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J CHURCH:
Seishun Zankoku Monogatari: CD
This is the San Francisco trio’s second Japan-only release. The title roughly translates to Cruel Story of Youth. Half of the songs are covers and half are originals that veer all over the map stylistically but somehow hold together. “Who Killed Pasolini?” laments the loss of the important Italian writer/poet—“Who took Pasolini’s life/a prostitute of the extremist right?/why has no one cared enough to take his spirit’s fight?” “Near 600 Pages” is another literary discussion that goes beyond your basic freshman English class concerns. The covers range from The Cars to Richard Hell. The Fall’s “Psycho Mafia” seems to be stuck in my skull the most. Cool guitar riffage and heartfelt vocals make this one to seek out—or even order as a pricey import. Makes me want to find out more about this band that has been deserving increased attention for far too long. –Sean Koepenick (Snuffy Smile)

J CHURCH:
Society Is a Carnivorous Flower: CD
Okay. You have to support someone who has put out more records than I’ve eaten bowls of Lucky Charms. It’s just a matter of principle! But, it does make it a little hard to get excited about a new J Church release, even if this one does feature resident Razorcake cartoonist and bass player Ben Snakepit. The same melodic pop punk you’ve come to expect, with some more rockin’ production this time around, and a sad tune by Mr. Snakepit. If this were a cereal, it’d be Total. In a pinch, you can always eat it, and it’s been around forever. Ah, the limits of metaphor! –Maddy (No Idea)

J CHURCH:
The Horror of Life: CD
This is the hardest kind of CD to review because I want to like it more than I actually do, if that makes sense at all. It’s full of nice, frantic punk songs with some well thought out lyrics (dig the songs about Eric Dolphy and Laika the cosmonaut dog), but at the end of the day I think the problem is that sixteen songs is just too much for this particular album. There’s just not quite the diversity of sound needed to carry interest through the whole album. While not wide-ranging in their sound, most of the songs are pretty good, except one that’s just horrible. The song “We Play Secular Music” is just a huge turd in the middle of the CD that often manages to lose me for the rest of the album. It’s the worst kind of bad song, which is one that actually manages to get stuck in your head. The song itself sounds like an off-key rant put to an annoying riff. Anyhow, trim five or six songs off this and it is very possibly a great album. As is this is an “it’s okay.” Also, my props go out to guitarist/singer/main song writer Lance Hahn for even putting this out, because after reading the press sheet I was surprised that he even was able to find the will to keep making music after all that he’s been through. Kudos to you, sir. –Adrian (No Idea)

J CHURCH:
Palestine: CD
I first heard J Church around the time of Prophylaxis and Quetzalcoatl; I kept up with the band for several albums and then we parted ways because the songs didn’t seem to mean as much to me anymore. They were catchy but I just lost my appreciation for the band somewhere along the way. As far as Palestine goes, it reminds me of what could have happened if Bob Mould had reverted to music reminiscent New Day Rising or Flip Your Wig for his first solo effort. The songs have hooks and they’re relatively catchy, but the effort just seems like more of the same. If you’re a J Church fan, you will likely already own this. If you aren’t, there’s no reason to start here (try The Precession of Simulacra as a different entry point). –Puckett (Honey Bear)

J CHURCH:
Meaty, Beaty, Shitty Sounding: CD
Nope. No matter how hard I try, no matter how much I may want to, I just can’t get into this band. The covers of ELO, Jesus and Mary Chain and others are pleasant enough but the originals only succeed in making me cringe. Sorry. –Jimmy Alvarado (www.hbrecords.org)

J CHURCH:
One Mississippi: CD
I not a real big fan of J Church. I love their song "Alone When She Dies" off the "The Drama of Alienation" CD. It touched me. But that is about it for me. I liked Lance’s previous band, Cringer, more. I used to see them all the time when they moved to LA before moving north to SF. J Church used to pump out the releases for awhile. I don’t see that many advertisements for new releases anymore. I saw them recently and maybe due to lack of alcohol, I was lackadaisical about their performance. If anybody knows my brother Katz and sees Lance, you would swear they were twins now. This release leaves me kind of unmoved. I hear elements of REM and college rock. It’s kind of folk-like with a rock mix. Don’t get me wrong, but it just does not grip me. J Church fans should disregard all that I say and continue on with their lives. –Donofthedead (Honest Don's)

J CHURCH / FLAMINGO 50:
Split: 7” EP
Must avert the need to comment on the number of J Church records! Must resist... Must... ack! Must resist statements about how cool Ben Snakepit is, as they are unrelated to the matter at hand! Must comment that the cover of The Cars “Just What I Needed” is ridiculous and unwarranted and totally dumb (in a good way)! Must state that the first Flamingo 50 song is fucking awesome! Must state that their lyrics are sometimes completely incomprehensible, in a good way! Must state: super catchy energetic power pop melodies with back-up vocals, leading me to declare this record Trix! Yummy sugary cereal! Hooray! –Maddy (Los Diaper)

J CHURCH / SOUND ON SOUND:
Split: 7”
J Church: Awesome. Awesome to the max. Their side has a cover of “Where Eagles Dare” with Ben Snakepit on vocals. Sound On Sound: This is the band’s first release, and I must say I’m impressed. They aren’t entirely dissimilar to J Church, but they seem to have a more, how you say, progressive sound to them. They do a cover of “Old Chunk of Coal.” Also, and I cannot stress this enough, R.I.P. Lance Hahn. –Bryan Static (Underground Communique)

