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High as Hell [PA] by Nashville Pussy (CD - 05/30/2000)
 

High as Hell [PA] by Nashville Pussy (CD...

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High as Hell [PA] by Nashville Pussy (CD - 05/30/2000)
"High as Hell [PA]" (05/30/2000) Hardcore/Punk Nashville Pussy, TVT Records (Dist.)Nashville Pussy: Blaine Cartwright (vocals, guitar); Ruyter Suys (guitar); Corey Parks (bass); Jeremy Thompson (drums). Recorded at Studio Litho, Seattle, Washington. Nashville Pussy: Blaine Cartwright (vocals, guitar); Ruyter Suys (guitar); Corey Parks (bass); Jeremy Thompson (drums). Recorded at Studio Litho, Seattle, Washington. Kiss, Motorhead, and Ted Nugent are just a few of the influences that come to mind when a revving motorcycle segues into a driving AC/DC-influenced guitar riff and Nashville Pussy does what it does best; sleazy, high-octane Southern hard rock with attitude to spare. HIGH AS HELL, its second album, delivers the goods, as illustrated by "She's Got the Drugs," with its munching-on-glass vocals and Sid and Nancy-style love story. The title track boasts a foot-stomping, Texas blues-rock groove, while "Go to Hell" puts a new twist on country music heartbreak in a grisly depiction of a man catching his wife in an adulterous affair. "You Ain't Right" finds the song's hero ending a bitter relationship, and Nashville Pussy has fun with handclaps, recalling early Aerosmith, with "Rock and Roll Outlaw." The self-explanatory "Blowjob From a Rattlesnake" tells of a run-in with the law leading to an disagreeable prison stay, while the closest thing to a manifesto comes to life in "Drive," where bad deeds are rationalized as just "...different ideas of fun." Kiss, Motorhead, and Ted Nugent are just a few of the influences that come to mind when a revving motorcycle segues into a driving AC/DC-influenced guitar riff and Nashville Pussy does what it does best; sleazy, high-octane Southern hard rock with attitude to spare. HIGH AS HELL, its second album, delivers the goods, as illustrated by "She's Got the Drugs," with its munching-on-glass vocals and Sid and Nancy-style love story. The title track boasts a foot-stomping, Texas blues-rock groove, while "Go to Hell" puts a new twist on country music heartbreak in a grisly depiction of a man catching his wife in an adulterous affair. "You Ain't Right" finds the song's hero ending a bitter relationship, and Nashville Pussy has fun with handclaps, recalling early Aerosmith, with "Rock and Roll Outlaw." The self-explanatory "Blowjob From a Rattlesnake" tells of a run-in with the law leading to an disagreeable prison stay, while the closest thing to a manifesto comes to life in "Drive," where bad deeds are rationalized as just "...different ideas of fun."

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The Murder, Porn, And Fatherhood [EP] [7/12]
 

The Murder, Porn, And Fatherhood [EP] [7...

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The Murder, Porn, And Fatherhood [EP] [7/12]
"The Murder, Porn, And Fatherhood [EP]" (07/12/2005) Rock & Pop Zella Mayzell, Suburban Home

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Revolutions Per Minute by Rise Against (CD - 04/08/2003)
 

Revolutions Per Minute by Rise Against (...

