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Due to overwhelming volume, OpeningBands.com regrets that is not accepting CD admissions at this time.
| by brian tracy (TwilightBurning) / john rigormortis (JohnERigormortis) | |
1. It's Time To Party
2. Party Hard
3. Girls Own Love
4. Ready To Die
5. Take It Off
6. I Love NYC
7. She Is Beautiful
8. Party Til You Puke
9. Fun Night
10. Got To Do It
11. I Get Wet
12. Don't Stop Living In The Red
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Band: Andrew WK
CD: I Get Wet |
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Review #1 - Brian Tracy
Easily one of the catchiest alums to come out in a long while (that wasn’t concocted by a group of old men in Sweden) Andrew W.K.’s Mercury debut “I Get Wet” is wonderful ear candy. This enticing, highly catchy group of songs is nothing but fun and guitars. Anyone who finds anything deeper than that is looking far too hard. This is a group of songs, as Andrew himself described them, that he "spent hours on trying to make them sound like he put minutes into them." He was successful.
Upon first listen to the album you will not be able to stop your head from bobbing unless you don’t have a neck or it’s in a brace. The lyrics don’t matter, the guitars crash, and Andrew drones on. All in all this is an excellent ‘fun’ CD, it could almost be considered a guilty pleasure by many for not even attempting to be anything important, groundbreaking, or even original. It does a masterful job of taking the best of rock and placing it together, you can sing along to any song and you feel compelled to nod your head to every track.
The first single, “Party Hard” is a high-energy mindless chant-a-long song about exactly what it sounds like: partying. The energy and the unabashed attempt by the song to be a fun and nothing else make it hard not to enjoy, even if you don’t particularly care for it the energy and mindlessness of it may bring a smile to your face.
The album tends to follow much of the same formula as “Party Hard.” There are, of course, differences between songs but for the most part they are negligible. The differences between songs like, “Party Hard,” “Party ‘Til You Puke,” and “Fun Night,” among others, is so slim that it hardly matters. A one (or at best three) track of this album could convey all the musical ideas contained within.
This CD is great for someone who has a large CD collection and wouldn’t abuse it too much; this is a great CD if it’s not something you’re going to be listening to everyday. Even with as much fun and energy it has the power can only last so long; after a few listens in a short period of time, the amusement wears off. My suggestion to those who are interested; watch MTV for the video, tape it, then watch/listen to it twelve times in a row; if after that you still think you need it on CD then buy the album, otherwise just wait for the next big thing.
Review #2 - John E. Rigormortis
DUDE! You have got to check this CD out; this is the coolest shit since Limp Bizkit hooked up with Method Man. There’s so much yelling about parties and fun and shit, it makes me wish I was in college so I could party hard and go out on fun nights to get drunk whenever I want and hit on college chicks.
This is my new favorite CD to listen to when I’m cruising around my neighborhood on my Razor scooter, its that cool! The whole CD filled with all sorts of cool shit, Andrew W.K. (my new GOD!) must be really cool because all he talks about is partying, puking, and girls. I think this CD must be about how cool it is to be a musician because, like, he never talks about anything else, he just sings about all fun shit, which is all musicians do anyway since they don’t have real jobs.
Andrew W.K. is such a badass, if you couldn’t tell by listening to his music (duh!) you can tell just by looking at the CD cover. It’s so bad they had to put a censored version out! I got my mom to take me to the mall instead of Target so I could get the uncensored version. So if his screaming about partying and chicks don’t convince you he’s badass just check out the cover of his CD. It’s just him looking all-tough and shit, with blood everywhere, it looks likes he’s a vampire, right outta Blade or something!
You really gotta check out the single, its the only song I’ve listened to since I got the CD two weeks ago, its called “Party Hard!” There’s all this screaming and yelling about partying and doing whatever you like! This guy is my idol; I want to be like him so I don’t have to be like anyone else! Me and my two buddies, Steve and Todd, are going to be just like this guy! None of us are going to do what we’re told; we’re all going to do whatever we want together!