J-CHURCH/ STORM THE TOWER:
Split: CD
J-Church: Keep it fast. After years of sporadic listens to J-Church, I’ve finally come to this conclusion: if they keep it buzzing, Lance Hahn’s voice is just another instrument in the maelstrom. Think Everything Falls Apart, Hüsker Dü: equal parts melody and velocity. Bone snapping, crunchy parts and finger-snapping happy parts. The first two songs on this split, “Terror of Love,” and “Ghost Writer,” I’ll say are two of my favorite all-time J-Church songs. However, the other two songs take heavy ether whippits and where Blake of Jawbreaker had a voice that could break hearts, when Lance’s is up front, it’s more thin and has a tinny tint to it, which I don’t find as satisfying. Plus, 5:43 and 6:38 are too long for songs to clock in at. That’s simple math. Storm the Tower: Not so good. The bar’s been raised so much on hardcore. Not as rip sawing as Crispus Attucks, not as youth-vital as Life’s Halt, not anywhere as inventive as Tragedy, nor as insightful as Strike Anywhere, or hacksaw-through-femur dangerous as DS-13, they get repetitive real fast. Sorry. –Todd Taylor (Broken Rekids)

J. CHURCH / OFF WITH THEIR HEADS:
Split: 7”
J. Church: I say this with the utmost respect. Lance can’t sing that well, and that’s part of the beauty of what J Church is doing: no separation between band and audience. The first song starts off a little loosey goosey and then kicks into what could easily be on the flipside of a Jawbreaker song when they were in their prime. The second cut’s a Snuff cover. I love covers that get me reared up go pull out the original, like a reminder to visit an old friend. Off With Their Heads: Oh, man, songs about restraining orders, fucking hating everything (including himself and excepting Janie), and it’s so damn catchy. What I don’t get is how this angry, bear-like voice (like Billy of Dillinger Four {the occasional third vocalist who can rip out a DYS cover like nobody’s business}) comes out of a medium-sized dude. They’re probably tired of hearing this, but I’m just reporting the facts: sounds like early D4, ultra-mean, hit-in-the-snacks Jawbreaker, and monkeys flinging shit and laughing if you swallow it or it gets in your eyes. Yes, great. –Todd Taylor (1-2-3-4 Go!)

J. RAWLS:
Slav: CD EP
I picked this up ’cause the cover looked like it was off one of those old 4AD records and I thought it might sound like that. It didn’t. It’s actually indie pop/emo. Jerks. –Jimmy Alvarado (Iron Compass, 2534 Charleston, Toledo, OH 43613)

J.CHURCH / FLAMINGO 50:
Split: 7” EP
If I wrote the title to every J Church song ever written, really tiny, in ballpoint pen on my skin, that list would fill up my upper torso, at least. Bless Lance Hahn. Seriously. His uncompromised marriage to punk rock has taken him through better and worse, in sickness and in health. And due to the mere fact that J. Church is not only sticking to their guns when many of their peers believed that they themselves were deities, then declared the nuclear holocaust of pop punk; J.Church did DIY world tours and got progressively better. While I can’t say I celebrate their entire catalog, I do favor their shorter songs. “Near 600 Pages” is the perfect capsule of their power: catchy, sharp, dynamic, guileless, and wide-eyed/wizened-by-years pop punk. The Cars cover is guilty-good, too. Flamingo 50: Straight-ahead, lady-singing melodic punk from England. No screech or wail. Flamingo 50 make me think of my favorite shoes: well-worn and comfortable, smooth in the places that get a lot of action, and nothing fancy or precious; that makes me like ‘em even more. I look forward to listening to this split often. –Todd Taylor (Pizza Pizza)

J.J. AND THE REAL JERKS:
Back in Business b/w Seersucker Suit: CDEP
Sounds reminiscent of the earlier punk bands like Johnny Thunders and The Stooges, albeit a tad bit faster than that. Not bad, not great, and a decent song with a saxophone in it. –Bryan Static (Self-released)

JABARA:
Why We Wish: CD EP
Furious Japanese hardcore. The singer sounds just like Cal from Discharge, but the music is a far cry from all those Dis- bands. The beats are fast and mean and, judging from the big circle A on the inside of the cover, I’m assuming they're sympathetic to anarchist thought. Good, good stuff. –Jimmy Alvarado (HG Fact, 401 Hongo-M, 2-36-2 Yayoi-Cho, Nakano-Ku, Tokyo 164-0013 Japan)

JABARA:
Why We Wish: 12"
Originally released on CD by HG Fact in Japan, this is released here for the masses to hear the manic rage of this band. If you are familiar with the label, not all their releases are available outside of Japan. I’m not sure if this was one of them. It also sounds better on vinyl. It has a heartier feel to the music. Japan’s hardcore is unique in their passion for the recording and the energy you feel in their music. It does not feel faked and you feel the compassion they spew forth. This is my second exposure to this band. My prior experience was a split flexi that they did with a band called Messed Up. Here, they blaze forward in a ball of fire with their mixture of Japcore, metal, and pulverizing punk blasts. Without compromising the power, there is always an underlying hint of melody in the music. I never researched the history of this band and its members. From what I hear in the music, they seem to be seasoned veterans of the punk scene. The musicianship is top notch and the songs are well crafted. From start to finish, you can’t help focusing on the madness that flies out your speakers like a windstorm. If you are familiar with bands like Gauze, Paintbox, or Forward, you will be quite pleased with this band. –Donofthedead (Prank)

JABBERS, THE:
American Standard: CD
Wow, I wasn’t expecting much from the band I’ll venture to guess is the same band that once backed GG Allin, but this was pretty good. It’s interesting to note that at least two members of the Queers (Wimpy and Joe both contribute vocals) are on this, ‘cause there’s a definite “I’m Useless”-era feel to many of the tunes here, which fit in nicely with the post-Iggy scum punk vibe of the remaining tracks. Also contributing vocals to a couple of tunes are Jeff Clayton and Jeff Dahl. Surprisingly good. –Jimmy Alvarado (Steel Cage)