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Revolutions Per Minute by Rise Against (CD - 04/08/2003)
"Revolutions Per Minute" (04/08/2003) Hardcore/Punk Rise Against, Fat Wreck ChordsContains an untitled hidden track following "Amber Changing". Rise Against: Tim McIlrath (vocals, guitar); Todd Mohney (guitar, background vocals); Joe Principe (bass, background vocals); Brandon Barnes (drums, background vocals). Additional personnel: Chad Price (background vocals). Recorded at The Blasting Room, Fort Collins, Colorado between November & December 2002. Personnel: Tim McIlrath (vocals, guitar); Todd Mohney (guitar, background vocals); Brandon Barnes (drums, background vocals); Joe Principe, Chad Price (background vocals). Audio Mixers: Jason Livermore; Bill Stevenson. Recording information: 11/2002-12/2002. With clenched fists in the air, boots to the floor, and anger swelling in their chests, the members of Rise Against return with their second album, Revolutions Per Minute. It's a two-pronged attack. From the north blows the fury of their hearts, swept up as they are in their passion for a girl who is "Like the Angel," but love that strong almost inevitably eventually engenders the opposite emotions -- and so it is with Rise. And even as they beg on "Amber Changing" to pretend that tonight will never end, the relationship sours, and even their "Last Chance Blueprint fails to change the emotional landscape, leaving nothing but hatred it its wake, reaching a paroxysm of viciousness on "To the Core," a ferocious, fever-pitched number written and delivered with pure vitriol. If that's the bitter northern wind, bringing with it blizzards of wintry emotions warmed only by the heat of anger boiling in their hearts, the gale from the south comes as no relief. This, to continue the metaphor, is the wind of political change that descended with hurricane force on 9/11 and left all of us, Rise included, reeling in its wake. Across the rest of Revolutions, the bandmembers scan the wasteland around them and see people running for cover, desperate to find a shred of security again. But as "Blood-Red, White & Blue" makes clear, safety is an illusion, and our bomb-laden reply futile. "Would God bless a murder of the innocents?...a war based on pride?...a money-hungry government? No." Desperate for a real leader, we are left with the blind leading the blind, where "every problem is solved with a fight." "Is this the point where we give up?...give in?...turn ourselves in?" they demand to know on "Halfway There." Railing against a government bent on revenge and friends blinded to reality, the band cries out for a revolution with "Black Masks & Gasoline." Like all Revolutions, this is an album filled with anguish -- spiritual, emotional, and political -- a roar against the tide of history washing over us, echoed by the wrenching pain of love lost. The music is as impassioned as the lyrics, rubbing emotions raw and minds numb. ~ Jo-Ann Greene

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Give Me Convenience or Give Me Death by Dead Kennedys (Vinyl - 07/02/2007)
 

Give Me Convenience or Give Me Death by ...

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Give Me Convenience or Give Me Death by Dead Kennedys (Vinyl - 07/02/2007)
"Give Me Convenience or Give Me Death" (07/02/2007) Hardcore/Punk Dead Kennedys, Manifesto RecordsGIVE ME CONVENIENCE OR GIVE ME DEATH is a compilation of singles, B-sides, compilation tracks and live tracks. The Dead Kennedys: Klaus Fluoride (vocals, bass); D.H. Peligro (vocals, drums); Jello Biafra (vocals); East Bay Ray (guitar, Echoplex). Additional personnel: 6025 (guitar); Bruce Slesinger [a.k.a. Ted] (drums); Geza X (background vocals). Producers include: Geza X, The Dead Kennedys, Jim Keylor, Thom Wilson, Oliver Dicicco. Compilation producer: Jello Biafra. Engineers include: Oliver Dicicco, Jim Keylor, John Cuniberti. Principally recorded in the late 1970s and early 1980s. Includes liner notes and artwork by Jello Biafra and John Yates. Digitally remastered by John Cuniberti and East Bay Ray (The Plant Mastering, Sausalito, California). If you could only own a single Dead Kennedys' album, your best bet would be 1987's 17-track compilation GIVE ME CONVENIENCE OR GIVE ME DEATH. Collecting the controversial quartet's best-known tracks as well as scattered oddities, CONVENIENCE is the ultimate Dead Kennedys set. The Dead Kennedys are categorized by singer/activist Jello Biafra's biting political commentary, the group's unwillingness to takes themselves too seriously, and some of the most memorable punk-pop of all-time (music that influenced such future chart-toppers as Green Day and the Offspring). Highlights include such punk anthems as "Police Truck," "Too Drunk to Fuck," "California Uber Alles," and "Holiday in Cambodia," plus the hilarious stage improv "Night of the Living Rednecks."

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Box Set [Box] by The Misfits (U.S.) (CD - 02/27/1996)
 

Box Set [Box] by The Misfits (U.S.) (CD ...