So if you can convince your mom (don’t ask your dad, he wouldn’t like this, he start talking about the Bowling Stones or some shit) to buy you a CD in the next month, get this one, or Linkin Park, or Blink 182...well, get one of them, they’re all wicked anyway.
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| by todd hunter (todd) / lance birch (lance) | |
1. Either Coast
2. The Stars of Amateur Hour
3. Misery by Design
4. She Turned Your Head
5. This Town
6. Alaskan
7. The Uselessness of Friends
8. The Truth
9. For the Win
10. Almost Blue
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Band: The Reputation
CD: The Reputation |
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Review #1 - Lance Birch
The Reputation, featuring Elizabeth Elmore as frontwoman, is a melodic pop-rock band with a pinch of punk. One can't help but notice that their sound seems perfectly balanced. While many of the songs are bass-driven, it does not overpower the guitar, drums, vocals, etc. Elmore's voice and the crystalline guitar combine with the rest into a perfectly cut diamond of sound.
From the fresh opening "Either Coast" through the Elvis Costello cover at the end, The Reputation keeps you wondering what is next. The uptempo pop songs fit perfectly among the more dramatic-sounding slow songs, like "The Uselessness of Friends", which begins with a piano part like that of the "Young and the Restless" theme, but proves to be much more comforting. The occasional horns and keyboards only serve to add greater fullness to the standard mix.
"The Stars of Amateur Hour" is a savory track of medium pace, while "The Truth" emits a little bit of fire, contrasting with the cooler songs. "She Turned Your Head" is somewhat reminiscient of The Cure's "Lullaby" in some parts, though lacking in cheesy spider references. It creates yet another facet of the eclectic whole.
This album is like iced tea on a hot summer afternoon. Looking for something to fill the silence when you are doing your homework or sitting on the couch after a long day's work? The Reputation will perk your ears with melody, impress you with intelligent wording, surprise you with some unlikely driving force, then leave you in awe as you ride their wave to the coast. While it has its fast and slow parts, the melodic quality may force me to rotate this album with Sarah McLachlan and Woodwinds & Water for my own lullaby music.
Review #2 - Todd Hunter
The debut by The Reputation delivers, albeit slowly. This is an album that requires familiarity, even intimacy, best played on a Sunday afternoon or late at night with a favorite coffee beverage at hand. Despite a few horns and high notes, this is no party album.
Fans of Sarge already know that Elizabeth Elmore has a stellar voice and vocabulary. Neither goes to waste here, and although "Alaskan" is not the happiest song in the world, the delightful and infectious ending warrants a sing-along. "She Turned Your Head" is less conducive to gathering 'round the maypole. From the perspective of the woman scorned, it spreads disease about an unfaithful boyfriend and his new floozy. The verse alone would not work, but the lush instrumentation lends depth and gravitas and makes the story compelling.
There is blame enough for everyone, with mention of "so-called friends" and even a gentle keyboard number titled "The Uselessness of Friends." Another entry describes nice neighbors "just letting me know I don't belong in this town." If the album has a central theme, it is the desire to pack an overnight bag for more than just overnight, sort of like Mary Richards thirty years later.
Initially, these tracks may sound like variations on "Detroit Star-Lite." Each takes a different angle and develops it, however, without loss of energy or spirit. The result is a debut that flows like young wine but already demonstrates maturity.
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| by jenn higgins (BleachedPink) / anne mastny (anne) | |
1. How It Should Be (Sha Sha.
2. Wasted & Ready
3. Family Tree
4. Commerce, TX
5. In Other Words
6. Walk On Me
7. Make It Up
8. No Reason
9. Lizzy
10. Harriet’s Got A Song
11. Falling
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Band: Ben Kweller
CD: Sha Sha |
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Review #1 - Jen Higgins
The album Sha Sha is a breath of much needed fresh air in the current choked and stale music scene. It is a blend of acoustic folk, rock, power pop, and piano. The lyrics are often clever, and sometimes perfectly placed to cut through some of the intensity of the music and to keep it from being too sincere. The CD does not sound overproduced with distortion and produced noises. It is just straight forward guitar and drums. Ben Kweller makes beautiful use of space, and lets the music breathe. He also utilizes many different instruments, including violins, violas, cellos, banjos, and French horns (the instrument I play which is a big plus in my book).
