The Manhandlers "S/T" LP
Since my first exposure to the Manhandlers was on the Maybe Chicago compilation, I wanted this to have the same, lo-fi, basement-scuzz sound as their songs on the aforementioned, but once I warmed up to the higher fidelity (it's only slightly more polished, mind you. This shit is still incredibly raw), I was hooked. Primitive punk rock with a bit of an old 70s & 80s feel, and guitar riffs that sound as harsh as a radial arm saw. Don't let that scare you off. These ladies are a ton of fun with great, hardcore moments and just once or twice you detect an occasional waft bubblegum of in the far, far background. A great collection of songs about making out, fighting and getting zonked.
-Phil Hunt

Listen while you play: Q*Bert

(Criminal IQ)

Maximum RNR, 6 song EP
Four of these six tracks were previously available via their two 7" releases, but the two new tracks here, "Stormfront" and "Southern Comfort" are just as good, if not better., Maximum RNR are one of those bands that live up to their name, sounding like a more evil incarnation of the New Bomb Turks. Unfortunately, you do not get singer Louie Durand's broken mic stand, nor do you get a kicked over drumset, but this plastic shiny thing is about as close as 'yer gonna get. I can't wait for their first full length.
- Ryan Settee

Listen while you play: Double Dragon 3: The Rosetta Stone

(www.maximumrnr.com)

The Mentally Ill "Gacy's Place: The Undiscovered Corpses" CD
The noteworthy Killed By Death band from Illinois or thereabouts has been brought back to life by Jello and company. They've re-released their storied "Gacy's Place" 7" and a bunch of other varied versions and unreleased rare shit. The old stuff is extremely ugly highly recommended. The sludgy, sewer-rat guitar and surprisingly upbeat basement drums echo loudly while the blatantly offensive smart-assed vocals add a dose of very dark humor. The music is great, and it really sounds like these guys have a few screws loose. Part of the package includes a number of old tracks with brand new sicko vocals from Sado Marquis himself. Those tracks don't quite fare as well as the original, youthful depravity found in the 100% original tracks. Still, some of it is pretty good. The only problem with the new vocals is that it is an older dude going apeshit on the microphone. In the 70s, this approach sounded really sinister and bad-ass. When you age the guy by 25 years or so it just sounds kind of goofy. Give Sado a break though, his voice isn't as fresh and snappy as it was in the past. The music sounds great on all of the tracks, and he delivers a really good updated performance on "Dry Heave." Some of the coolest tracks come toward the end, where the band is just goofing around, smashing their instruments in obscurity. It's kind of amazing that this stuff bubbles up years later. There is plenty to like on the 20 tracks, and it's a quality documentary of the amazing underground rock that was totally off of almost everyone's radar back in the 70s.
- Phil Hunt

Listen while you play: A-Team

(Alternative Tentacles)

Monkey House "Disque De Musique 3" CD EP
Here it is. Part three of four for these guys. I reviewed the other two releases, and I can't really say much more about this one that hasn't been said before. Just to fill in the uninitiated, Monkey House is a tape-swap project involving a bunch of musicians who did not know each other, each musician added his or her own twist, passed it on to the next person and here is the result. It starts to get a little more consistent here, and a steady vocalist emerges on this volume. It's sort of droney, spaced-out, and weird, but things simmer down to a slow burn here, although the experimental, noisy spirit remains. I'm looking forward to see how it ends. Again, if you're in the mood for something way, way different, you ought to enjoy this.
-Phil Hunt

Listen while you play: Super Monkey Ball

(Coach and 6)

Morning 40 Federation "S/T" CD
This drunken New Orleans burlesque, scum rock is very interesting if nothing else. Aside from a few moments of godawful funk, I think the music is pretty cool, with lazy, sludgy guitars, piano, horns and a laid-back, hedonistic, carnival atmosphere. At times it sounds almost like one of the street groups you run into on the street in New Orleans. There are plenty of songs that go over the top on vocal effects here. Or songs where singer is going on with this squeaky voice, or where he's trying too hard to sound like a vaudeville barker or something - so the vocals kind of detract from my enjoyment of this. In fact, the vocals really fucking bug me. I frequently found myself just wishing the guy would sing with his own voice. There are some songs here that are worth a look, though.
- Phil Hunt

Listen while you play: Voodoo Vince

(M80 Music)

Motorhead, "Inferno" CD
There could be a nuclear war, and every cockroach would be dead, and those three dudes would STILL be going, sans hair or teeth (though Lemmy has been sans facial hair occasionally, which is quite the horror!). Enter Motorhead's ten millionth album in over thirty years, and this one is really good, as tracks like "Terminal Show", "Killers", "In The Name Of Tragedy", "Life's A Bitch" all crackle with the Lemm-ster's patented rasp, Phil Campbell's metallic rock n' roll onslaught, and Mickey Dee's double kick, double everything drums. Lemmy's almost 60 now, and Motorhead are still functioning as a steady touring and recording unit,. An added bonus is the track, "Whorehouse Blues", which you just know is gonna kill--and it does! There's nothing cooler than hearing Ian on a stripped down blues song, with the acoustic guitar and rough blues growl, singing out lines like "no we ain't never been good looking... but we are satisfied". Fuck yeah.
- Ryan Settee