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Box Set [Box] by The Misfits (U.S.) (CD - 02/27/1996)
"Box Set [Box]" (02/27/1996) Hardcore/Punk Misfits (U.S.) (The), Caroline DistributionBOX-SET is a 4-CD set containing 104 remastered tracks, 35 of which are rare or previously unreleased, including the previously unreleased Misfits debut album STATIC AGE and the original "Cough/Cool" single. It also contains a 28-page full-color booklet with complete lyrics, liner notes by Eerie Von, a complete discography, never-before-published photos, rare artwork and memorobilia. BOX-SET comes packaged in a coffin-shaped box with a faux-velour lined interior and includes a fired-enamel "Fiends Club" badge. The Misfits (U.S.): Glenn Danzig (vocals); Franch? Coma, Doyle, Bobby Steele (guitar); Jerry Only (bass guitar); Arthur Googy, Mr. Jim, Robo, Joey Image (drums). BOX SET contains most of the Misfits recorded output, including COLLECTIONS I AND II, LEGACY OF BRUTALITY, EARTH A.D., EVILLIVE, and even the legendary long lost STATIC AGE album. Rarities, unreleased studio cuts and almost every cough, hiccup and burp that the original Misfits committed to tape in their all-too-brief history as a recording unit are also featured. The best of the unreleased material includes killer versions of "Night of the Living Dead," "I Turned Into a Martian," "Violent World," and "20 Eyes." Collectors may have most of this stuff in one form or another, but for a fan desiring the vast majority of the Misfits crucial releases (and not much wasn't crucial), this is a must-have. As an added bonus, fans will salivate over ex-Samhain member Eerie Von's liner notes and the comprehensive lyrics. The packaging (a mini-coffin) is probably the most appropriate design for a box set yet to be produced.

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Group Sex [Frontier] by Circle Jerks (CD - 07/09/2002)
 

Group Sex [Frontier] by Circle Jerks (CD...

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Group Sex [Frontier] by Circle Jerks (CD - 07/09/2002)
"Group Sex [Frontier]" (07/09/2002) Hardcore/Punk Circle Jerks, FrontierCircle Jerks: Keith Morris (vocals); Greg Hetson (guitar); Roger Rogerson (bass); Lucky Lehrer (drums). Producers: Cary Markoff, Circle Jerks, Gary Hirstius, David Anderle. Principally recorded at Byrdcliffe Studios, Culver City, California. Frontier 31002 includes only the GROUP SEX album. This is an Enhanced CD which contains regular audio tracks and multimedia computer files. Circle Jerks: Keith Morris (vocals); Greg Hetson (guitar); Roger Rogerson (bass); Lucky Lehrer (drums). Recorded at Byrdcliffe Studios, Culver City, California. Personnel: Keith Morris (vocals); Greg Hetson (guitar); Lucky Lehrer (drums). Recording information: Byrdcliffe Studios, Culver City, CA. Photographer: Ed Colver. On GROUP SEX, the Circle Jerks' second full-length album, the band makes no great changes in its musical style. On the other hand, there really was no need for revision. Keith Morris (also an early vocalist for Black Flag) and his band mates had pretty much hit the nail on the head the first time out (WILD IN THE STREETS, appended to GROUP on some CD editions). The Jerks play the sort of very fast and very snotty punk rock--complete with thin, weedy vocals--that eventually became all the rage with such chart-topping bands as Green Day, the Offspring, and No Doubt. As their name and the album title would suggest, the Circle Jerks are not a subtle band. "I Just Want Some Skank" and "World Up My Ass" stand as further examples of their in-your-face lewdness. Standout numbers include "Beverly Hills," an extremely pointed attack on the "upper class," and "Paid Vacation," an anti-military song built on Greg Hetson's buzz-saw guitar. In the latter, the introduction and several bridges recall western TV show theme music sped up to 78rpms. Keith Morris once described his brief tenure as Black Flag's lead singer by saying, "I was the Tasmanian devil, the court jester; I was the dog on the chain who was let out of the cage." So it made sense that after the beer-swilling frontman decided to move on, he would form a band even less subtle and more obnoxious than Black Flag (who represented punk rock at its most brutal in 1979). Group Sex, the first "album" from Morris' group the Circle Jerks, barrels through 14 songs in just under 16 minutes, and pretty much defined the state of the art in SoCal hardcore, circa 1980: raging minor-chord guitar bashing (courtesy of Greg Hetson, later in Bad Religion), speedy drumming (Lucky Lehrer punctuates his manic four-four stomp with short, frantic rolls whenever possible), and a bassist (Roger Rogerson) trying to keep up with it all while Morris bellows about sex ("I Just Want Some Skank"), drugs ("Wasted"), politics ("Paid Vacation"), the idle rich ("Beverly Hills"), and his own post-teenage rage ("World Up My Ass"). Some of it's funny, some of it seems to be serious, and it's all one not-so-long blast of raging energy. As such things go, it's tight, reasonably well played, the songs kinda sorta have hooks, and Keith Morris is a pretty good frontman, but if you're looking for nuance, you're pretty much out of luck. Then again, if you were looking for nuance in a Circle Jerks album, you've obviously been misinformed as to how this punk rock stuff works. [The Frontier CD reissue of Group Sex pads out the running time by repeating the album after the last cut is done.] ~ Mark Deming