JABBERS, THE:
American Standard: CD
Finally, Wimpy Rutherford has found a new band that can rival his work with The Queers. Only scene veterans who rocked with GG Allin would be up to the task. This is balls-out, maximum wattage punk rock to be played at loud volumes to scare your neighbors. Don’t look for discussions on today’s economy here. Do I really need to go over the lyrics with titles like “Cock Magnet” and ‘Motorpussy”? Please—you know the drill. Can’t wait for the next one! –Sean Koepenick (Steel Cage)

JACK ENDINO:
Permanent Fatal Error: CD
I was expecting what you were. Sludgy, grungy, flannel and long johns stuff. That's why the first track took my by surprise: upbeat punk stuff that kind of reminded me of Motörhead without the heaviness. That's right. Without the heaviness. Oh, there it is. Track four. Yep, that's the Endino that I remember. Oddly, I'm enjoying this. I'd say it kicks ass on about ninety percent of stoner rock out there. Not that I'm an expert on the genre or anything, but I know I'm bored by most of it. Nice work, Jack. –Guest Contributor (Wondertaker)

JACK HOUSEN:
Two Lane Road: CD
Some pretty good stuff here from a guy that is going off the beaten path and actually writing songs rather than merely following a well-worn template to fit into some prefabricated genre. His style is engaging, sometimes maybe a bit mellow, but the arrangements are inventive enough to warrant future listens.
–Jimmy Alvarado (Jack Housen)

JACK OBLIVIAN:
Black Boots: 7”
The Memphis legend with Jeff Meier on bass and Mark Sultan on drums—two songs that show the soul beneath the rock continues. If you played this for me and said it was some cool old 45 you found from a geezer’s collection of lost, smooth, catchy rock that he used to pick up girls with, I would believe you and give you money for it. –Speedway Randy (Shattered)

JACK OBLIVIAN AND THE CIGARILLOS:
“Drinking Women’s Milk” b/w “15 Beers”: 7"
What I suspect would be the perfect soundtrack to a Jim Jarmusch film (say Stranger than Paradise or Down by Law), both songs are eerie-funny, naked, stripped down to drum and guitar, and charmingly rambling-along. The standout is “Drinkin’ Women’s Milk,” which goes deep into many different scenarios one may have to face while drinking women’s milk—chocolate milk, stale milk, getting babies out of the way, etc.—it’s a much more involved topic than I thought it could be. There’s something effortless about Jack Oblivian—much like Bob Log III. Even though I don’t celebrate every song of his extensive catalog on a daily basis, I don’t ever mind getting into his car and going along for the ride, to hear what’s been rattling around in his brain lately. (Apparently, this was recorded in 2003. And only seventy-eight were made? (Maybe that’s the color or vinyl?) Don’t quite know.) –Todd Taylor (Ghost Highway Recordings, myspace.com/ghosthiwayrecordings)

JACK OF HEART:
Self-titled: 7"
While listening to the b-side of this record, I found myself doing a really bizarre dance that started with me shrugging my shoulders to the beat and sort of stepping from side to side. Then I kind of marched in place, continuing to shrug my shoulders while swaying slightly from side to side. It’s the sort of one of a kind song that, in a perfect world, would be played on AM radio every day at exactly 3:17 in the morning. Everyone would climb out of bed and play it really loud while dancing weird in the street. –MP Johnson (Rob’s House)

JACK PALANCE BAND:
Get This Shit Under Way: CD
Rockin’ fun. I was ready to toss this baby before it even played, but I always give everything a listen. Not that I always like what I get, but in the mystery meat pile is something to be discovered. Here is a band that is raw but is rocking in a fun way. Many might disagree, but I hear a mix of a good garage punk band at a bar mixed with Dead Lazlo’s Place and Dillinger 4. I hope Retodd does not become offended by using D4 as reference. A review is an opinion of one and this one is mine. Also, I don’t like to get Retodd mad. You wouldn’t be reading this if Retodd (and Sean too!) wasn’t around. I look forward to seeing if what comes about from these guys in the future. Chattanooga, TN is probably not that bad of a place with a band like this. –Donofthedead (Attention Deficit Disorder)

JACK SAINTS, THE:
Rock and Roll Saved Our Lives…But Now It’s Trying to Kill Us!: CD
First off-great sound bites in between songs. I won’t name ‘em since I’m sure none of ‘em are cleared, but who cares? Hard driving Detroit-style rock from San Fran? Go figure. I think it’s against the law to have song titles like “Cockblocked” and “Generation Gangbang” and suck. I really do. These guys are well within their rights and if you like raw punk with a bit of melody, this may save you too. Did I just hear someone rock a banjo solo in “Last House on the Left?” That’s insane! –Sean Koepenick (Scarey)

JACK TRAGIC & THE UNFORTUNATES:
Coming Down Like a Hammer: CD
...since this was already reviewed by another intrepid staffer last issue, i’ll restrict my commentary to the only thing i recall of Jack Tragic from back in The Day: I was once sent a fanzine circa 1984 – from Connecticut, i think – that devoted more or less an entire issue to proclaiming what an asshole and menace to society Jack Tragic and his band were. Since i’d never heard of him or the zine before – or, ‘til this CD, since – i was never completely sold that the zine wasn’t just the work of J.T. himself, attempting some manner of press coup by distributing a bogus fanzine dedicated solely to propagating tales of his own alleged controversialness. Anyway, i think this is what GG Allin wanted to sound like at one point, until he realized he was doomed by his own innate poppiness and went off the deep end. Whoopee. BEST SONG: “Mind Loot” BEST SONG TITLE: “Mind Loot” or “Milk Carton Mistress” FANTASTIC AMAZING TRIVIA FACT: At one point in time, band featured a member named “Dee Stroy,” which appears to be the punk rock equivalent of “John Smith” or something. –Rev. Norb (Dionysus)

