The basic sound here is trippy groove rock, but don't let that scare you. Bad Haskells do all those 60s excess things right (wah-wah, soft distortion, grimy harmonies) and graft them onto a vague white-boy funk platform.

But, to use a slightly insensitive phrase, these guys know they're white. The bass lines are bouncy, but they don't even try to approximate deep funk. Just enough groove to move the tunes along.

And so, instead of writing insipid songs filled with dreadful musical and lyrical cliches, Bad Haskells craft silly little effervescent ditties. Nothing substantial, mind you, but fun nonetheless. Tight and tuneful, with just the right amount of wit.

A good little party album, really. Bad Haskells won't be changing the world any time soon, but it might make a few folks smile.

The easiest way to describe this would be gangsta dub. But that would be simplistic. Really, this is an interesting mix of New York styles. The old-old-school rap of Run-DMC and those that came before. Some electronic dub, a more commercial version of the sort of thing Wordsound cranks out so nicely. And some good ol' reggae and r&b to fill things out.

Plenty of special guests, from Nona Hendryx to Noreaga (with lots in-between). Those two names should give you an idea of the bridge Bounty Killer tries to build. Sometimes it works. And sometimes, well, it's boring.

There is a message of peace which pervades, but not much in the way of a political philosophy. I'm not really asking for spun gold, but it sounds to me like Bounty Killer was trying to make some sort of statement. And it's not really there.

Uneven, and that's too bad. At its best, the music is innovative and the vocals intermingle with the dub to create some great stuff. But most of the album trends more toward the mediocre. Bummer.

After years of toiling in semi-obscurity, the Brian Jonestown Massacre has hit the big time. Sorta. Good news: The sound is still great.

A lot of bands whose heads lie in the 60s slavishly replicate the old sounds. The Massacre has always seemed to get inside the sound, creating music which reminds me of the finest moments of the Rolling Stones, the Byrds, etc., but which is still completely distinctive.

So yet another album of twisted ramblings, love songs which are simultaneously psychotic and sincere, general good times and the odd strange trip. It does sound like this one was actually recorded in a studio (a step above Give It Back, which was certainly the band's most polished disc before this one), but the songs are still loose and easy. Like they should be.

Slowly but surely, this band has emerged as one of my favorites. This album only strengthens that position. An inspirational set.

The first disc is a set of "Kinks Kronikles". The second is a set of "Solo Kronikles". The first set includes a few early hits (including "You Really Got Me"), but most of it focuses on later works or latter-day live recordings of the hits, though skipping such songs as "Lola" and "Come Dancing". Actually, that's fine with me. The hits are easy to find.

Quite honestly, though, the amazing thing is that Dave Davies has been able to sustain a career all this time at all. Or that the Kinks, who did have a hell of a run in the mid 60s, still tour and sell out shows. As anyone who has heard a Kinks album in the last 15 years will tell you, there's not much to hear. Generic is a kind word.

The Kinks were heroes of the garage sound, and when they learned how to properly speak and play their instruments, well, they lost the only thing they had going for them: Their ragged energy.

Listening to the "solo" disc is almost embarrassing. The stuff is so dull, even when Davies manages to howl. Hey, I dig those old Kinks songs as much as anyone. "Lola" maybe be the best rock song ever (it's certainly in the running). But there are plenty of places to find the good stuff. There's too much filler here.

Collecting a few odds and ends, Don Caballero presents five years¹s worth of innovative instrumental carnage. And, if I might comment on the accompanying photo art, I¹d have to say the concept of arranging seven-inches on the street and documenting the reaction of people and cars to them is brilliant. Might make a cool book, actually.

As for the music, well, if you¹ve got all the singles, you¹ve got all but one song here. Of course, a couple of those slabs of vinyl are damned hard to find, and anyway, it¹s much nicer to hear them all sequentially.

And since Don Caballero is one of the finest bands around, this collection is imperative for anyone who wishes to understand the current noise pop scene. Don Cab attacks the sound from all angles, and these singles are even a bit more experimental than the fine album fare. A lot of ground gets covered in 13 tracks.