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What It Meant: The Complete Discography [6/21] *
 

What It Meant: The Complete Discography ...

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What It Meant: The Complete Discography [6/21] *
"What It Meant: The Complete Discography *" (06/21/2005) Rock & Pop Judge, Revelation RecordsJudge: Mike Judge (vocals, drums); Porcell, Matt Pincus, Jimmy Yu (bass guitar); Lukey Luke (drums, background vocals); Sammy Siegler. Personnel: Mike Judge (vocals, drums); Porcell (guitar, background vocals); Todd Schwartz (harmonica); Sammy Siegler (drums, background vocals); Rich Spillberg, Jay Anarchy, Kevin Brooks, Chuck "Doughboy" Geanacopoulos, Tom Capone, Walter Schreifels, Barry Spillberg, Bob Mayo (background vocals). Additional personnel: Todd Schwartz (harmonica); Alex Brown, Rich Spillberg, Kevin Brooks, Chuck Geanacopoulos, Rick Porter, Kevin Egan, Jay Anarchy, Dylan Schreifels (background vocals); Tom Capone, Walter Schreifels, Barry Spillberg, Bob Mayo. Liner Note Author: Porcell. Recording information: Chung King (1988-1990); Don Fury Studio (1988-1990); Normandy Sound (1988-1990). Photographers: Sammy Siegler; Kent McClard; Dennis Cheng.

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Billy, Vol. 1 by Various Artists (CD - 09/03/2002)
 

Billy, Vol. 1 by Various Artists (CD - 0...

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Billy, Vol. 1 by Various Artists (CD - 09/03/2002)
"Billy, Vol. 1" (09/03/2002) Hardcore/Punk Various Artists, Hepcat Records

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Suffering the Loss * by Figure Four (CD - 07/08/2003)
 

Suffering the Loss * by Figure Four (CD ...

