The guitars punch like a Leatherman, and the thematic horns are pure Quinn-Martin production. The lyrics are devoid of humor, save one Brady Bunch reference that slips through.
Half-assed blues from one-third of JSBX. Judah Bauer plays the kind of music that makes you think, “Hey, that Jon Spencer is a pretty good guitarist, isn’t he?”
Imagine Blue Öyster Cult meet The Moody Blues, soulfully singing “I don’t talk to no one but myself” and occasionally slowing it down with a folksy ballad. I don’t have hard proof, but I smell a Renaissance Faire somewhere in here.
The Desert Fathers offer up a mixture of metallic distortion, electronic beats, and amorphous samples that is all then piled onto a rock and roll foundation with vocals that remind me of Built to Spill.
With something of The Cardigans’ coming-of-age melancholy and vulnerably out-of-tune harmonies, it’s obvious why Joint Custody was a staple on the college festival circuit.
Those who know what “They Might Be” means will be very interested in this. Songs about mix tapes, a math prof rock star, and schizophrenics appear with singable pop harmonies galore.
Formed in the mid-to-late ’80s, Exhorder are credited with starting the “Southern trendkill” style of thash-hardcore-sludge insanity eventually carried on by the likes of Crowbar, Eyehategod, Soilent Green, Down, and – of course – Pantera.
The historical importance placed upon Elvis Costello and The Attractions’ first three/four albums have shouldered out the band’s later-but-worthy albums.
The real reason to get this reissued classic is the buncha speedy rockers that woulda put’m on bills with DMZ, Smack, The Fluid, The Lazy Cowgirls, Electric Frankenstein, or The Hives.