Some singles collections are full of fluff and filler. This one is pure inspiration. Search out at all costs.

A couple of facts behind this disc. First, these are raw, ragged recordings, songs which have never been released before. Second, Erickson owns all the rights to these songs, so he¹ll finally get paid in full. And anyone familiar with his situation knows he needs all the help he can get.

For the most part, these songs were recorded between 1971 and 1974 (the final track is taken from a video tape shot in 1983). Sometimes at the state hospital, sometimes at home. Generally unfinished, though it can be hard to figure out exactly what a "finished" Erickson song might sound like.

Taut strings of pure emotion. One of the reasons Erickson has been hospitalized so often is that he can't manage his feelings and actions very well (this is not a psychiatric diagnosis or anything). The recordings may be bad (or dreadful, even), but the songs are amazing. Erickson lays his soul bare, as always. And these "new" songs are just as compelling as those in the recognized Roky canon.

This sort of "emptying the vaults" is awfully trendy these days. The thing is, the more ragged the recording, the greater the sense I get that I am closer to Erickson's core being. A scary place, but also a place of awe and beauty. Revelatory and astonishing.

Heavy in the bass, with some jangly hooks. You know, a kind of grunge pop. I guess. Hey, I don't care. The stuff moves and it sounds good. Need anything else?

That's really the trick to playing heavily distorted instruments. Keep them moving. Oh, sure, it doesn't hurt to write tight songs that tell cool little stories. That never hurts. But never, never let the song degenerate into a dirge. Gift Horse knows this well.

There's also the nicely inventive guitar lines. And I really can't get over the fine songwriting. These guys know how to crank out songs. Real well. I'm simply knocked out.

Wow. Supreme quality. A nice little three piece which knows how to craft fine tunes. Why ask why, indeed?

Another one of them anthemic rootsters. The band describes itself as CCR meets Dave Matthews on ginseng tea. Have I mentioned that I really don't like the Dave Matthews band?

Or Blues Traveler or any of the other fellow Dead again fellow travelers. Good Friend has one advantage: the sound is much more raw and unrefined than I think the band would like. But it's that very lack of sophistication which saves the sound.

Yeah, yeah, there's still plenty of that annoying backbeat and wanky guitar, but the singing is earnest and the playing is solid. The band slides through a number of different moods, never quite mastering any but doing a decent fake job nonetheless.

Competent and, more importantly, unpretentious. Good Friend could turn into some arrogant outfit pretty easily. I hope it doesn't.

A couple novelty songs, a soundtrack piece, and a few remixes. You know most of the songs, but these versions are kinda hard to find.

That is, if they had ever been released before. This is the "b-sides" part of the KMFDM greatest hits package (the "hits" part is reviewed below). Very spotty, honestly, though there are some interesting moments. In any case, it is possible to piece together the creation of what is now the trademark German engineering sound.

Of course, there's also the cover of "Mysterious Ways" from Shut Up, Kitty, a strangely straight version of the song. Easily one of the worst tracks from that compilation. There's also the schlocky track from Hellraiser III, though the notes (put together in a day) help explain that.

For devotees only. The average fan just won't get much from this, with the possible exception of the two tracks from More & Faster. The unreleased stuff is fine, but not, um, Godlike. I had a good time, but that doesn't mean everyone will.

Sometimes people say a band's greatest hits would be best issued as a 7". Or 45, depending on the age of the person making the comment. I know more than one person who would claim that KMFDM could issue a greatest hits on a CD5. Hard to get away from "KMFDM, doing it again..."

Which is too bad. While I wouldn't agree with all of the choices here, the later tracks were the emphasis tracks on recent albums, and the earlier works are representative, if not the best tracks. Personally, my favorite album is still UAIOE, which was the first album to show me that electronic music didn't have to sound like the Cure (talk about personal confusion on my part). I also like the sparser sound.

And what this collection does is point out to folks that KMFDM has evolved. Perhaps the sound is a bit stagnant today (the "hit" songs just aren't as vital or creative as they used to be), but there is a reason KMFDM is legendary.