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Suffering the Loss * by Figure Four (CD - 07/08/2003)
"Suffering the Loss *" (07/08/2003) Hardcore/Punk Figure Four, Solid StateFigure Four: Andrew (vocals); Jeremy, Metal Mel (guitar); Bailey (bass); Steve (drums). Recorded at The Blue Room, Private Ear, Winnipeg, Canada; The Pattiz Audio Lab, Carbondale, Illinois. d Audio Mixer: John Paul. Recording information: Private Ear Recording, Winnipeg, Manitoba, Canada; The Blue room; The Pattiz Audio Lab, Carbondale, IL. Photographer: Kris McCaddon. For its third full-length, Winnipeg hardcore unit Figure Four jumps to Solid State, the heavy music imprint of Seattle power indie Tooth & Nail. The awesomely named Suffering the Loss is a punishing 12-song affair that finds its singular gear within the first two seconds, and duct tapes the shifter to its gear box. Leadoff track "State of Mind" hurdles between double-time rhythms and a wall of messy, sludgy guitar mayhem (laid down by Jeremy and new guitarist Meal Mel) while vocalist Andrew tears the cover off the mike with a roar that would seem like a put-on if he wasn't so lyrically and emotionally convincing. And that's only one song. Figure Four never uncurls its fists from your lapels, through the lighting strike of "The Loss" ("I'd give my everything just to taste the world"), to single "Kill and Deceive"'s screeching leads and muscular chord changes ("Don't you fall to the Lies/He'll steal everything you love"), all the way to the grinding, urgent "Poison in Me" ("I think I'm lost/I remember a time when I could see, with you in my sight"). The album's tempos do change from blindingly fast to trudging muck behind a turn of self-flagellating phrase from Andrew, which certainly keeps things interesting. But Suffering the Loss might be the best Figure Four album yet simply because of its unflinching intensity. The band understands that hardcore isn't about lightening the mood or experimenting with jammy instrumental interludes. Suffering the Loss' steadfastly monochromatic hardcore palette is as first-person as Andrew's lyrical musings -- dragging you face-first into Figure Four's world, where faith is a guiding yet painful force and intensity flies like beads of sweat from the stage. ~ Johnny Loftus

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All Star Smash Hits by Smash Mouth (CD - 08/23/2005)
 

All Star Smash Hits by Smash Mouth (CD -...

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All Star Smash Hits by Smash Mouth (CD - 08/23/2005)
"All Star Smash Hits" (08/23/2005) Hardcore/Punk Smash Mouth, Interscope Records (USA)Smash Mouth: Paul DeLisle (bass guitar); Greg Camp, Michael Urbano, Steve Harwell. Personnel: Steve Harwell (vocals); Greg Camp (guitar, background vocals); Michael Urbano (drums, programming); Paul DeLisle (background vocals). Photographer: Kelly Castro. San Jose, California's Smash Mouth first hit the mainstream with 1997's "Walkin' on the Sun," a groove-heavy, '60s-inspired tune (replete with singer Steve Harwell's faux-British accent) that made the quartet instant rock-radio fixtures. Those who thought the pop-punk band couldn't top that initial hit were proven wrong by 1999's catchy and utterly inescapable "All Star," which became perpetually in demand at sporting events. This best-of collection features both of those singles, and many more energetic, party-ready anthems. There's a notable number of covers on ALL STAR SMASH HITS, including a ska-tinged take on War's "Why Can't We Be Friends," a driving rendition of Let's Active's "Every Word Means No," and a faithful version of the Neil Diamond-penned Monkees classic "I'm a Believer" from the animated blockbuster SHREK. In fact, literally half of the tunes on this 20-song set were featured on movie soundtracks. To find out exactly what made Smash Mouth so popular, listeners need only hear this fun, highly accessible compilation.

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Fat Music, Vol. 5: Live Fat Die Young by Various Artists (CD - 03/06/2001)
 

Fat Music, Vol. 5: Live Fat Die Young by...

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Fat Music, Vol. 5: Live Fat Die Young by Various Artists (CD - 03/06/2001)
"Fat Music, Vol. 5: Live Fat Die Young" (03/06/2001) Hardcore/Punk Various Artists, Fat Wreck ChordsPerformers: Zero Down, No Use For A Name, Anti-Flag, Good Riddance, Fabulous Disaster, Sick Of It All, Mad Caddies, Strung Out, Consumed, Less Than Jake, Frenzal Rhomb, NOFX, Rise Against, Lagwagon, Bracket, Propagandhi, Tilt, Wizo, Snuff, Me First & The Gimme Gimmes, Swingin' Utters. Personnel: Chris (vocals, guitar, drums); Tony Sly (vocals, guitar); Tim, Reddy, Russ Rankin (vocals); Luke Pabich, Lynda Mandolyn (guitar); J. Vincent Camacho, Duncan ?, Dave Raun, Rory , David Wagenschutz, Brandon (drums); Mike (background vocals). Audio Mixers: Andy Sneap; Ryan Greene; Stephen Egerton; Bill Stevenson. This compilation of Fat Wreck Chords' considerable roster of alternative/punk bands includes such hardy perennial acts as No Use For A Name, Propaghandi, and Lagwagon, all of whom deserve medals for service beyond the call to the disenfranchised youth of (by now) a couple of generations. It goes without saying that all these bands operate below (or above) major label radar, but they're all hugely enjoyable either despite or because of this. The amphetamine rush of Anti-Flag's "Seattle Was a Riot" sounds like the Gang Of Four on steroids-it's been a long time since music this headlong or political graced the nation's airwaves. Good Riddance's "Always" is a feisty two-minute romp through terminal teenage angst, while NOFX take a typically disciplined, musically muscular tilt at Hollywood ("Hollywood is a breeding ground for assholes..." who knew?) that fondly recalls the days of straight-edge innocence.