JACK TRAGIC & THE UNFORTUNATES:
Coming Down Like a Hammer: CD
So is Jack Tragic the wiry little bald dude with the guitar in the photos or the lurchy looking guy with the dress shirt and the MC5 afro? I’ve never heard of this guy and it’s making me a little nervous. Is he some overlooked ‘80s punk pioneer who I’m supposed to already know about? I know I kinda skimmed over the Go-Go’s chapters in We Got the Neutron Bomb, but did I accidentally miss the parts about the legendary Mr. Tragic? Is this the review that’s finally going to expose me for the unqualified blowhard boobhead that I am? Holy fuck, I probably should know something about this guy, if only cuz he claims to have spent some time in the late ‘80s writing porno rock songs – and, one would guess, sucking down copious amounts of anything with alcohol in it – with the Mentor’s El Duce, an early role model of mine. Hmm, let's see... kind of Germ-sy in spots, a bit metal in others... this isn’t the most vicious head-splaying stuff out there, but it fucking rocks with surprisingly solid song writing and a healthy snarl that doesn’t sound the least bit affected. I don’t know who’s behind Bacchus or just where the hell they’re digging up old treasures like this Jack Tragic disc and the equally good Live from the Masque comp, but I hope they keep it up. –Aphid Peewit (Bacchus Archives)

JACKIE:
Goes Electric b/w Stars Brought Low: 7”

Boring, forgettable new wave/post-punk. C’mon guys, ditch the Joy Division records already. A little Palatka every now and then never hurt anybody. –Not Josh

–Guest Contributor (Glare)

JACKNIFE POWERBOMBS:
Demo: CD
Well, um , it sounds like a demo of a punk band playing rudimentary rock’n’roll. Not particularly interesting on the whole. Sorry. –Jimmy Alvarado (jackknife_powerbombs@hotmail.com)

JACKS, THE:
Concrete Death: 7” EP
I’m figuring it’s a bad sign when you purposely play a punk record on 45 instead of the suggested 33 1/3 RPM just to give it some pep. The songs themselves weren’t bad, but the performance was just fuggin’ listless, man. Pop a bottle of No-Doz each, chase it down with a quart of Jolt Cola and try again, please. –Jimmy Alvarado (RLD)

JACKSON:
Self-titled: CDEP
God, I should really hate this, but I don't, and I can't rightly explain it. Maybe it's because Chris Shiflett has a Grammy for Fighting Foo, got visited by the Secret Service for wearing a Not My President t-shirt, was in No Use For A Name and 22 Jacks, plays in the Me First And The Gimme Gimmes and he's still not a dick. That probably has something to do with it. Jackson makes clean, light, starry-eyed pop that's easy to digest, has a bunch of undeniable hooks, doesn't make me cringe, and is a good compromise if I have to put on something that doesn't have a lot of swearing or loud guitars. –Todd Taylor (Magnificent; )

JACKSON:
Self-titled: CDEP
God, I should really hate this, but I don’t, and I can’t rightly explain it. Maybe it’s because Chris Shiflett has a Grammy for Fighting Foo, got visited by the Secret Service for wearing a Not My President t-shirt, was in No Use For A Name and 22 Jacks, plays in the Me First And The Gimme Gimmes and he’s still not a dick. That probably has something to do with it. Jackson makes clean, light, starry-eyed pop that’s easy to digest, has a bunch of undeniable hooks, doesn’t make me cringe, and is a good compromise if I have to put on something that doesn’t have a lot of swearing or loud guitars. –Todd Taylor (Magnificent; )

JACUZZI BOYS:
Ghost Ghost: 7”
With the recent psych-garage boom (read: Black Lips) I would expect this band to be at the top of everyone’s lists. Great songs, ghostly vocals, plucky surf guitar, simple beats, wandering and moody but with solid riffs that should make any dot-covered girl and beanpole guy weep over. I haven’t revisited much psych stuff, but this is easy to keep replaying. “Age of the Giant Jellyfish” is a must, if you tend to wake up after dark.
–Speedway Randy (Florida’s Dying)

JACUZZI BOYS:
I Fought a Crocodile b/w Blowin’ Kisses: 7”
The first thing that catches your eye about this disc is the garish cover featuring three hairy and flabby men in their tighty whities locked in epic combat with a crocodile. An abstract and vaguely eerie forest looms behind them. Trippy shit. The A side is some catchy garage rock fun, but does get a bit repetitive. I was much more into the B side, which had a haunted, almost Gun Club quality to it. The band’s Myspace page says that this is out of print. –Evan Katz –Guest Contributor (Rob’s House)

JACUZZI SUICIDE:
Self-titled: 7”
Eighties hair metal via glam and moustaches, given the ‘00 DIY punk treatment. Falsettos. Cow bells. Guitar “solos.” Judas Priest-y. Got it. Celebrity Skin: pretty rad band. Memorable tunes. The Lee Harvey Oswald Band’s Blastronaut, I can’t recommend highly enough, and it’s a concept album with aliens, to boot. Both of those bands had previous punks. I appreciate Jacuzzi Suicide’s spirit, and I wouldn’t rule them out live, but, on record, it’s not clever enough for me to enjoy strictly as parody, or rockin’ enough on its own merits to excuse a genre of music I had to suffer through (sans irony) for close to two decades growing up. The main vocalist’s delivery rushes me straight back to a dark, dark time and place that is accompanied by very violent thoughts. Sorry. –Todd Taylor (Humdinger)