If you are still wondering what type of music he is, Ben Kweller is right along the lines of Pavement, The Lemonheads, and Ben Folds. He has been opening for Dashboard Confessional and The Anniversary in the past month, and will be opening with Dave Mathews Band for a week in April. His music appeals to people of all music preferences.
Almost all of the songs have catchy “bop-bop” and “Ahhh-ahhh-ahhhhh” fillers, and easy to sing-along choruses. The lyrics are innocent and catchy such as “Don't bother me while I'm watching Planet of the Apes on TV,” “I got a strange neighbor who doesn't have curtains on her windows,” and “Butterflies are passive/aggressive.” All of his excitement and passion and musicianship comes across in his music. "Wasted and Ready," the second track, is probably the most radio-friendly song off the CD, with a Weezer-like melody and a catchy chorus. When I first heard this song on the radio, I originally thought it was a new Weezer song. The style of music, and the voices are very similar.
This is a CD that you would listen to on a long sunny weekend of relaxing. Or where you have to get stuff done around the house and it is nice outside, so you put on this CD and open all the doors and windows around the house. It is a straightforward rock album with no surprises and doesn’t have any of the trends in the current music scene. It is definitely easy to listen to, and easy on the ears. It Is a little too soft for my tastes, but it isn’t bad in the least bit. I can see this album going to the top of the charts once people catch on.
Review #2 - Anne Mastny
Hands down, this album rocks! This singer song-writer hailing from Texas (don’t hold that against him) got an early start in the music business. While barely a teenager, Kweller’s first band, Radish, was signed to Mercury Records. When Radish called it quits, Ben was by no means ready to leave the music scene. He decided to give it a whirl himself. Now, at the ripe ol’ age of twenty, Ben has released his first "solo" full length, Sha Sha.
This album is non-stop sing alongs. Full to the brim with "bop bop’s" and "ooh ooh’s," one might call Kweller’s music power-pop. But don’t let that deter you. This album has a folk flavor to it with a generous helping of pop and plenty of rock to round things out.
Each song brings a new, and different, sound into the mix. Kweller’s beautiful piano playing can be heard on tracks such as In Other Words and Falling. Additional instruments including violins, a cello, and even a banjo are used in these songs to create a fuller, more interesting sound.
When listening to Family Tree I can’t help but hear The Beatles. The sweet, innocent acoustic guitar, and layered vocals of the chorus: "Oh, you are my family tree/Be good to me/Take care of me/bop bop/bop bop." In Commerce, TX a Weezer vibe can be felt. Rivers-esque vocals, matched with similar Weezer musicianship and lyrical stylings, make this an excellent (if uninventive) number.
And while one can hear the many influences in Kweller’s musicianship, he has a distinct sound amongst the bulk of the industry these days. If you’re up for something a bit different, and perhaps a tad more mellow, give this disc a spin. Plus, with lyrics like: "Sex reminds her of eating spaghetti," (Wasted and Ready) how can you resist?
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| by steve sobel (steve) / stephen swift (swifty) | |
1. It Was There That I Saw You
2. Another Morning Stoner
3. Baudelaire
4. Homage
5. How Near How Far
6. Heart in the Hand of the Matter
7. Monsoon
8. Days of Being Wild
9. Relative Ways
10. After the Laughter
11. Source Tags and Codes
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Band: and you will know us by the trail of dead
CD: Source Tags and Codes |
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Review #1 - Steve Sobel
"Source Tags & Codes" brings many things immediately to mind upon first listen. Elements of At the Drive-in, Nirvana, Mogwai and Sonic Youth spring forth as definite influences, but make no mistake, they certainly have their own sound.
There is something to be said for this album's intricacy. It manages to actually have a life and a trajectory of its own, moving in and out as it pleases, and taking you along with it from time to time. It suffices to say that this CD would not make good background music - it's too involved.