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Thrill Seeker [11/8]
 

Thrill Seeker [11/8]

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Thrill Seeker [11/8]
"Thrill Seeker" (11/08/2005) Heavy Metal August Burns Red, Solid StateAugust Burns Red: Josh McManness (vocals); J. B. Brubaker, Brent Rambler (guitar); Jordan Tuscan (bass instrument); Matt Greiner (drums).

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Charge!! [6/14] *
 

Charge!! [6/14] *

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Charge!! [6/14] *
"Charge!! *" (06/07/2005) Hardcore/Punk Aquabats (The), NitroThe Aquabats: MC Bat Commander (vocals); Chainsaw (guitar); Jimmy the Robot (saxophone, keyboards); Crash McLarson (bass guitar); Ricky Fitness (drums). Their fanatical cadre will love that Charge!! ends the Aquabats' nearly six-year album drought. But the combo's hiatus has also refocused its musical and ideological attack. Intact are the pop references, zany in-jokes, and Batman villain fetishism. And the album has more exclamation points per syllable than the average lad's mag cover. (One song is simply called "Waterslides!") But Charge!! is much more rewarding musically. It doesn't loiter awkwardly between punk, pop, ska, and broad humor -- it keeps the pressure on with a catchy guitar- and keyboard-driven blend of anthemic choruses and appropriately squawky elements. Enjoyment of the Aquabats will still depend on your tolerance for gimmickry. But Charge!! has hooks and its eyes on the prize. A lot of guys have written songs about teenage dirtbags and losers getting lucky. But their subtext is usually a whiny one, like they know it's all a fantasy. Not the Aquabats. "Nerd Alert!" is not a wistful sigh but a proud call to arms. MC Bat Commander reclaims the title clich? over a kicky cross of Nerf Herder and Sparks (with sly references to the Revenge of the Nerds soundtrack), and lyrics like "The revolution has begun/So raise your fist and take a stand/With your super cool wristbands!" align "Alert!" with the 21st century's tech- and gaming-heavy "geek cool" movement. "Look at Me (I'm a Winner)!" is a shiny plastic Weezer/Cheap Trick romp; it has some terrific lyrical imagery in the line "Four radios blastin' classic rock/And they're pointing at you!" Meanwhile, "Meltdown!," "Fashion Zombies!," and "Plastic Lips!" are concise slices of new wave-inspired pop that retain that particular Aquabatian flair for the totally wiggy. Older fans might miss the horn sections or heightened theatrics. But Charge!! does geekdom proud. It proves it's possible to put "hilarious," "solid songwriting," and "mechanical ape" in the same sentence. ~ Johnny Loftus

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Sex... Violence... Whatever [3/29]
 

Sex... Violence... Whatever [3/29]