JAD FAIR AND JASON WILLETT:
Superfine: CD
This is what you get when you take what could be an okay soundbite and make an album out of it. I just kept waiting for the music to come in, but it never did. Then again, I can't say I waited too long. Out of the 155 tracks (No, that?s not a typo. One hundred fifty-five tracks.), I made it through two. –Megan Pants (Public Eyesore)

JAD FAIR AND JASON WILLETT:
Superfine: CD
This is what you get when you take what could be an okay soundbite and make an album out of it. I just kept waiting for the music to come in, but it never did. Then again, I can’t say I waited too long. Out of the 155 tracks (No, that’s not a typo. One hundred fifty-five tracks.) I made it through two. –Megan Pants (Public Eyesore – no address given)

JAGA JAZZIST:
Animal Chin: CD EP
I had always respected GSL for being a label that always released interesting music – even if it wasn’t particularly to my liking – and doing it independently. However, this release – as well as a slew of other back catalog albums I had recently ordered – turned my head and perspective completely around. It’s an electro-fusion-jazz album with plenty of blip-and-twitter-core and a fair bit of drum and bass which basically means it’s a stylistic mess which just so happens to be a brilliant gumbo of skittering beats and soothing jazz textures – think Goldie, Roni Size, Jazzanova and Underworld. This lengthy (nearly forty-three minutes) EP is all over the musical map but somehow it all coheres, congealing into a beat-driven mix of 1970s cool jazz and jazzy jungle’s decidedly 1990s reworking of it. –Puckett (GSL)

JAI-ALAI SERVANT, THE:
Thunderstatement: CDEP
I openly groaned when I heard the strains of ska that began “Scarlett Johansson Why Don’t You Love Me,” but found quick relief in the remaining for tracks on this, which are more in the art-pop vein. Whew. For a second there, I thought GSL was selling out in the worst way imaginable. –Jimmy Alvarado (GSL)

JAIL:
There’s No Sky (Oh My My): LP
These jingle jangly indie rock tunes had me bobbing my head as soon as the needle hit the vinyl. It’s got nice a nice mix of organ and splashy drum cymbals to keep the tracks moving right along. This album has all that right touches of old school garage rock without sounding washed up by being too derivative. Damn fine LP here. –N.L. Dewart (Jail, myspace.com/jailjailjailjail)

JAIL:
There’s No Sky (Oh My My): Cassette
I was thinking of using the word “jangly” to describe this band, but I wasn’t sure, so I asked a friend of mine what he thought they sounded like. The first word out of his mouth? “Jangly.” So, there you go. Jangly indie pop, pretty catchy, the sort of thing that a friend might play during a long road trip, and by the time we reached our destination, I’d be pretty into it. Also, under the “probably unrelated side note” category, it appears that all four members of this band have moustaches. If this were a cereal, it’d be Apple Jacks. You wouldn’t think to purchase it, but if your friend has some, you eat it, and it’s actually pretty good. –Maddy (Burger)

JAILBIRDS, THE:
Going to Stab the Killer Gang: LP
Ugh. Another group aping that mid ‘60s Sonics/’76 Adverts hybrid. File under “B” for boring. –Ryan Leach (www.rudosandrubes.com)

JAKE AND THE STIFFS:
If It Ain’t Stiff…It Ain’t Worth a Fuck: CDEP
Very mediocre pop punk by this trio. It’s very simple and repetitive. It’s got somewhat whiney/snotty vocals but not too rough. Their poppy sound sounds a little garagey (if that’s a word), too. They also do too many cover songs, none of which are worth mentioning with one exception, The Ejected’s “Gonna Get a Gun.” This track is easily the best on the CD. This CD is supposed to have a movie but it doesn’t work on my piece of shit computer. Don’t bother spending your money on this one. It should go to something better like Toby’s trying-to-buy-a-new-computer fund. –Toby Tober (Mutant Pop)

JAKE AND THE STIFFS:
If It Ain: CDEP
Very mediocre pop punk by this trio. It’s very simple and repetitive. It’s got somewhat whiney/snotty vocals but not too rough. Their poppy sound sounds a little garagey (if that’s a word), too. They also do too many cover songs, none of which are worth mentioning with one exception, The Ejected’s “Gonna Get a Gun.” This track is easily the best on the CD. This CD is supposed to have a movie but it doesn’t work on my piece of shit computer. Don’t bother spending your money on this one. It should go to something better like Toby’s trying-to-buy-a-new-computer fund. –Toby Tober (Mutant Pop)