Listen while you play: Drag Race

(Sanctuary Records)

Mystery Girls "Something In The Water" CD
I would take the title to mean that there is something pretty amazing going on in Green Bay, given the great, sleazy barroom psych and R&B. Give five minutes to this crazy harmonica riffin' and wild guitar paired with a rock-solid straight-shot boogie rhythm section and you're ready to rumble. I'm not really wild about the instrumental blues jams, but when they get back to the full-on tunes with vocals I'm in like Flynn. Great lyrics like "I wanna make my bed her home," too. Sometimes I think I'm hearing Yardbirds, sometimes I think I'm hearing Faces. Some hot shit!
-Phil Hunt

Listen while you play: Kid Niki Radical Ninja

(In The Red)

The Narrows S/T CD
The other day I was taking a piss at Ralph's, and I saw a sticker for these guys in the bathroom. I guess I missed that one. Now that I got that out of the way, this is sludged-out, distressed, irregular noise with a depressed stoner vibe. It's loud music, but it feels really quiet and delicate. The songs are long -- often going over the nine minute mark, and they clearly take their time in moving from point A to point B. The album, at times, feels like one, gigantic song. Things move so slowly here, that you occasionally lose track of where the song is going, and you're trying to figure out if you've heard this part before. This means that the album may try your patience at times, but it also means that there are a lot of great surprises as things slowly, almost painfully build to a loud, gigantic wave of static and screams. Personally, I'm very taken with this one.
-Phil Hunt

Listen while you play: Klax

(Wäntage)

Ninja Gun "Smooth Transitions" CD
Whoo! What a terrible name. A terrible, terrible name. The name bugs me so much that I want to trash this CD something awful, but there is something kind of endearing here and there that won't let me quite go through with it. The rock songs on this album are kind of good in the way some of those that drunken, replacements-esque, college rock bands occasionally play a good song. But then they play plenty of other songs that are kind of boring. That's what you have here. It's really safe, occasionally catchy and overall just sort of bland. The thrills are few and far between.
- Phil Hunt

Listen while you play: Bad Dudes

(Barracuda Sound)

Nuerotic Swingers "French Fries, Guillotine & Love" CD
This Chuck Berry/50s/Tommy Tutone/Devil Dogs-homage with old-school punk and pop tendencies is the perfect chaser to a harrowing night at the bar. It's the type of thing where you throw it on before you collapse on your recliner and listen with that stupid drunken grin on your face as you count the evening's regrets and embarrassments. At times it's sort of like a male dominated, glossier version of the Bobbyteens. Less original/less exciting numbers like "Speed Drinker" (a high-speed, foray into Nine Pound Hammer riffs and standard hoarse-throated vocals, it's not bad, but it sure doesn't stand out), are easily trumped by superb catchiness that is "Burn the Floor" and "Party Killer" and "I'm just Losing My Soul." If all pop punk bands sounded as good as this, it wouldn't have the bad name that it does today. Those French accents add something if you ask me.
- Phil Hunt

Listen while you play: Metroid

(Dead Beat Records)

The Omens "Yeah-Yeah" b/w "Try Just Try" 7"
I like to think that one day, shortly before they left Estrus, the Makers left their mojo at some remote rest stop while on tour. Four, young lads stopped along the road shortly after, found what The Makers had lost, and got to work. The Omens are born. Seriously, this is almost crazy how Makers-esque this 7" sounds. The cool thing is that they do a really admirable job of it. It's furious garage in the Hip-Notic/Howl/All Night Riot vein, or so these two sides would have you believe. It's got the energy. It's got the manic high-pitched vocals. It's got style, although it's not really their own yet. I'm expecting these guys to get really good once they move into their own thing.
-Phil Hunt

Listen while you play: Elevator action

(Hipsville)

Quintron "Are You Ready For An Organ Solo?" CD
The strange and talented inventor and show and concert organist from New Orleans, Louisiana is back with a special sexy organ solo for you. This album is a little more, mmm... accessible, if funky organ chirping, strange noises, warbling Prince-style vocals and nonsensical call-and-response lyrics could be adequately described as such. I suspect this record is a little bit easier for the masses to digest than the superb "These Hands Of Mine." And the album as a whole sounds just a tiny smidgen more like what you'd usually expect from electronic dance music, but that's REALLY stretching it. Some of the songs have more of the crazed rock and gospel feel that Quintron is known for, but this is dance music first and foremost. It's just really fucking crazy dance music. Mr. Q played this entire album live at Ralph's and it was probably the most fun night of the summer.
- Phil Hunt

Listen while you play: Katamari Damacy

(Three One G)