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Sex... Violence... Whatever [3/29]
"Sex, Violence, Whatever: The Complete Recordings" (10/23/2007) Rock & Pop Index for Potential Suicide, Alone RecordsA posthumous compilation from the short-lived experimental hardcore trio Index for Potential Suicide, Sex, Violence, Whatever: The Complete Recordings not only gathers their entire released oeuvre (a 1999 split EP and a 2000 album, The Newest Youth Rebellion) but a handful of unreleased recordings and live tracks. The result is a 39-track CD clocking in at just under 64 minutes, which is far too much for all but the most devoted grindcore fan to stomach in a single sitting. Index for Potential Suicide don't flirt with death metal in the manner of so many similar bands; at times, the assaultive noise of bands like the Boredoms or even industrial godfathers Throbbing Gristle is a closer comparison, especially on fractured 20-second noise blurts like "Silencer, Completed" or backward tapes experiments like "Escape Unsuccessful" and "Monoroid Manipulation." On the more straightforward songs, like "Escape from Uncle Bill's Lap" or "Rock out with Your Cock Out," things are closer to traditional hardcore, albeit still with the unintelligible screamo vocals. Lifted bits of dialogue and sound effects from angsty-teen films like Pump Up the Volume and Heathers are sprinkled throughout the songs, reinforcing the suburban ennui that's the impetus for such bands. As far as their deliberately limited stylistic ghetto goes, Index for Potential Suicide show more imagination and skill than many, but anyone who isn't already a fan of this sort of thing won't be impressed. ~ Stewart Mason

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Complete Studio Recordings 1981-1986 by Kraut (CD - 09/10/2001)
 

Complete Studio Recordings 1981-1986 by ...

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Complete Studio Recordings 1981-1986 by Kraut (CD - 09/10/2001)
"Complete Studio Recordings 1981-1986" (09/10/2001) Hardcore/Punk Kraut, New Red ArchivesKraut: Davy Gunner (vocals), Doug Holland (guitar, vocals), Don Cowan (bass, vocals), Johnny Feedback (drums, vocals). Additional personnel: Christopher Smith (guitar). All songs written by members of Kraut except "Slow Down" (Larry Williams).

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Cheer Up! by Reel Big Fish (CD - 06/25/2002)
 

Cheer Up! by Reel Big Fish (CD - 06/25/2...

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Cheer Up! by Reel Big Fish (CD - 06/25/2002)
"Cheer Up!" (06/25/2002) Hardcore/Punk Reel Big Fish, Mojo Music (Independent)Reel Big Fish: Aaron Barrett (vocals, strings); Scott Klopfenstein (vocals, guitar, electric piano, trumpet); Carlos de la Garza (drums, percussion); Dan Regan (trombone, special effects); Matt Wong (bass). Additional personnel: Travis Werts (Flugalhorn); Tyler Jones (trumpet); Iki Levy (percussion, samples); Ryland Steen (percussion); Nic Tenbroek, Gordie Johnson. Producers: Aaron Barrett, Scott Klopfenstein, Gordie Johnson. Recorded at Sound Factory, Paramount Studios, Grand Masters, Hollywood, California, Jake's Place, Studio City, California, Brando's Paradise, San Gabriel, California and World Class Audio, Anaheim, California. Formed in Southern California in the early '90s, Reel Big Fish has slowly gathered a massive following by virtue of a combination of relentless touring and relentlessly peppy albums, following in the wake of such erstwhile ska/punk bands as No Doubt. While Reel Big Fish lack a front person with the obvious charms of Gwen Stefani, they plough an irresistible Bare Naked Ladies-type furrow with energetic frat-boy anthems such as "Ban the Tube Top" ("beautiful girl, ugly shirt--you are a fashion red alert") and the ska/R&B flavored "Suckers." There's no denying the attraction of sardonic lyrics set to upbeat rhythms, a formula the Fish stick to throughout CHEER UP! that hits home time and again, in songs such as "What Are Friends For," and "Dateless Losers," a self-explanatory frenetic excursion through many solitary Friday nights--("we're not so bad you know, but you won't give us a chance," they whine) that should find an echo in the hearts of dateless Reel Big Fish fans everywhere. With its refusal to take itself too seriously and its irrepressibly smart pop hooks, CHEER UP! is a joyous soundtrack to an endless summer.

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The Rise of Brutality [PA] by Hatebreed (CD - 10/28/2003)
 

The Rise of Brutality [PA] by Hatebreed ...

