April 2000 – Page 17 – Lollipop Magazine

Everything is Nice: The Matador Records 10th Anniversary Anthology – Review

April 1, 2000

A true retrospective woulda been more fun and historical, mebbe charting the path from Cosley’s departure from Homestead to the tux he wears to the Grammies.

The Marinets – Love! Hate! – Review

April 1, 2000

’60s UK pop is a handy reference point, even when the Martinets are not self-consciously aping The Yardbirds or nudging the Troggs perhaps via the Milkshakes.

Dread Kennedys: In Dub We Trust – Review

April 1, 2000

Industrial-ish bands cover DK tunes. Be warned: None of the covers are punk, dub, or reggae. Like DK, the production quality is as thin as a tequila shit.

The Jesus Lizard – Bang – Review

April 1, 2000

Well, it looks like The Jesus Lizard is done. A ten year run’s pretty good.Bang collects about an hour’s worth of singles and a couple unreleased strokes.

Capitol Radio – Review

April 1, 2000

This is radio the way it should be: For the people, by the people, with no commercial motives embedded. Oh, and of course, great fucking tunes.

The Jazz June – Breakdance Suburbia – Review

April 1, 2000

Play your whinny tunes and be proud of your wimpiness. Quit it with the moronic song titles. It’s not clever. it’s pretentious: Anyone can come up with them.

Boycott – Review

April 1, 2000

Stuff here steps outta the confines of fill-in-the-blanks punk, Oi!, and ska. Most kick in three songs, so you actually get a feel for what they’re about.

The Hellacopters – Payin’ the Dues – Review

April 1, 2000

It’s a fine record with all the stuff the Hellacopters are about but ya didn’t catch in Grande Rock, which is cuz that’s their “professional” record.

Boston Drops the Gloves: A Tribute to Snapshot – Review

April 1, 2000

Whether an icon in the straight-edge movement, the tough-guy movement, or the street-thug subgenre of hardcore, Slapshot is revered as one of the best.

The Heartdrops – The Spills – Review

April 1, 2000

I’d say the Heartdrops were giving the Dragons a shout-out on their closing number, “Come on Strong,” but then I realized that the producer was Dean Rispler.