Reatards "Bed Room Disasters" LP
The Reatards did a very hard thing. Most people's brains are rewired for hi-fidelity mediocrity since birth, but the Reatards resisted. Have you ever tried to explain to a guitar player that they don't need to think so much? That they're playing too many notes? That they stop to tune all the time? You learn to play guitar, but you can't learn to project the kind of stuff that came out of the guitars, drums, tapes, basements & bedrooms of these guys. Getting a band like the Reatards, that came across as perfectly disastrous as it did is like getting all of the planets and stars to align -- or something to that effect. And it happened twice in Memphis (re: Oblivians). This collection of '98 7" releases, covers, and bedroom tapes is just more evidence of the savage genius of the Reatards. Reatards ended up creating something so powerful, raw and so primitively human that I'll admire them forever. Get this, but then, get anything you can by this band.
-Phil Hunt

Listen while you play: Space Invaders Deluxe

(Empty Records)

Reigning Sound, "Too Much Guitar" CD
One can never have too much guitar, right? If Anyway, goddamn is this amazing. There's four cover songs on this 14 track outing, but Greg "Oblivian" Cartwright has penned tons of future high energy garage rock n' roll classics here, from the opener "We Repel Each Other", right through to the closing track, "Medication". His Mick Jagger impression (whether intended or not), is spot on during tracks like "You Got Me Hummin", as well as others. Produced by the mighty duo of Jay and Alicia (they're on a first name basis now, and you know that's a sign of greatness), as well as Doug Easley at the legendary Easley McCain recorders. You can do no wrong with this album. And if you find a track more soulful, more feeling, more hair raising than the slow and soulful "Funny Thing" this year, let me know. But that was a trick question, 'cause there are none.
- Ryan Settee

Listen while you play: Stadium Cross

(In The Red Records) 

Rock City, "S/T" CD
This is the first official release of the Rock City recordings, and you won't be alone in being surprised when I tell you that this was the pre-Big Star band that Chris Bell and Jody Stephens had primed their skills in. If you love the more crafted feel of Big Star's "#1 Record", I'm almost certain that you'd love this, because there's the same great harmonies, superb writing, and excellent crystal clear production by John Fry. There's edgy power pop in "Think It's Time To Say Goodbye" and "Lovely Lady", then there's beautiful epics like "The Answer" (which evolves from the beautiful acoustic guitars to a dirty sounding rocker), and "The Preacher", whose meandering mellotrons are absolutely beautiful. As a bonus, there's some extra tracks from Thomas Dean Eubanks' solo career--Eubanks being the one who was essentially playing Chilton's mainman role here, as Chilton was not yet in the band. There's also a couple of songs that 'Star would go on to re-record, that being "My Life Is Right" and "Try Again", as well as a track by Icewater--the second incarnation of Big Star with Bell and Stephens--with what is essentially a Big Star demo, "Feel", which is only slightly different than the more well known re-done version. If that doesn't convince you already, nothing will.
- Ryan Settee

Listen while you play: Return of the Jedi

(Lucky Seven Records)

Rocket From The Crypt, "Circa Now +4" CD
One of my favorite bands have just re-released one of my favorite records. Mind you, it's not my favorite Rocket record, but it's a great one, and this one was remastered, with four new bonus tracks, all of which are good (and were originally to be re-released with "Circa Now", when Rocket originally signed to Interscope). The bonus track "Lamps For Sale" has a riff very similar to the one in the chorus of "Dollar", which may or may not be the reason for the songs' original omission. A cool thing is the liner notes, which explain a whole bunch of things, like the fact that the album was recorded at Westbeach Studios amidst the LA Rodney King Riots in 1992, and the band was essentially quarantined--locked up in the studio for days--until they got clearance that it was safe to leave the premises (though they made a quick run to get recording tape for the sessions, when they didn't get permission to leave). Another thing that the liner notes state, is that during tracking of what eventually would become the bonus tracks for this re-release, the tape had peeled away from it's backing, and had erased the drums (which they re-recorded for this album). A little bit brighter, a little bit louder with a little more bass, it's a tasteful reworking of a great classic punk rock album.
- Ryan Settee

Listen while you play: Big Run

(Swami Records)