From the opening track, "It Was There That I Saw You", the album emerges quickly. Your personal taste will either accept or reject the Trail of Dead immediately - their sound is too harsh and chaotic to gradually win anyone over. During several portions, the guitar playing serves more as a timekeeper while the vocals provide melody - after which breaks in the music allow for more freedom with the guitar playing. Sticking to relatively basic lines, however, they recede to the background as the drums provide more interest. Add the simple guitar and bass, complex drums, and melodic vocals together, though, the instrumentation provides that "wall of sound" feel that many independent acts are adopting.
As the album progresses, the next track to stick out is "Baudelaire" - a catchy tune with a simple but hooky guitar riff. If the Trail of Dead are to be played on the radio, my guess is that this is the track. (It's always track 3 on a CD, isn't it? Weird). The singing here is much less gritty, and there is more vocal harmony with the guitar and bass, giving a sense of pop appeal to this otherwise gritty group.
"Source Tags & Codes" does not vary a great deal, yet it manages to do so just enough to maintain interest. The music does create an ebb and flow, but in the context of the album, there are no tracks that stand out as exceedingly different from the rest. That said, what's consistently there is good songwriting, a rather distinct sound influenced by many sources, and a lot of emotion. It is said that Trail of Dead's live shows are a testament to how much emotion goes into the music - with equipment and/or people being broken on a regular basis.
While the music isn't extremely heavy, it's not hard to imagine what a live Trail of Dead show would be like. I know I'd go check them out...
Review #2 - Stephen Swift
...And You Will Know Us By The Trail Of The Dead have managed to craft a
pretty damn impressive sophomore full-length, Source Tags and Codes,
but I've listened to it over and over, in an attempt to see exactly what it
was that made everybody and their mothers bend over backwards in their
efforts to heap praise upon this album, and I don't get it. Sure, it's fun,
and it might be the most sonically intense record of the past three years,
bar none (sorry, Andrew WK), but going so far as to say that it will change
the way you listen to music, which some people have indeed claimed, is like
having sex with your ex-girlfriend and then telling everybody you got into a
threesome with Christina Ricci and the girl from the White Stripes. Sure,
such an album might have been sorely needed, but the Trail of the Dead
aren't the second coming of Christ. Or, for that matter, Fugazi.
Of course, the deliniation between "excellent" and "essential" is a pretty
fine one, and it would be unfair to try and define that difference without
first giving the album credit where it is due. The Trail of the Dead have
spent years honing a specific sound, which is both loud and intense without
being noisy. Each of the eleven tracks is driving and insistent (save the
tenth track, which is a short, rhythmless segue), whether it's in a
balls-to-the-wall mess of distortion and screaming like "Homage," or merely
implied in the shuffling, winding guitar figure of "How Near, How Far." It
is impossible to listen to this album without feeling a sense of urgency,
which is a large part of what makes it feel so vital. It really is a breath
of fresh air after such a long string of albums focused on understatement
(eg: The Microphones' "The Glow, Pt. 2," Death Cab for Cutie's "The Photo
Album," Clinic's "Walking With Thee" - hell, even The Dismemberment Plan's
"Change").
That's not the only trick the band has, though; each song on the album is
structured, instead of simply written. No song has a simple
verse-chorus-verse progression, and piano and strings float from song to
song, only appearing where their presence is beneficial. The piano stabs in
"Heart Is In The Hand Of The Matter" are a perfect example of this - a
lesser band might have thrown piano over the whole song, or simply removed
it altogether. Instead, the addition feels natural. These elements give the
whole album a robust, thematic feel, which make it difficult to only listen
to the first four songs, or to pick it up halfway through. It is, in short,
greater than the sum of its parts - something which each great album strives
to be. In fact, should timing and luck converge, I can even see this album
as the starting point for an entire trend in the indie rock scene - of bands
turning it up a little bit more, or paying more attention to song structure.