JAMES CHANCE AND THE CONTORTIONS:
Soul Exorcism Redux: CD
This is probably the greatest live album I’ve heard in two years. In 1980, James Chance was creating—along with Pere Ubu, Gang of Four, and Robert Quine—the most interesting music on the planet. (I remember someone involved in the late ‘70s N.Y. punk scene wrote, “James Chance was where punk should have gone.” I agree.) For approximately three years, James Chance was infallible—a key component of New York’s no-wave scene (which spawned such luminaries as DNA—Tim Wright is still way too fucking underrated—and Lydia Lunch who collaborated with Chance often). James’s girlfriend, Mudd Club founder Anya Phillips, was an integral part of Chance’s music (and live show) and makes a rare appearance on this album (Phillips died of cancer less than a year after this recording). Heavily influenced by The James Brown Show, Phillips designed Chance’s stage outfits and record sleeves (as well as set up gigs for Chance, etc.). This CD, containing tracks from a June 1980 Rotterdam, Holland show, is Chance at his most volatile, backed by such formidable musicians as Ornette Coleman bassist Al Macdowell and drumming prodigy Richie Harrison. Soul Exorcism catches Chance in his element: the stage—producing some of the most exciting, cerebral mixings of jazz with soul; both styles beaten black and blue by Chance’s irreverence for conformity. Man, I’m looking at this CD right now and it has a sticker on it quoting positive reviews: “The Contortions shook the fuck out of raw funk!”—Chicago Reader; “…essential no wave/drug-funk/skree jazz…”—Alternative Press. These reviews are bullshit ‘cause they completely miss the point of the Contortions. James Chance isn’t essential no-wave; he didn’t shake the fuck out of raw funk. James Chance literally was New York in 1980; he was—along with three or four other bands and musicians—music in 1980. (When I opened my review box yesterday containing this record, my jaw dropped, followed immediately by an “Oh shit!”) Few had Chance’s balls or his erudition—the combination of punk’s Dadaist approach to conventions backed by some of the best musicians you’re ever likely to meet. (Television—although conceptually very different from Chance—also combined hyper-intelligence with amazing musicianship. The latter quite often missing in punk rock or whatever you want to call that stuff.) James Chance was one of those rare, intelligent human beings who loved something (Black American music—jazz, blues, soul) so much, he had to leave his own mark on it, had to produce his own interpretation of it. It’s these people who obliterate orthodoxies—jazz musicians like Albert Ayler and Ornette Coleman and writers like Louis-Ferdinand Celine and Fyodor Dostoevsky—who keep me alive. Like a lot of pioneers, James Chance has faded away (he’s not doing so well these days), but his contributions are eternal. Listen to this CD and you’ll know what I’m talking about. –Ryan Leach (ROIR)

JAMES MASON:
Carnival Sky: CD
Tries to do the breathy Elliot Smith thing, but in a way that makes Elliot look tough. –Megan Pants (Sonoface)

JAMIROQUAI:
A Funk Odyssey: CD
What the fuck is this getting reviewed in punk zine? I don’t care because this makes me shake my ass like a Tourettes victim with no rhythm. A good dose of funk (not punk) and disco with a mixture of Stevie Wonder and KC & the Sunshine band. Actually, you can hear elements of all different bands from the ‘70s and ‘80s here. Now go get this and shake your ass till the break of dawn! –Donofthedead (Sony)

JAMIROQUAI:
A Funk Odyssey: CD
Why the fuck is this getting reviewed in a punk zine? I don’t care because this makes me shake my ass like a Tourettes victim with no rhythm. A good dose of funk (not punk) and disco with a mixture of Stevie Wonder and KC & the Sunshine band. Actually, you can hear elements of all different bands from the ‘70s and ‘80s here. Now go get this and shake your ass till the break of dawn! –Donofthedead (Sony)

JAMMY DODGERS / NERVOUS DOGS:
Split: 7”
Nervous Dogs: The Fiya (two dudes, the brothers) / Grabass Charlestons (Replay) chemistry’s a go. Fiyanian ache and want to deliver honest songs are paired up with the Grabassian sneak of instrument subtlety. Recap: sounds simple and gritty. It is, but there’s an undertow where you’ve mistaken solid ground. Apropos for Florida, where there are so many swamps, marshes, and sinkholes. Jammy Dodgers: It feels like they’re telling me really bad news, yet smiling, and not in an evil way, but in the therapy-of-getting-it-out-makes-you-dance way. (A This Bike Is A Pipebomb-ism.) Their four songs totally remind me of Cleveland Bound Death Sentence. Fast-swapping female-male vocal leads, delivered like they’re all tumbling down a hill while still being able to play their grass–stained instruments. Intelligent songs seeped in personalized history. Me likey. –Todd Taylor (No Idea)

JAMMY DODGERS, THE:
Skive Off: CD
Okay, so it’s not on Plan-It-X, but the nod is so obvious that it may as well be—features Chris from Op: Cliff Clavin and Plan-It-X and the woman that I believe is in Punkin Pie. So you’ve got a good idea of what you’re getting here: topical but damn close to preachy and often cloyingly positive lyrics delivered above frayed and frantic punk. Like Clavin’s other bands, I find that while the sincerity is heartfelt, it’s also just a hair shy of being totally over-the-top corny. The fact that the female vocalist sounds like a cartoon character and that each person in the band lists their “likes” (the drummer likes tea, painting, games, secrets, and dancing) doesn’t do much to alleviate that. Also contains Transmissions #2, nineteen spoken word tracks done audio zine-style, in which Dakota Floyd loses for complaining about how no one in his scene supports his lofty punk endeavors, and Boogdish wins for performing a play written by second graders—complete with British unicorns, robots with broken flamethrowers, and ice cream parties—that’s absolutely fucking hilarious. –Keith Rosson (Rock-It)

JAN:
Fire of Love: 7”
Billy Childish with more overdrive pumped into the guitar sound. I dunno, but I was expecting a little more considering the single is named after a Gun Club album. C’est la vie, I guess. –Jimmy Alvarado (Fanboy)

JANET BEAN & THE CONCERTINA WIRE:
Dragging Wonder Lake: CD
Session musician ‘70s-style easy listening which is rarely good, interesting, groovy, charming, fun, challenging, fast, or worth a dollar. –Cuss Baxter (Thrill Jockey)

JANEZ DETD:
Like Cold Rain Kills a Summer Day: CD
The sticker on the CD case says that this record won the MTV Europe award for best album, and that it’s “for fans of Matchbook Romance and Fall Out Boy.” So. Now you know what to expect, but I’ll tell you more anyway. Very radio friendly. Quick-paced Top 40 “punk,” and it has those annoying bellow-scream backing vocals the likes of all those radio bands whose names I don’t even bother to learn. There a few songs that are quite entertaining, but overall it sounds like so much other crap that makes a zillion dollars. Too clichéd and too slick for the likes of me at this point in time. –The Lord Kveldulfr (I Scream: www.iscreamrecords.com)