Rocket From The Tombs, "Rocket Redux" CD
This album is a re-recording of Rocket From The Tombs' songs that were never officially recorded; the previously available original recordings were instead languishing in the form of demos and rehearsal tapes that were improperly recorded 30 years ago (available on Smog Veil's 2002 release, "The Day The Earth Met The Rocket From The Tombs"). In order to truly appreciate this record, I'd first suggest going back and buying "The Day The Earth Met The Rocket From The Tombs", and the Dead Boys' two albums. Why? Because those recordings contained either the original versions of these songs, or the original redone versions of some of these tracks, done by the Dead Boys (most noticeably, the classic "Sonic Reducer"). So in a way, this album contains the third versions of some of the original RFTT tracks. The legend of Rocket From The Tombs is that they were a Cleveland protopunk band that were around for roughly a year, from 1974-1975, and they took some of their cues from the sounds of bands such as the Stooges, Alice Cooper, and the Velvet Underground, creating their own brand of noisy rock n' roll that preceded the punk rock movement by a few years. RFTT also had eventual members of the Dead Boys (Gene O'Connor--aka Cheetah Chrome, Johnny "Blitz" Madansky), and Pere Ubu (David Thomas). For these recordings, the long deceased singer/ guitarist Peter Laughner is replaced by ex-Television guitarist Richard Lloyd, with Johnny Madansky being replaced by Steve Mehlman. So, the inevitable question here is: how do these re-recordings fare against the originals? It depends on the song. The clearer production of the new versions allows for some interesting and fully realized interpretations, such as "30 Seconds Over Tokyo" and "Final Solution"" both epic songs that deserved some better production touches the first time around. "Muckraker" also seems revitalized by the reworking, as Craig Bell's vocals sound as good as they did back then, and "Ain't It Fun" has some amazingly feeling guitar leads, and might be better than the original RFTT version (which is saying alot, seeing as that the Dead Boys' version was a bit lacking in grit, ironically). This album is not without a few questionable moments, though. Why the band didn't redo "Transfusion"--easily one of their best songs--is a head scratcher. Although it kicks ass, why they did an instrumental version of "Frustration" is anyone's guess. The whacked out organ playing from the original version of "Life Stinks" is missing, which doesn't suit the song; the whacked out, schitzophrenic organ WAS the song. Why David Thomas now sings the songs that O'Connor sang originally, like "Sonic Reducer" and "Never Gonna Kill Myself Again", is beyond me - which brings me to my next point: Thomas' vocals. Whereas in the originals, where he sounded like a brute that was gonna knock you over with his singing, he's now sorta adopted a "nice guy" approach to singing the songs, most noticeably on "What Love Is" and "Down In Flames". Instead of yelling out a line like "DEAD BOY!", he now adopts an approach that sorta says "you know, I'm sorta, kinda, maybe a Dead Boy". And I'm not impressed at all with his version of "Sonic Reducer", where he has neither the drunken charm of the original O'Connor sung version, nor the Iggy on a British rip style of Stiv Bators' Dead Boys version. His vocals are just lacking the attitude that these songs need. The charm of the originals was that there were four lead vocalists: Thomas, O'Connor, Bell, and Laughner. With Laughner gone, O'Connor (or what I'm assuming to be O'Connor--the liner notes specify who did what), steps up to the mic on "Ain't It Fun" and "Amphetamine", and his gruff voice suits the music perfectly, and if he did all the songs on this record, I think that it would have been much better (with the occasional song by Craig Bell). It must be noted that my criticism is coming from the standpoint of someone who knows and loves the originals, and any time that any band tries to rewrite their own history, is going to incur some sort of misgivings from fans. I'm glad to hear these old farts still going, and long live RFTT!
- Ryan Settee

Listen while you play: Computer Space

(Smog Veil Records)

The Sadies, "Favorite Colours" CD
I'm still kinda lamenting the days when the Sadies would cram 20 songs onto a record--most of 'em quick, twangy barnburners--the fact that the Sadies have evolved into a psychedelic roots country twang band of the highest accord, has seemed like a natural and necessary evolution in an extremely talented group that wishes to be known as a great band, regardless of genre. And they pull it off so seemingly, that I'm wondering why Stephen Stills and Neil Young are not driving these guys around in their Pontiac hearse, circa 1969. The rowdier Sadies still surfaces every now and then, like on the opening track "Northumberland West", but the brotherly harmonies of underrated roots guitarists Travis and Dallas Good have cropped up in increasing amounts, like on the excellently Byrds-ish "Translucent Sparrow". There's far out, spacy epics like "Song Of The Chief Musician", as well as "The Curdled Journey", featuring Joey Burns of Calexico on cello. Robyn Hitchcock even lends guest vocals on "Why Would Anyone Want To Live Here". Whatever they're putting in these guys' burritos, it's something good (or was that Flying Burritos?).
- Ryan Settee

Listen while you play: Holosseum

(Yep Roc Records)

The Safes "S/T" EP CD
It's hard, basic, rumbling boogie woogie punk. I couldn't really think of a better description than that. While it's only five songs, they cover a lot of ground (at least as much ground as a punk rock and roll band can cover). "Mind Meltdown" sets the pace with a and a catchy singalong chorus while "Dead and Gone" sounds a little more evil. The remaining songs keep the good times rolling although I didn't really care for the instrumental at all. It ends on a high note with a great little pop song. Good, but short!
-Phil Hunt

Listen while you play: Arm Champs II

(Pro-Vel Records)

Slim Cessna's Auto Club, "The Blovdy Tenent Trvth Peace" CD
A lot carnival, a little folk and a little bluegrass all done real fast and tight. A comparison would be to think of the Camper Van Beethoven folky stuff and cross it with X and make them march down the street outside of your house on the way to a circus. Interesting and fun with some sing along choruses. Good production value, too. Would be a really great live show, I bet.
- Todd Holdman

Listen while you play: Desert Fox

(Alternative Tentacles)