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The Rise of Brutality [PA] by Hatebreed (CD - 10/28/2003)
"The Rise of Brutality [PA]" (10/28/2003) Hardcore/Punk Hatebreed, Universal DistributionHatebreed: Jamey Jasta (vocals); Sean Martin (guitar); Chris Beattie (bass); Matt Byrne (drums). Recorded at Planet Z Studios, Hadley, Massachusetts. Personnel: Jamey Jasta (vocals); Sean Martin (guitar); Mike Bryne (drums). Audio Mixer: Mike Fraser. Recording information: Planet-Z, Hadley, MA. There comes a time in young music fans' lives when they put aside the flashy, lightweight records of their teens, come face to face with humanity's harsh realities, and pick new tunes appropriate to a more serious and realistic worldview. Anyone who feels that it's time to relegate such albums to the box under the bed would do well to start a new life-phase with a little Hatebreed. On THE RISE OF BRUTALITY, the band lives up to the record's title, delivering a disc of astonishing purity and extreme volume. There is no rapping. There are no turntables and no power ballads. In fact, there is nothing here but a mind-numbing, ferocious, and totally unrelenting onslaught of drums, guitar, bass, and hoarse-voiced shouting. Unlike similar-sounding bands, though, Hatebreed never sounds less than totally impassioned, making for a uniformly thrilling listening experience. Taking its cues from socially aware 1980s hardcore like Sick of It All and Agnostic Front, the band combines positive messages with enough hyper-speed double-bass drumming and stop-on-a-dime rhythmic shifts to keep even the most sugar and testosterone-addled youth moshing until they reach retirement age.

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Gig by Circle Jerks (CD - 09/08/1992)
 

Gig by Circle Jerks (CD - 09/08/1992)

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Gig by Circle Jerks (CD - 09/08/1992)
"Gig" (09/08/1992) Hardcore/Punk Circle Jerks, RelativityCircle Jerks: Keith Morris (vocals), Greg Hetson (guitar), Zander Schloss (bass), Keith Clark (drums). Recorded live at Iguanas, Tijuana, Mexico; Country Club, Reseda, California and Ventura Theater, Ventura, California. The Circle Jerks burst onto the explosive early-'80s L.A. punk scene with vocalist Keith Morris fresh from a short-lived stint in the legendary Black Flag, who were notorious for their raucous, riot-police-infested live shows. The Circle Jerks earned their credibility and reputation in much the same way; with energy-packed, near-riot-status live performances. While Gig was recorded about a dozen years after their inception, the Circle Jerks live shows still proved to be edgy and exciting, although a little less riot-police prone than their early days. Through a handful of shows in Southern California and Mexico, they manage to document their ear-splitting, sarcasm-laced legacy with sustained energy and a tightly coiled attack. Guitarist Greg Hetson, now serving in the still surviving Bad Religion, plays with the speed of his early days and the skill that results from years spent honing his craft. Keith Morris' sandpaper yowl and sarcastic wit survived their hard-lived years as well, with his legendary storytelling and midsong improvisations setting the Circle Jerks apart from the tough-guy mentality that often pervades the punk scene. Rhythm section Keith Clark and Zander Schloss provide a thundering backdrop for some of the heaviest and most scathing punk rock to come out of the '80s. Punk purists might cringe at the slightly metal influence that they adopted in the mid-'80s, but these years also contributed to the development of their sonically brutal live spectacle, and all the bases are thoroughly covered on Gig. Early favorites like "High Price on Our Heads" and "When the Shit Hits the Fan" embrace the incendiary past and offer listeners the chance to hear them the way they were meant to be: live, loud, and thoroughly obnoxious. Many songs from their mid- to late-'80s heyday make the live cut as well. The ironic "I Don't" and mainstream media critical "Casualty Vampires" take on even more visceral energy than their studio-recorded versions. This recording roars to a close on an old-school note with the anthemic "Wild in the Streets" and the last-second touch of Morris breaking up a fight between some overzealous fans with his razor-sharp tongue. Gig proves yet again that punk rock is meant to be experienced live, and if you missed the Jerks in their heyday, this is the next best thing. ~ Paul Henderson

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