JANITOR:
There Are No More American Heroes: CD
The packaging would never lead you to believe what is inside. Even looking at the band picture, you would kind of expect more of a melodicore band to come out of your speakers. What spews out is a strong blaze of old school punk rock that is short and abrasive. The songs have a Discharge and the Varukers meets Negative Approach mixed with mid-'80s hardcore feel to me. I have no idea where these guys came from, but damn, they are good! –Donofthedead (Plethorazine)

JANUS:
Red Right Return: CD
Overproduced corporate rock merde with quasi-commie artwork, the purpose of which no doubt is to give some “edge” to an otherwise slick package. –Jimmy Alvarado (www.janusmusic.com)

JAPANDROIDS:
All Lies and Lullaby Death Jams: CDEPs
Thought these guys were gonna be all noisy and overblown with a fair amount of detachment, and it is, but in all the wrong ways. Kinda disappointed, actually. Be careful of what you ask for, I guess. –Jimmy Alvarado (www.myspace.com/japandroids)

JAPANESE MONSTERS / READY THE JET:
Split: 7"
Japanese Monsters: Sarcasm, cynicism, and “I’m-over-it”-isms abound. It could be said that they’ve been huffing Off With Their Heads’ model glue fumes, but that wouldn’t be completely fair. These two songs show a nice range, from a direct punch to one more spooling, filled with a caustic tension. Ready The Jet: I miss Superchunk—I unabashedly celebrate their entire catalog, even the slower stuff—and that style of indie rock. The power and brightness of jangling guitars. The positive bounce. The poetic-without-wincing lyrics. Softer voices sung rather than shouted. Tight rhythm section. Excellent split. –Todd Taylor (Enith)

JAPANESE SUNDAY:
Tap Taps Lights Out: CD
They play really long drawn-out songs with long, drawn-out instrumental intros, which makes Megan a very dull boy. –Megan Pants (Grayscale)

JAPANTHER:
Wolfenswan: CD
Though Japanther’s anarchic crush of samples, lo-fi synth buzz, beats, cheap beats, and poppy melodies doesn’t really physically resemble Pavement, it does remind me of that band’s similar methodology fifteen years back or whatever it was. Throwing shit together because it was fun and because it was what just came out always made a tremendous amount of sense to me, and even in the apparent disorder a certain homogeneity gels when the work is taken as a whole. And so, even if this is something I never would have sought out, its lack of pretension generates a puddle of comfort into which I’m happy to settle. –Cuss Baxter (Plan-It-X)

JAPANTHER:
Scuffed up My Huffy: CD
Not only was Japanther a band to be reckoned with from the first time they played a show or even when they set out on their first tour way back when, but now with the release of this new full-length, they are untouchable. This album is better than anything they’ve put out thus far. You better believe it. This time they’ve struck more than just a nerve… they’ve struck them all and bruised them good. The samples and intermissions are better than ever, the newfound melodies kick the shit out of anything that ever came out of the ‘80s new wave scene, and damn me to hell if “$100 Cover” isn’t the best song of 2007. Highly, highly recommended. –Mr. Z (Menlo Park)

JAPANTHER:
Tut Tut, Now Shake Ya Butt: CD
I saw Japanther awhile ago because I wanted to see what all the hubbub was about. I thought they were kinda interesting but I wasn’t super into the show. However, after listening to this CD, I’d be inclined to give them another go. It’s a really short CD, weighing in at only 37:05, at least sixteen minutes of which are taken up by Penny Rimbaud’s poetry (over music). Now this little addition to the album piqued my interest—Penny Rimbaud, probably best known for being one of the founders of Crass—is the executive producer of the album, and also contributes a few spoken word pieces. The relatively lengthy pieces were, for me, mildly interesting and at least worthy of more listening. His voice sounds like Vincent Price reading an Edgar Allen Poe poem, and the content was full of dramatic imagery. Not sure yet how into the poems I am, but at least one line in particular stood out for me: “What madness is it that we do not see the beauty of love?” In addition to Mr. Rimbaud, other guests include Spank Rock and New Bad Things. Overall, I’d say I like the album. Outside of the pieces where Penny Rimbaud is reading, it’s mostly dancey and fun and full of electronic-based spazziness. I’m curious about what types of instruments were used throughout, but, unfortunately, there isn’t an insert included, so I guess I’ll be left to wonder at this point. I really liked the song where there was a heavier drum beat: “Radical Businessman.” I note that, in addition to a few songs about girls, there are also not one but two that appear to be about cops. The artwork is kinda cool—very colorful and with Japanther’s name quite well-hidden amongst King Tut’s headdress. One thing that was odd is that the CD appeared to be missing one of the songs listed on the back: “Totally RulingMe.” I have a feeling I’ll be bringing out at least a couple of the songs from this album at the next party-type shindig at my house. –J. Federico (Wäntage USA)

JAPANTHER:
Tut Tut Now Shake Ya Butt: CD
I’m a relative newcomer to Japanther, having only discovered them last summer when I saw them live at Fuck Yeah Fest, where I was totally fascinated by them. After hearing their Skuffed My Huffy album, I think it might be a modern classic. This album is good, but very odd. First and foremost, there are nine tracks, not counting the intro and outro, of which two are spoken word pieces by Penny Rimbaud from Crass that are around ten minutes each. I think that it’s cool that they put the tracks on here, since it shows the band taking chances and doing something different. Penny Rimbaud is also one of those people like Ian Mackaye, Mike Watt, or Dick Lucas who has so much credibility that he could probably put out a ballroom dance video and it would still somehow be more punk than anything most people could ever hope to achieve. However, the spoken word pieces being in the middle of the CD seriously fuck with the flow of this album, especially since the rest of the songs on this album combined are shorter than the two tracks. That said, “Um Like Your Smile Is Totally Ruling Me,” “Bumpin Rap Tapes,” “The Dirge,” and “Radical Businessman” are some of the catchiest things I’ve heard come out of 2008. Except for “Radical Businessman,” these songs are also oddly sweet. Pick this up. Just be ready to skip a couple of tracks. –Adrian (Wantage USA)