This disc shows why. Again, these are straight off the album, so devotees have all the stuff (though I'm guessing few of you have What Do You Know, Deutschland? or Don't Blow Your Top). It's about time, really, for this set. Though I do hope it doesn't signal the end of the road.

This disc is being marketed as a Halloween special effects disc as much as anything else, which is something of a disservice to the band. This is gothic soundscape, not quite as dark as the standard Cold Meat Industry disc, but pretty cool nonetheless.

Well, except for the voiceovers, which come off as a bit cheesy. The music is bit too bright to overcome the silliness of the vocals. I prefer my spooky music to be a bit more mysterious. Midnight Syndicate is more classically oriented, using power in the bass clef to indicate evil, and that works fine, too. Just not my preference.

The compositions themselves are nicely complex and well-structured. And those voiceovers don't occur too often. I do wish the band had either used more samples (for a fuller soundscape) or cut back the scope of the songs (again, to lend mystery). But honestly, these are minor quibbles. It's a matter of degree, and mostly, a matter of taste.

This disc is much better than some Halloween special. It should (and does) stand alone on its own gothic merits.

Some more gorgeously-appointed noise pop. A little sludgy on the uptake, but with lots of movement and soul. Generally instrumental, though not exclusively. What vocals do exist act almost as an extension of the rhythms involved. Not rapping, precisely, but certainly forceful speaking.

A wonderful racket, indeed. The sound is something like the second Don Caballero album, still heavy, but with some sophistication, particularly in the guitar lines. Neutrino doesn't mind losing itself from time to time, and that sense of exploration makes this disc a fun listen.

The sound is traditional noise pop, heavy in the bass, but with a light hand on the distortion levels. The key here is on the interplay between the instruments, not on any one player in particular. And that's also how the vocals fit in. The music makes no concession for the singing, and thus it's a much stronger, much more cohesive sound.

I could say "wow" a few times in a row here. I just love this kinda stuff, bass, drums and guitar noodling around some tight rhythmic notions. Neutrino does it right, and the result is an impeccable album.

Raucous, tuneful stuff. Reminds me a lot of the Chemical People (though much less refined). Something about the way the guys put together their hooks, I guess.

And Pezz could use some craft. They've got the basic 3-minute miracle construction down, and since that's what they're using, they really ought to clean up some of the sloppiness. Writing, that is. There are chord changes here which just don't work. I don't care how messy the playing is. Just make sure you're screwing up for a reason. I don't think that's the case here.

But I'm still more than enthused by the noise. Pezz has a great energy and I can hear where the band might be with a little work. Well, maybe more than that, but still...

Gotta like the legend on the back: "Bash on regardless..." A better punk slogan has never been coined. Boys, long may you bash.

Half of the Trouble Dolls, who released at least one album on Doctor Dream a few years back. I liked the disc I heard (Cement) a lot, and I also dig this one. Gritty punk-edged rock, a SoCal version of the Minneapolis sound, if you will.

I hope that reference works for you. This is music meant to be played with the volume on high. As in eleven. Subtlety isn't a strong suit. But there is a soul here that just leaps out of the speakers.

Ever wonder how far three chords and a lot of attitude can take you? Well, Pinwheel proves that the road is long and winding, indeed. Basic basic, but rather attractive. Infectious, certainly.

Don't know where the guys have been, but I'm happy to hear some more (even if it is a different name). The crunchy stuff goes down so nicely.

Three songs, exhibiting an interesting cross-section of influences. A little funk, a little grunge, a little 80s AOR. Reminds me just a bit of King's X, more in the sharing of influences than the execution (though "Latch Key Kid" is right in that groove).

Three very different songs which still manage to put across a fairly coherent Roon sound. Technically proficient, I'm not particularly impressed by the songwriting itself. It does the job, but it doesn't sound inspired.

Lots of room to grow. There is a good base here. Seasoning, that ever-necessary ingredient, should be on the Roon menu.

