MVD – Page 7 – Lollipop Magazine

Metalheads – Review

June 13, 2005

On the cheap, badly acted, repetitive, plagued by horrible audio and all over the place funny.

Dead Boys – Live at CBGB’s 1977 – Review

June 13, 2005

Prime era kickass punk rock from Cleveland’s Iggy-fixated rocker casualties. Filmed when people in NY thought that this roaring splatter was gonna be big.

The Screamers – Live in San Francisco 1978 – Review

March 7, 2005

The Screamers is intoned in hallowed terms by the hardest of hardcore underground punk fans, but the band remains a mystery since they never released a record.

Supersuckers – Live in Anaheim – Review

March 7, 2005

Funny, self-aggrandizing, and neatly straddling arena-rock bombast and no-bullshit punk rock fury, Supersuckers are the third band on an AC/DC/Ramones bill.

Devo – Live in the Land of the Rising Sun – Review

March 7, 2005

Even for the ’80s, these guys were pretty weird. Even when the old men come out, chubbier than they used to be, they kick ass. They’ve gotten better.

The Hellacopters – Goodnight Cleveland – Review

May 23, 2004

Goodnight Cleveland is, well, there’s no other word to describe it, a film: A tour documentary that follows the band’s 2002 U.S. tour.

The Cramps – Live at Napa State Mental Hospital – Review

May 23, 2004

The Cramps played a free show in 1978 to a room full of mental patients and had the good sense to record the proceedings for posterity.

Nashville Pussy – Keep on Fuckin’ in Paris – Review

May 23, 2004

A 16-song set, including tons of classic material from Let Them Eat Pussy and High as Hell and Say Something Nasty. You also get an AC/DC cover (“Shot Down in Flames”) and a Turbonegro cover (“Age of Pamparius”).

Foetus – ¡Male! – Review

January 28, 2004

A re-release of a series of live shows from the early ’90s. The version has Uncle Jim at his most rock-star, a period right before he had to dry out or die.

Dead Kennedys – In God We Trust Inc.: The Lost Tapes – Review

January 28, 2004

Biafra’s political rants, questionable logic, and rabble-rousing become vicious art. The clips demonstrate Biafra’s ability to incite dissension on a per-locale basis.