That having been said, the real issue with the record is that it is,
perhaps, too much the sum of its parts. While the thematic element of
the album is partially what makes it great, it cripples the individuality of
each track. Few songs rise above the rest, with "How Near, How Far" being a
notable exception, and while their sound is, again, unique, it can be a
little too much. Furthermore, this band does not let you breathe; even in
the spots where the songs quiet down, it is always that same quiet - the
quiet before a storm. I sometimes have a hard time listening to this album
in its entirety, simply because it wears me out. Bands like Jawbox, Chavez,
and Fugazi have all learned the trick of knowing when to slow things down,
or mix things up, just enough to keep things interesting, and when the Trail
of the Dead learn to do this, they will be unstoppable. However, they don't
quite get the formula right this time. What they end up with is merely an
excellent album instead of an essential one. I own, love, and recommend this
album, but I'll say the same thing Chuck D said: Don't believe the hype.
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| by yejoon koh (yejoon) / brian tracy (TwilightBurning) | |
1. Uninvisible
2. I Wanna Ride You
3. Your Name Is Snake Anthony
4. Pappy Check
5. Take Me Nowhere
6. Retirement Song
7. Ten Dollar High
8. Where Have You Been?
9. Reprise
10. Nocturnal Transmission
11. Smoke
12. First Time Long Time
13. The Edge Of Night
14. Off The Table
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Band: Medeski, Martin and Wood
CD: Uninvisible |
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Review #1 - Yejoon Koh
Medeski, Martin, and Wood’s Uninvisible is their latest of many releases, and like their previous albums, it grooves pretty hard. Every song on the cd is a pleasurable listening experience. For those of you not familiar with MMW’s music, it’s highly influenced by jazz, with elements of funk and hip-hop. Although they have many guest musicians on the album, the group consists of John Medeski on keyboards, Billy Martin a.k.a. illy B on drums and percussion (who has recorded drum beats for hip-hop vinyls), and Chris Wood on the bass.
The trio is dripping with talent: each member is a great musician and they compliment each other’s parts to create improvisational jams that will get your head nodding.
There aren’t really any tracks on the album that stand out above the rest, because every track is excellent and as good as any other. Although all of the songs are laid back and groove-oriented, the feel of each varies. “Pappy Check” and “The Edge of Night” feature scratching from dj’s, while “Your Name is Snake Anthony” has man narrating over the music.
Uninvisible isn’t just your typical jazz album. It’s an easy enough listen to keep your average joe interested, yet musically deep enough for even the most eclectic listener – a good buy for anyone and everyone.
Review #2 - Brian Tracy
On their 2002 Blue Note release Medeski, Martin & Wood continue to redefine jazz and blur the lines between genres. From the title track all the way through the closer, "Off the Table" MMW blends barriers, break rules and simply astound. Fans of contemporary jazz should be excited by yet another release by a groundbreaking group; but they should not be alone. People who do not consider themselves a fan of jazz, should still give this CD a listen; it is an inviting, invigorating listen that can capture something in everyone.
The first track "Uninvisible," is a safe, slow introduction into MMW and how they are going to amaze you. It is a calm, catchy and relatively slow song that it is pleasing to the ear but not challenging to the mind.
"Your Name is Snake Anthony" is an offbeat, slow track overlaid with a vocal track by Col. Bruce Hampton. This track is the first track that will make a new listener stop, pick up his (or her) head, and just listen. The deep calm vocals recalling being a band, touring, and of course Snake Anthony. Underneath these storytelling vocals, is an offbeat rhythm that at times seems almost to have no harmony, and while the beats skip and the rhythm twists, the harmony never goes away.
"Pappy Check" is a great example of the breaking, bending, and blending of the lines between genres. Starting with a full bass beat characteristic of the genre, the song quickly gets twisted out of its own genre by the scratching of DJ P Love. The full bass, and scratching make this song inviting and interesting, something that is hard to say today when nearly all barriers have been removed. The constantly bouncing bass complements the scratching so much that they belong together, setting a new standard for musicians looking to cross boundaries everywhere.