Musically, Scheer Energy hasn't gotten much past its 80s synth-laden guitar pop sound. The songwriting is a bit clunky. Milquetoast is the word I used before, and it still fits. But I didn't expect any musical revelations here. What I liked about the earlier Scheer Energy disc was the way the lyrics presented Christianity as a positive, and not a negative, faith.

And that's still here, but faith is presented as a solution to all of life's problems, without any real corroborating philosophy. "Believe and life is automatically a lot better" is the message. No Christian I know would subscribe to that argument. Any faith takes work: Spiritual, mental and physical.

I wish there was a bit more here than Jesus as some spiritual superhero. Well, there are plenty of diatribes against empy Hollywood values (not exactly virgin territory), but I find the solutions presented as less than convincing.

Hey, I'm a born-again atheist, but I can recognize that there are plenty of good arguments for Christianity, Islam, Buddhism, you name it. I've read and heard a number of them. Scheer Energy does not make its case very well.

The band once known as shiFt (not to be confused with Shift--the reason for the name change). Fuzz-pop with a vaguely psychedelic twist. Sorta like if Seam started playing My Bloody Valentine songs or something.

The references should clue you in to my take. I like this. Music which takes its time to exhibit its power, but powerful it is. The songs have a way of building and deconstructing at the same time. I think you'll have to hear them to really understand.

Both a somewhat retroid and very current sound. Back when I was in college (a decade ago? geez), this sorta stuff was quite the rage. The same can be said for today. But when music is this impressive, it can succeed no matter the trendometer.

Haunting and entrancing. I wish the sounds went on forever.

A pop-song opera? Why not? Bobby McStone grows up, tried to get a deal, gets screwed, but finally ends up with a hit record because he's so damned talented. Or something like that.

Alright, so plot summation isn't one of my strong points. And to be honest, the plot is almost ancillary. These are nice jangly pop songs, chock full of hooks. Sure, there is something of a point, but if you don't want to be troubled, you won't be.

The production sound could be better. The middle ranges are somewhat muddy, but that lends a nice, homebrew feel to the songs (which helps to cut down any pretension inherent in a pop opera). Me, I wish the sound was a bit sharper. Just a bit.

But a cool project nonetheless. Somewhat over the top, but again, that comes with the territory. Might was well aim high.

A year or so ago, I got an e-mail asking "Do you like music from Japan?" I said sure. And so I've been getting these updates from Big Fish Music. Finally, a taste of what the folks have been talking about.

Fourteen songs from many of the labels Big Fish Music deals with. Most of the tracks are somewhere in the electronic pop universe, though there are a few dissenters from that stereotype. All of this is stuff which is unknown over here in the U.S.

A bit off-beat for the average American, I'm afraid (though anyone reading these reviews shouldn't be scared off). In short, even the pop bands make their music a bit complicated. Me, I like complicated.

As with most samplers, the quality (both musical and sound) varies widely. There is something to attract most any music fan, and this confirms my answer to that e-mail. Sure, I like music from Japan.

A collective album crafted by five bands: The Blues Experiment, Aztlan Underground, Ollin, Quinto Sol and Ozomatli. They put together 13 tracks which tell a loosely constructed story about Los Angeles.

Like the culture of the city itself, these songs incorporate a number of musical influences. Each piece is a mish-mash of styles and ideas. The picture is grim, but the tone is hopeful.

A concept album, certainly, but completely without pretentious overtones. This disc easily flows from subject to subject, and culture to culture, without sounding contrived or forced.

Oh, so impressive. This is what happens when a large group of people works together without concern for ego or personal gain. The collective result is strengthened, and in this case, an amazing statement is made. To complicated for one sentence, but perfectly expressed as an album.

Yes, it's just a sampler disc. A 30-track set including stuff from King Crimson and its various side projects. As DGM is mostly (but not completely) devoted to Crimson members and ex-memebers, that's what you get.

Which is a lot. If you're an old-line fan, and you want to know what Robert Fripp, Adrian Belew, Bill Bruford and others have been doing, well, you can either buy the discs (an advisable tactic) or pick this up.

Some labels have a few nice things to show off. DGM's cornucopia overflows. As this gorgeously-appointed sampler amply proves.