank Cochran ( "Can I Sleep in Your Arms"). I love this CD.

"Awakening" is the 4th album by L.A. power-popsters The Last. Like all The Last's albums, it's chock full of catchy melodies, hooks, harmonies, economical guitar leads, and the fine songs of Joe Nolte. The Last were part of the same scene in L.A. that also produced the Plimsouls, the Knack, the Beat, the Pop, etc. The Last's music tends to be more unpolished than most of these other bands. They truly sound like they belong in a garage. I think the closest comparison I could make is with the Flamin' Groovies, another great band with a similar bent. My first exposure to them was in the early 80's when I picked up a copy of their 1980 debut album, "L.A. Explosion", in a used record store, for no other reason than their name. You see, my last name is "Last", so I was intrigued by this band with my name. I took it home and was delighted to discover that I had accidentally stumbled onto a wonderfully Beatlesque gem. "L.A. Explosion" remains my favorite Last album, but I enjoy them all. Following the debut, they put out the "Fade To Black" E.P., then the French-only release "Painting Smiles Upon A Dead Man" in 1984. Then they broke up. In 1988 they reformed (minus one of the original 3 Nolte brothers, David, but with Joe and Mike Nolte remaining as the core of the band) and released "Confession", the first of 3 albums on the SST label. "Awakening" followed in 1989, and finally, "Gin & Innuendoes" appeared in 1996 to close out the Last story (to date). "Awakening" is highlighted by five particularly strong pop gems: "No Love", "Assembly Line", "You", "Garden Grows", and "Dreaming". As an added bonus, they close the album with two fine covers, "She Loves You" and "Baby It's You". I guess they didn't think the heavy Beatles influence was obvious enough. Although The Last are among the most obscure bands of the L.A. power pop scene, they certainly are one of the best.

This was the a breakthrough record for New York punk/avante-garde in the 1980s and remains their most consistently interesting disc, despite occasionally silly lyrics (a problem that this band has never gotten around to dealing with).

The record opens with an acoustic buzz that slowly begins to warp. The album's songs blend together, and sound something like Phish, Black Flag and Wire jamming together. The sound is open and spacey at ttimes; tight and menacing at others, and the lyrics often intriguing. A few songs stand out-- "Ghost Bitch" drifts in on eerie waves of feedback, and the vicious "Death Valley '69" (about the Tate murders) ends the disc on a raw, savage note.

The real meat here is the music. Mixing feedback, strange tunings, drones, echoes and supple drumming (Bob Bert was a much more improvisational element than later rock-and-roll man Steve Hselley), this is psychedelic proto-grunge whose echoes persisted all through the 1990s. Although their later records are more focussed, this is where the band really stands out from its many imitators.

This is vintage J Mascis stuff. Todays kids should check out this guy and forget about those louzy Radioheads and Coldplays of them. Shame on you todays kids!

And a very good one at that. Supposedly (as I've heard) Jamboree is the considered "opus", I rather like this album though. It's a good introduction to the feel and style of Beat Happening it seems to me. One might say 'oh it sounds so crap, terribly low quality, and that man can't sing, and is that supposed to be a rythm section or some monkeys given thick strings and tom toms for christmas?' But. I say no. This is quite unique...and enjoyable to me. Twee pop. Do you like? (Belle and Sebastian fans, perk your ears up) Then do listen to this. Beat Happening is utterly individualistic, and a good time as well. Standout tracks would be: Other Side, Knick Knack, Cast a Shadow, and 'Gravedigging Blues' for the Tom Waits lover in your family. Anyway, give it a chance. You don't have to like it. I do though. I would reccommend this to friends, family, co-workers, colleagues, and thesis paper informers.

makes me just want to get on my go go boots & start sweating.

I'll vote the third release from K Records' Beat Happening for the Most Appropriate Title Award. The contents are variably dark and sweet, just like the title, Black Candy. Licorice, dark chocolate, whatever your favorite peat sweet, there's definitely something for everyone on this album.

The jangle of "Other Side" starts off the album with a feelgood vibe, including a mention of the children's game Red Rover. It's one of the rare duets with Calvin and Heather both sharing vocal duties. Their voices mesh well together -- why didn't they do this more often? As a duo, they're very persuasive, making "[living] on bread crust and lemon rind" sound like a good thing.

The mood switches gears instantly with the title song, "Black Candy." Bass notes dominate as Calvin lists a mixture of pleasant and unpleasant experiences, giving the listener a good example of the feel of the rest of Black Candy. "Knick Knack" picks up the lighthearted tone again, but mixes a taste of the supernatural with Heather's angelic chorus of "you see a ghost, I see a halo;" and the mix continues with "Pajama Party in a Haunted Hive," showing off the seeming paradox that it is possible to have fun in a location that inspires mainly fear. And the guitar has the feedback to prove it.

What I found most impressive is that the song to which I most often returned was "Gravedigger Blues" which is Calvin's a capella and finger-snapping ode to love and death. Following "Gravedigger Blues" is the often-covered "Cast a Shadow" (which seems to be misnamed as the chorus states for the subject to "cast your shadow in my direction." But I'm picky about things like that. Succeeding "Shadow" is "Bonfire," a simple ditty that soon wears out its welcome. But hot on its heels comes an ode to "T.V. Girl" (which is better than "T.B. Girl," I suppose), a moody tribute to a girl who seems to have it all. Unfortunately, he can't seem to decide which note suits his singing of "girl" best, so he scatters all over the clef trying out note after note to rather grating effect.

Maybe it is the T.V. Girl who Calvin wants to invite to his "Playhouse." A playhouse with everything for the girl with everything? Sounds like a good arrangement to me, as long as you don't mind "[taking] off all our clothes. In my playhouse, that's how it goes." "Ponytail" provides the perfect close to Black Candy with its multi-layered presentation combined with Calvin's cry of love to--apparently--a horse. But who knows? And it's this questionable subject matter that lends the song a disturbing feel that crescendoes with the dual guitars to a powerful end.

The mixed dark and light feel of Black Candy makes it a wonderful companion listen to its predecessor, Jamboree. Put the two CDs on random play and you won't know which song came from which. If I were in charge of these rereleases, I would have traded a few songs on each disc, for example taking "Other Side" and "Cast a Shadow" over to Jamboree and replacing them on here with that album's "Bewitched" and "Hangman."

Longer running time and more mainstream (if that's possible) than Concept 1. The real reason for getting the album is the Minutemens Aint Talkin Bout Love Van Halen cover. I believe was also originally offered on Double Nickles album but mysteriously missing from the cd, also missing on 2 Nickles is a car sound track. The rest of the album shows how hardcore was mellowing out in the late eighties. Compare Husker's Erase Today to any Land Speed Record track...Wow! I Was Grotesque actually the best song on the album. She was gross, but I was grotesque! Explains many dates I was on.