Smugglers, "Mutiny In Stereo" CD
Vancouver's finest dressed playboy rockers are here to wage war on your stereo. The production is a little less bombastic than their previous effort, 2000's "Rosie", but the Smugglers know what they do well, and are here to get you dancing! From tracks like the opener, "Pirate Ships" (which is an ode to ships that used to blast rock n' roll music to people off the coastline, when rock n' roll was banned), to sing alongs like "Larry, Where Are You?", to playful tributes to their own band members ("Don't Mess With Beez"), it's a helluva lot of fun.
- Ryan Settee

Listen while you play: Sega Strike Fighter

(Mint/ Lookout Records)

Social Distortion, "Sex Love and Rock n' Roll" CD
It's difficult for any band to justify and warrant an eight year gap between albums (their previous one being 1996's "White Light, White Heat, White Trash"), but hey, their long time guitarist, Dennis Danell had died in the meantime, and Mike Ness put out two solo records. Seeing that this is Social D, saying that this record is their best yet is kinda like saying Chuck Berry's "Nadine" was better than "Back In The USA", but this is a really solid album. Songs like "Don't Take Me For Granted", "Nickels And Dimes", "I Wasn't Born To Follow", and "Live Before You Die" are my favorites here, and can hold up with the best of any classic Social D material. Some of the criticisms leveled at the band is that their songs are all cliché, and that they follow the same structure, content, and pattern. That suits me fine, 'cause Social D is like your old beater of a car--it's well worn and beat up and everyone's drove it, but damned if it don't get you from point A to point B.
- Ryan Settee

Listen while you play: Radar Zone

(Time Bomb recordings)

Southern Culture On The Skids, "Mojo Box" CD
You always know what you're gonna get from SCOTS--greasy, southern fried white trash boogie, with a good dose of surf and 50's music thrown in for good measure, and this album is no exception. If you love one album by 'em, you'll love all of 'em (I guar-on-tee!). There's the prerequisite songs about cars ("69 El Camino"), surf songs ("The Wet Spot"), and this one, like their other albums, has a traditional white trash theme, "Doublewide". Longtime SCOTS-man producer Mark Williams was again behind the boards for this one, and he always makes sure that the 'Skids get some great crispy, crunchy sounds on tape. It wouldn't be a proper album unless (the criminally underrated) bassist Mary Huff sang some songs, and here she does on tracks like "Soulful Garage" and "Fire Of Love"--the latter of which she sounds more seductive than she ever has. Oddly enough, ex- Jesus Lizard crazyman David Yow designed the cover artwork. This album was recorded in an old garage that muscle cars used to be built in, and should it be any other way?
- Ryan Settee

Listen while you play: Redneck Rampage

Editors note: Is that Southern Culture on the Skids singing on some commercial for a jewelry store? I swear I hear some "Mojo Box" tune on the T.V. all the time.

(Yep Roc Records)

Spiritualized, "The Complete Works Volume 2"
Following hot on the heels of 2003's "Complete Works Volume 1", Spiritualized have released another double disc of rarities, alternate versions, and b-sides. These tracks are mainly culled from the "Ladies And Gentlemen We Are Floating In Space" and "Let It Come Down" era albums, which is my favorite Spiritualized period (as opposed to volume 1, which focused in on early rarities). "Broken Heart" was one of my favorite songs off of "Ladies And Gentlemen…", and it's nice to see that there's three versions on here, a couple of them instrumentals. I think that the best versions on here are the live versions of "Come Together", which is certainly one of their most ass-kicking songs. The free jazz extended intro of the live version of "On Fire" is extremely cool, as is the "X Files Theme" rework, but i'm a bit curious as to why "Let It Flow" is on here (seeing as that it really should have been with the volume 1 era songs). The liner notes say absolutely nothing about where these tracks originally came from, and considering that this is a rarities comp, it would have been really nice to know when and where these songs originally came out or appeared. Other than that, it's a great compilation; one that's actually good enough to compete with the quality of their actual records, so I recommend this to Spiritualized beginners.
- Ryan Settee

Listen while you play: Dragon Spirit

(Arista/ BMG Records)

Squareheads, "Persona Non Grata"
This is definetely one of my favorites from this year. The production is ten times better than last year's lo-fi "Rock N' Roll Animal" EP, this may, just may be the most authentic 70's Dead Boys/ Ramones-ish punk rock record to never be released in that era. This thing is great, from start to finish, and tracks like "She's So Fine", "Sweet Sherry" and "Betamax" all have the fist in the air. The re-recorded version of "U Boat Attack" kills, and one of Winnipeg's... nay, Canada's craziest bands have got their live sound on tape, thankfully, due to local sound guy, Leigh Filbert, who also plays the purty vibes sounds that close out the record. Damn near as good a punk/ rock n' roll album as you're likely to hear.
- Ryan Settee

Listen while you play: Star Jacker

(squareheads@hotmail.com)

Steirkampf "He's A Grunge Whore +4" 10" EP
Yet another re-release in this batch of reviews. This is an earlier, 1993 incarnation of Turbonegro, when they had short lived name change, but decided against it, 'cause the name was too controversial. The title track is an obvious slag against Kurt Cobain, and for those that are expecting the later, rock n' roll friendly version of the band that sings about pizza, gay sex and getting lubed up, this might not be for you. It's cool enough, though, it's more hardcore punk-ish, sorta like Zen Arcade-ish Husker Du, with all of these songs ending up on the "Never Is Forever" cd (minus the cover of Black Flag's "Six Pack", which has, perhaps, one of the most weird, evil uses of banjo ever committed to tape).
- Ryan Settee

