This is the first record from PICKETT since he split up with the EGGS, who went on to release a record as the PSYCHO DAISIES. Here, he gets a refreshing American sound of blues, country, and rock with the help of Jim Duckworth on guitar. Also features Mo Tucker of the VELVETS on drums.
More guitar raunch garage punk here, though it’s a bit more eclectic than in the past. Side one rocks hard with that “just a little off” quality that makes it special. Side Two is a bit too disjointed for me, but it’s still hot.
This is an ambitious overview of the lifespan of PERE UBU. From the early acid garage sound of their early singles, to the final, more jazz-influenced release, this labor of love contains extensive liner notes about each phase of the hand and each recording.
Joseph at Systematic described SOUL ASYLUM’s sound as “thick,” and given that Bob Mould of the HÜSKERS did the production, I think you can figure out what that means. Most of the songs have a dense, rockin’, chunky sound with some power and gruffness behind them. They’ve got decent drive, but they’re more rockish than punky.
Perfect. Just perfect. This is exactly what I wanted this band to sound like when they released their first EP; here, they’ve tightened up the sound with engaging melodies wrapped around a ripping Midwestern Bob Mould production.
This band has always done great pop and post-punk but I have never been able to dig out those essential hooks. I guess they transcend them, because this is a fine recording full of melody and great rockin’ moments. They seem to have split it into a rockin’ and melodic side, but whichever way you splice it, these guys deserve attention.
Live, these guys impress with their tunes, energy, and performance. Here, you get a well-crafted pop LP. I know the HÜSKER DÜ comparison is uncool, but it’s so obvious, along with a REPLACEMENTS touch, that I gotta do it. Power-pop.
With the exception of the SUICIDE COMMANDOS and the REPLACEMENTS, Twin/Tone has had a reputation for releasing really wimpy pop records. So it’s good they’ve picked up a band like the FORM. This is just a straight guitar garage band that makes no excuses but does make catchy, driving songs. I can even forgive the pedestrian cover of MOTT THE HOOPLE.
The third release from a truly inspired Minneapolis band. The REPLACEMENTS have managed to assimilate the best elements of rock and roll from all eras and fuse them into one high-velocity package. This EP contains real fast, raw garage music, and the wild recording has even more power than their great LP. “White and Lazy” sounds like CAPTAIN BEEFHEART, so this package is a must.
More varied and experimental than their previous outings, and it suffers for it. Overall, it’s not nearly as powerful or rocking; there are several bluesy or countrified numbers in place of their standard raw blasts. The standout cut is “You Lose,” which is great, infectious, and innovative rock ’n’ roll, with a bassline right out of the MOVE’s repertoire.
The title track is a shuffling, bouncy pop ditty with a strong hook that could be a commercial hit if it was marketed properly. The flip contains a guitar-heavy version of T. REX’s “20th Century Boy” and a live, countrified adaptation of “Hey, Good Lookin’,” neither of which really add to the originals.
This varied album contains quite a few lilting acoustic tracks, some straightahead rockers, a bit of metal, and some really inspired lyrics. “We’re Coming Out” and “Favorite Thing” are exciting enough, but the remainder of this release lapses into lackluster, uninvolving pop. Severely inconsistent.
These guys have been at it since at least ’76 (when they released their first EP), and they continue to produce some of the greatest garage/’60s punk/psychedelia ever. This latest effort contains a few tracks off recent compilations and EPs, but most are new and exhilarating. It may be too “pop” for some, but there’s a real bite underneath that format.
This album reminds me of a tug-of-war between ’60s psych and late-’70s power-pop, the latter victorious by a respectable margin. My favorite cuts, “Gotta Tell Me Why” and “Glendora,” were previously released in better versions, and the studied pop leanings on this album don’t succeed as often as on their last LP. Pleasant listening, but not the special effort I expected from the SLICKEE BOYS.