Their seemingly conscious attempt to make the turntable part of contemporary jazz is evidenced by the last three tracks on Uninvisible, all of which contain turntables, and on each a different person mans them (Scotty Hard, DJ P Love, and DJ Olive). It is unfair to completely credit the turntables with pushing the boundaries of jazz, however they do help bring in new listeners. The skills of Medeski, Martin and Wood are undeniable, their talents and ideas are what makes this one of the most interesting CDs I’ve heard in a long while. Uninvisible shows how deftly MMW cross barriers, one listen to it and they’ll cross over into your stereo and never leave.
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| by matt gill (hcmg) | |
Bad Religion/Less Than Jake/Hot Water Music
Aragon Ballroom
March 19th
By Matt Gill
As I walked into the Aragon Ballroom I noticed a few things that had my mind
going in a million directions. First off, this venue has balconies
reminiscent of medieval times and when you look at the ceiling you saw
stars. As I walked around more, I noticed all of the stereotypical hairy
40-year-olds standing in the back, drinking beer, and waiting for Bad
Religion. As I made my way to the front I also noticed the stereotypical
mall punks throughout the crowd.
Hot Water Music was the first band to take the stage. I had only heard a
few songs by Hot Water Music before the show, mostly off of the Alkaline
Trio split, but I must say I was extremely impressed with their set.
Although only about 100 die-hard Hot Water fans were at the show, the band
didn't let their unfamiliarity with the crowd influence their performance.
These post-punk/post-hardcore guys ran through their half an hour set and
left me with labeling them as downloadable. The most enjoyable moment of
their set was when an extremely drunk Matt Skiba, of Alkaline Trio, came on
stage to sing "Rooftops". I think more people knew who Matt was than Hot
Water Music, but oh well, the show was in Chicago, where people worship the
ground that Alkaline Trio walks on. As Hot Water Music left the stage I
turned to my friend and asked, "What did you think?" We were both in
agreement that Hot Water Music pasted the test and were definitely worth
checking out again.
Less Than Jake was up next and before they went on a wave about 2,000 kids
in their Hot Topic gear rushed the stage. I?ve seen Less Than Jake four
times before this and every time they have impressed me. They opened up
with "Automatic", easily one of their most popular songs, and right away a
huge pit opened up. I've been to easily 100 shows in my life, but I must
say that during Less Than Jake's set, the pit was as big as I've seen one.
The kids loved every part of the show. They were moshing during the fast,
or even slow parts, and jumping to everything in between. Have you ever
seen a few thousand kids jump in the air at the same time? It was truly an
awesome experience. The only absence in Less Than Jake's set was the skull
guy who runs around the stage like he is on speed. But where they lacked in
masked men they made up in some humorous commentary. The best line
throughout the night was, "This one goes out to all the 30-year-olds in the
back who aren't singing." Had Less Than Jake read my mind?
After Less Than Jake concluded, it was amazing to watch the crowd shift.
The sweaty teenagers in their Less Than Jake shirts in which they just
purchased 20 minutes ago, were replaced with the hairy, middle-aged people
in their Bad Religion shirts on that they bought back in '88. Bad Religion
finally took the stage, after everyone in front had a chance to get another
beer of course, and began to show all the teenagers what punk was. After
more than 20 years of playing music I am still impressed with how much
energy Bad Religion puts into their live show. Most of the set I was busy
picking my jaw up from the floor while watching their new drummer, Brooks
Wackermann. This guy was just going off, with fills that even Neil Peart of
Rush would be proud of. Bad Religion played a lot of material and easily
covered half of their new album, "The Process Of Belief". During the end of
the set I heard what I considered their best song, "Do What You Want", and
figured they soon would be finished. Ten songs later and more than an hour
into the set, Bad Religion was still going strong. How were they keeping up their intensity? I don't know how these guys do it, but after this show I can guarantee that they will still be around when I am 40.