Listen while you play: Choaniki: Legend of Holy Protein

(Sympathy For The Record Industry)

Sultans, "Shipwrecked" CD
At first listen, this disc appears to be much cleaner and a bit tamer than the Sultans' previous album, "Ghost Ship", and I'm glad that I didn't just listen to it once without giving it enough time to grow on me). Whereas "Ghost Ship" sounding like a lo-fi basement production, I loved the sound of it, because it was a straight-ahead 70's style Ramones punk rock styled record. This disc is almost like it's permanently stuck on "nice", and it takes many listens to fully grasp the intricacy of the arrangements, writing, and production, so don't shelve this away after one listen and write it off, just because "Ghost Ship" was dirtier. This whole album is great, but tracks like "It Meant Nothing", "Shut Up And Sit Down", "I Just Can't Take It" and "Walk Of Shame" really shine and songs like "Please Don't Leave Me On The Highway" and the excellently beautiful closer, "I Don't Care What She Thinks Of Me", really show this album's depth.
- Ryan Settee

Listen while you play: Pirate Pete

(Swami Records)

Taxi "Who's To Blame" 7"
The genius and terror that is Taxi is upon us once again in the form of two spastic blasts of pure, jet-propelled Italian punk fury. This does not sound like your run of the mill band, rather, it sounds like it was played by a street gang. They play tough, back alley punk (that deftly avoids sounding too derivative or ridiculous) with relentlessly catchy, bludgeoning riffs that steamroll out of your stereo. Each song sounds like some long lost punk treasure from the 70s or 80s, but it's not! It's here, it's now, and you don't have fight with geeks on Ebay for some out-of-print single to hear ti. They don't deviate at all from that winning formula. It worked exceedingly well on their debut album and it continues to work here.
- Phil Hunt

Listen while you play: Macross Plus

(Dead Beat Records)

Johnny Thunders, "Jet Boy" CD
Ahh, the immortal Johnny Thunders, we loves 'ya. This new compilation has most of Johnny's greats, and is a good place for a Thunders' novice to get acquainted with 'ol Genzale, at a whopping 17 tracks (contrast that with the recent New York Dolls "Millennium Collection", with a skimpy 10 or 11 tracks). You could practically hear the legions of fans that would arrive at this labels' head office, hands already in the choking position, if songs like "Too Much Junkie Business", "Born To Lose", "Chinese Rocks", and "Pirate Love" weren't on here, and yep, they're here, so this Anarchy label is safe! This comp was cheap, cheap, cheap (picked it up for 10 bucks new), and the packaging is really fancy.
- Ryan Settee

Listen while you play: Last Duel

(Anarchy Music)

Tijuana Bibles, "Fists Of Fury" CD
The 'Bibles continue on in their pursuit of the "half punk, half surf" tuneage that they've perfected over the years. This CD is available in die cut, silkscreened versions, with 500 limited edition copies available for each member of the band. Anyways, you have the killer straightforward punk tunes like "Go Go Rock n' Roll", "Pain Train", "Cage Of Love", and "N.H.T.F" (from the "Fiesta Siesta" 7"). And "Chimpanzee Twist" is so good, that the Ramones should have wrote it! Then you have the surf songs like the spy themed "Deadly Weapons" and "Wheelchair Werewolf", and if your lucky, you get the punk and surf tangled up in tracks like "We're Gonna Tangle". The 'Bibles' songwriting have been improved (not that I thought that it was bad before), and you have a longer song like "Pain Train", with some bitchin' guitar solos that you wouldn't have found on their past albums. The horn section is also more prominent, and more effectively used on this record than on past efforts, which leads to some really fired up additions to the mix--like on "Go Go Rock n' Roll". Is that vibrato on the Crippler's voice in "Cage Of Love"? He can still belt it out, but he can also croon it out, now.
- Ryan Settee

Listen while you play: Rad Racer

(www.tijuanabibles.com)

Unbelievable Uglies "'The Original' Unbelievable Uglies" CD
I've communicated off and on with the guitarist/harmonica player/vocalist of the legendary 60s garage band from Minnesota, Unbelievable Uglies, for a couple of years. I ran into Dave Prentice at a karaoke event at the Detroit Lakes, Minnesota Holiday Inn. Knowing he'd be there, I hauled along my copy of "Hipsville, Volume 3," what I would assume is a bootleg compilation of Minnesota garage bands that includes their superb shouter "Get Straight." He was a really nice, gracious guy, and didn't seem to mind at all that I had him autograph a record that he probably didn't get a cent of royalties for. I've e-mailed him a few times, and he saw my own band get soaked in beer at Ralph's in Moorhead once. All the while he kept teasing me about some mystery CD compilation of all their old hits that was coming out! It's finally here! Now I don't have to troll the eBay auctions for used copies of Unbelievable Uglies 45s -- they're all compiled here and mastered directly from the vinyl! The compilation sounds great, and since the Uglies likely played a lot of teen dances during their heyday, the material varies pretty wildly. From barnstorming surf rock, booming garage stompers, indulgent, crazy psych, lush, danceable pop and dreamy ballads, this band tried everything and they did it with considerable aplomb. The songs are upbeat, punchy, and loud – and the throaty, tenor vocals have a surprising amount of style and soul. Maybe the direct-from-vinyl sound pushes things up a notch, but the recordings have these great, rumbling bass sounds that I really love. The Unbelievable Uglies also did some really, really weird stuff. For example, one of the more bizarre tracks is a little spoken-word interlude called "Mrs. Mouse," delivered in a style akin to a sermon delivered in one of the area's many Lutheran churches, Dave Prentice tells a story about a group of female mouse with marriage troubles who likes to get high on some weird cheese. On one of their B sides, the Uglies did a ragtime version of "When the Saints Go Marching In!" Maybe this stuff had some context at the time, but hearing it now, you're like "what the hell?!" It's the strange little touches like this that give the Uglies their unique personality, but one has to wonder if the band's slightly odd bent is what prevented them from becoming big-time rock stars. Could it have been their Minnesota roots? Maybe they didn't have the "look." It is hard to imagine a big 60s record exec giving a second look to a pack of gawky teenagers dressed in (unbelievably) ugly paisley jackets. Still, the band accomplished a lot of pretty amazing things. They recorded with Bobby Vee, and they shared the stage with ? and the Mysterions, Yardbirds, Beach Boys and The Who, to mention just a handful. Considering all the Midwest rock history these guys witnessed, it would have been great to see some liner notes beyond the couple of paragraphs included in the booklet. These guys surely have a really interesting story, and they aren't totally generous with the dirt. Nevertheless, it's all about the tunes, and this is a super garage rock package by a real Minnesota standout from the 60s. These guys took their "beat smashing lake sound" across the Midwest and were "seldom banned from cities when the 'show' got too wild." You have to wonder about a quote like that. That means they DID get banned once or twice, and there are some crazy Unbelievable Uglies stories out there to be heard.
- Phil Hunt

Listen while you play: Time Pilot

(PLT Records/Arffytunes)

The Unintended "Self Titled" CD
This is a supergroup comprised of members of the Sadies, Elevator/ Eric's Trip, and Blue Rodeo. This is one of the downright spookiest albums that you're likely to hear, and it's sort of a Buffalo Springfield psychedelic trippy album, with lots of eerie delays and reverb, and minor key flourishes. Greg Keelor (Blue Rodeo) made some good contributions to this album, no doubt, and Rick White's (Eric's Trip/ Elevator) low key vocals are a key part of this album, as well--but let's face it, Dallas and Travis Good (of the Sadies) really put this album into legendary territory, and cement the fact that they're close to (if not) the most versatile, and talented guitarists out there, these days. For those familiar with the Sadies' more recent mellow psychedelic material on their "Stories Often Told" album, this is along the lines of that stuff. Most of the songs don't vary too much, and as a result, it creates one big haunting song, with some almost classical acoustic guitar lines, from time to time, with some really spooky organ playing. Kinda spaced out evil country? You could call it that. Classical music with an evil rootsy feel? You could call it that, too. This album should'a came with a black light, or something.
- Ryan Settee

Listen while you play: Triple Hunt

(Blue Fog Records)

VaGiants, "Waiting For The Night To Come" CD
I got this off of vinyl, from Joanne "J-Rod" Rodriguez, the singer of the Vagiants. This is a record that continues in on their love of sped up garage rock n' roll soul, and Joanne continues to be one of the best vocalists in rock n' roll. My favorite tracks are "Night To Come", "Detroit", "Turn It Around", "Easy Mover", and the closer, "Night's End". My concern is, much like their previous album, "Short And Hard", is that the choruses don't always have the catchiness that they should - I think that they should have more chants, some more background "whoa"'s, "hey's", or harmonies. There could be more tambourines, more shakers, more handclaps and some organ. More of that sort of stuff that can get the garage soul R&B n' roll really moving. Other than that, this is a really solid albumI think they're not sounding as good as they could be.
- Ryan Settee

Listen while you play: Mad Motor

(No List Records)

Various Artists "Punkrocks ‘The Middle of Nowhere’ Vol. 1" CD
While there is nothing in this collection that really grabs me by the throat, it's a nice look at a fairly vibrant little punk rock scene in Southwest Missouri. Most of the songs are fairly lo-fi, demo-quality recordings played loose with lots of energy. Many of the bands, such as the Rich Kids, Unteen, The Ladykillers, have good music but the vocals leave a lot to be desired. There is a good traditional bluegrass tune by Uncle Fudd as well. The Mashed Potatoes are my favorite band on here, because the vocals are actually more than adequate and they don't attempt to do anything beyond drunken, sloppy, blazing singalong punk. The old-school Sonic Youth meets East Bay Ray guitar noise of Unholy Three appeal to me only because they sound so weird that I'd like to hear a little more. It sounds like they could either be brilliant or really annoying. This disc probably has more of a local appeal, but it's kind of fun to hear these bands and imagine them partying together and setting up shows for each other.
- Phil Hunt

Listen while you play: Punch-Out!