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| by matt gill (hcmg) | |
NOFX/Mad Caddies/Frenzal Rhomb
House Of Blues
March 23rd
By Matt Gill
The word wait in definition means to stay in a place or remain in readiness or in anticipation. There is no better word to describe this night. I had been waiting for NOFX to go on a club tour for about 4 years now. The original date got pushed back because some crazy assholes crashed a few planes. I had waiting long enough for this show and the least I expected was that the show would start on time. This did not happen as the show started close to an hour after it was suppose to. How long would I have to wait? I thought I would surely die before I would see this show happen.
Finally, after my ass had fallen asleep for sitting for so long, Frenzal Rhomb took the stage. Only being familiar with whatever songs had been present on Fat Comps throughout the years, I eagerly wondered what they would sound like live. In one word I would describe the Rhomb as hilarious. First off, their guitar player came out in a dress and started playing AC/DC. They also ended the show with five songs that each contained the word “Fuck” in the title. Lastly, anyone from Australia has to be funny. Frenzal Rhomb made me laugh, and even got my mind off of how long I had waited for this show.
Mad Caddies were next to take the stage. I remember seeing them about two years ago and thinking that they were also entertaining. Boy what a difference a few years makes. I guess I have to give praise to the Mad Caddies for still being a ska band and still making a living off of it, but their style of ska with hints of polka at times almost put me to sleep. Their singer made funny faces with were unexciting and I spent half of their set with my eyes closed.
After a long break between sets NOFX slowly gathered on stage. They began their set with, well what they do best, talking. After some amusing conversation between the band members, they started with what Fat Mike declared the greatest NOFX song ever; which turned out to be a Rancid cover of “Olympia, WA.” They then jumped into the song they have been opening with for years, the classic “Fuck The Kids.” It is amazing to watch how comical NOFX is on stage while still putting out one of the tightest sets that I’ve heard in a while. Besides the usual sidesplitting banter that NOFX is known for, the band was slightly political on this night and even played a brand new song called, “Idiot Son (Of An Asshole).” The highlight of the set for me was when, seemly out of nowhere, the band jumped into the end of “The Decline.” Although they didn’t play all 18 minutes of the song, the two that they did made me go nuts. They played all the classics off of their Gold record, “Punk In Drublic”, including, “Linoleum”, “Don’t Call Me White”, and “The Brews”, and even covered a few off of their latest record. On this night NOFX controlled the sold out crowd, and believe me it was worth the wait.
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| by todd hunter (todd) | |
1. Bus to Beelzebub
2. Sugar Free Jazz
3. True Dreams of Wichita
4. Screenwriter’s Blues
5. Janine
6. Blueeyed Devil
7. Buddha Rhubarb Butter
8. Unmarked Helicopters
9. Super Bon Bon
10. Soundtrack to Mary
11. Lazybones
12. Paint
13. Collapse
14. The Idiot Kings
15. Rolling
16. St. Louise Is Listening
17. $300
18. Circles
19. Super Bon Bon [Propellerheads Radio Edit]
20. Casiotone Nation [Live]
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Band: Soul Coughing
CD: Lust in Phaze |
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By Todd Hunter
Last month, without promotion, Rhino issued this album. The switch to a label known for oldies is bizarre, since the lack of anything rare suggests an album that exists merely to fulfill a contract. As often is the case with such a package, the liner notes are fantastic, while the track listing is unremarkable.
The only singles absent are "Down to This" and "Soft Serve." Unfortunately, none of the early remixes or fine Japanese bonus tracks appear. The only song previously unavailable is "Buddha Rhubarb Butter," the weakest in the collection despite a clever Shakespearean verse.
Anyone who likes beat poetry or jazz ought to appreciate this album, which exposes "Circles" as an unfortunate fluke. "Screenwriter’s Blues" remains unchallenged as the best spoken-word cut of the nineties, and "Soundtrack to Mary" is a pop gem that somehow fell under the proverbial radar. The problem here is not one of quality but redundancy.
Although this is a good introduction to Soul Coughing, only fans are likely to take notice. Indeed, the liner notes by frontman Mike Doughty offer incredible insight into the band, but far and few are those who pay twenty dollars for liner notes. Anyone but the completist would do well to buy a previous release instead.
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