(contact Amy Zingre)

Various Artists: "Goldirocks, Official Soundtrack" CD
I've never seen the movie. Maybe I should. This is a pretty cool compilation with songs from tons of great Toronto area rock n' roll bands, like the Deadly Snakes, Tijuana Bibles, Blurtonia, Sadies, Cheerleader (or Cheerleader666 or Deathfuck......whatever they're calling themselves now). There's also tracks by Tricky Woo (though one of their weakest moments), Robin Black (who I might, just might warm up to one of these days), and the Chickens-- who I think are alright, but might be a tad overrated. And the aforementioned Blurtonia song, a cover of Teenage Head's "Let's Shake" , with Sasha Ormond on vocals - the chick that plays Goldie in the movie, or whatever her name is - will make you play some air guitar on the closest available hockey stick.
- Ryan Settee

Listen while you play: Guilty Gear X

(Rubber Road Records)

Vee Dee "Furthur" LP
Okay. It's close enough to the end of the year where I'm pretty sure I can go ahead and call this one of the best two or three records I've heard this year. It's hard, measured, style is greatness personified. It's relentlessly catchy, pissed-off -- a monstrous, powerful thug ruckus. This thing is packed with great choruses, doom-charged bass riffs and dirt-under-the-fingernails, guitar skronk. There is a great classic psych and garage undertone scurrying under the carpet as well, but it's so heavily mutated you'd never recognize this as anything remotely resembling the usual paint-by-numbers suits & organ trash. You may need to give it a couple of spins before it totally sinks in, but this album gets the absolute-highest-possible recommendation from me. If you're looking for something catchy, sinister, mindblowing, this will more than fit the bill.
-Phil Hunt

Listen while you play: Hang on

(Criminal IQ)

Wildhearts, "Riff After Riff" CD
This is a reissue of the originally only Japanese available, "Riff After Riff After Motherfucking Riff" from 2002, with 7 new tracks of b-sides, etc, minus one track, "Vanilla Radio", which was available on "The Wildhearts Must Be Destroyed". My favorites of the new tracks are "Bang" (originally available only on the Japanese version of "...Must Be Destroyed....."........confused yet?), and "Action Panzer." For an album of a bunch of B-sides and rarities, this is pretty solid. I've played "Putting It On" ten million times, and "Looking For The One" is perhaps the only song -- with the only band -- that have combined equal parts Slayer and Cheap Trick in the same verse-chorus-verse song scheme. "Return To Zero" is also a good song but it sounds like it was recorded in a toilet, which is really the only downside to a killer album that has received a second lease on life.
- Ryan Settee

Listen while you play: Mr. Do

(Gearhead Records)

Wildhearts, "The Wildhearts Must Be Destroyed" CD
Britain's well loved Wildhearts are attempting to crack the North American market for the first time since 1993, when their debut, "Earth Vs. The Wildhearts", their only other North American release, was issued over a decade ago. If quality is any measure of how well something will do (which usually, it ain't), this album should win the 'Hearts quite a few new fans, because this album is full of catchy choruses, tough sounding verses, and Ginger's penchant for the metallic riffing solo--though this album is decidedly a bit poppier than their past efforts. The record starts off with "Nexus Icon", a high energy, singalongstomper, and keeps the juices flowing on songs like "Only Love", "Vanilla Radio", "So Into You", and the Motorhead-ish "Get Your Groove On". Hopefully the Wildhearts won't be destroyed, and will just destroy stereos in the process.
- Ryan Settee

Listen while you play: Woody Pop

(Sanctuary/EMI Records)

Zeke, "Til The Livin' End" CD
Blind Marky Felchtone and his recently powered trio of metal loving rock n' rollers have released a fine slab that has excellent production and sound by Jack Endino. If your stereo isn't on ten for this, you're just plain wrong. I like the slower song, "Dragonfly", and what is that, vibrato on Marky's voice in "Ever Onward"? He can actually sing when he wants to. Uhh.... I don't know what else to say other than buy this, crank it, and just know that in your 1970 383 'Challenger with this on maximum, you're way cooler than the sissy in the tricked out Honda next to you. There's three sets on the bonus DVD here, one in Tacoma (professionally done), one in Paris (well done, but a bit rough in places), and one in Seattle (the roughest). My favorite is the one in Paris, with Zeke as a four piece, as they just seem better with four members, and the video has some neat clips and additions, like one French dude asking Donny Paycheck why he "always gives people the finger". The Seattle set is more or less the same as the Tacoma gig (with the same rough song list and solo breakdown from Zep's "Heartbreaker"), but is a slightly less essential version of it, as it's another gig with Zeke as a three piece, and the band does seem to lack a bit from not having a second guitarist, for whatever reason. But this all kicks ass!
- Ryan Settee

Listen while you play: Moto Race USA

(Relapse Records)