JAPANTHER:
Divorce/Evil Earth: 7”
There are only two songs, but I’ve probably played them over a hundred times each since I got the record last week. “Divorce” is a weird/sad song that somehow sounds like Toys That Kill and The Spits at the same time. “Evil Earth” shouldn’t work. It’s got the most clichéd punk rock chorus ever, but is saved by the strategic deployment of a few refrains of “Yeah, motherfucker!” That’ll get it done. –Jim Ruland (Arkam, myspace.com/arkamrecords)

JASON DOVE:
We Should Be Together: CD
Jason Dove’s second full-length album, We Should Be Together, is a more complex kettle of fish than the previous, Pronto. The fourteen new tracks are simply executed pop melodies ranging from lo-fi moodiness like, “Old Men,” to prog. I expected catchy but predictable rhythms and rhyming lyrics, given the Daniel Johnston association. I still got the rhyming lyrics, but I was surprised by the change in direction the songs were taking, like the sharp turn into the festering guitar hook in “So You Know” that made me stop and listen. Lyrically, Dove can be hit or miss but, “I’m so wasted, girl, I don’t know which way to go/I wanna wake up in your bedroom without saying ‘hello’,” from “Stoned on Beer” is one of my favorites off the album. –Kristen K –Guest Contributor (Self-released, www.jasondove.com)

JASON SEARS AND MERCURY LEGION:
Self-Titled: CD
I’m kind of confused about this band. I guess there was a band called Mercury Legion who had recorded a bunch of tunes. For some reason or another they got some guy named Jason Sears as a new singer who wrote all new lyrics for them and here it is... Anyways, what matters is the music. I like this a lot. Really snotty hardcore punk rock that reminds me of early Guttermouth stuff. Sears is a good lyricist and the tunes benefit a lot from his writing. In fact, the only thing about this that I don’t dig is the blatant flag-waving patriotism. The cover art sports a cartoon of the band playing for a bunch of drunk and unruly soldiers in the desert somewhere and the song “American Pride” pretty much says it all. That said, I’m not going to let a difference in political opinion get in the way of me enjoying some of the other tunes on this. Good work. Another thing to note about this disc: there is an entire tribute to RKL on here. I’m not sure if it was released elsewhere, but here it is now. Lots of good bands, too. Hell of a bonus, in my opinion. –Ty Stranglehold (Malt Soda)

JASON WEBLEY:
The Cost of Living: CD
I was listening to this in the car, analyzing it, wracking my brain to come up with a review as I wait for my wife to get out of work. I’m thinking it sounds like a low rent Tom Waits in a Leonard Cohen-type way, but nah, that’s not quite it. Next I’m thinking the use of dynamics and rhythm....No, no, no, that ain’t it, either. My wife gets in the car, and says, “What is this cheesy music you’re listening to? It sounds like the love theme from Rocky,” and in two seconds and sixteen words, she cuts through all the pretense I’d been trying to lay down and hits the nail right on the head. –Jimmy Alvarado (11)

JAWBREAKER:
Etc.: 2 X LP
It's been a long time since I've heard new-to-me Jawbreaker songs. I really enjoy the sense of raw discovery that Jawbreaker provided me for the years they were actively releasing records. They're amazing – they came at punk rock, cracked its walnut and got to the soft flesh, but never forgot the texture of hardness. The duality was both poetic and durable. This is a collection of some early almost-demo songs (the demo, Rise, had Jon Liu singing every song but one), comp tracks, split 7"s, and out-of-print singles, all the way through their last release, the still-controversial Dear You. The songs are placed in chronological order, which is a great way to see how they refined and redirected their sound without abandoning what made them great: the power of three instruments ever inter-locking then breaking to breathe and Blake's tender knife-to-throat urban lullaby lyrics. If you've never heard of 'em, take Leatherface, move 'em to California, shake on Husker Du's bulletproof songwriting skill, open up an exposed soul, duct tape it together in a big ball, and stuff into a rattling tour van. The LP record dust jackets are great, too, with scans of Walter Matthau's attorney ordering a cease and desist from using one of the Odd Couples' pictures on the Busy 7" and a play-by-play of every song by all three members. Highlights: "Split" off their split 7" with Samiam that was released with No Idea Magazine, the spot-on cover of the Psychedelic Furs' "Into You Like a Train," "First Step," (a song slated for what I consider their magnum opus, 24 Hour Revenge Therapy) and the re-do of "Boxcar." Only one song makes me cringe – the U2 medley that segues into the Misfits "Skulls." All in all, though, this is fantastic. Highly recommended. I'm stoked this stuff is easier to find now and all in one place.
–Todd Taylor (Blackball)

JAY BANERJEE:
Three-Song Sampler: CDEP
Kinda an early ‘80s vibe (think: the Rubinoos, but much less produced). Note: to avoid you, the reader, having the experience I had while reading MRR when I was fifteen, here’s an explanatory sentence: the Rubinoos started in the early ‘80s, power pop, but heavy on the pop. Very worth checking out! As for Jay Banerjee, I wish the guitar sound was stronger, but I could see this guy’s next release being super, super good. The first two songs are the best, so, Mr. Banerjee, please stick with the catchier variety of sounds! Also worth noting: this guy appears to lack a label (this is self-released), so please take note, punk businessmen and women! Also, my extensive research has uncovered his blog, which features a hilarious entry about bad band names, a topic near and dear to my heart. Brief literary sample: “If your band starts with ‘The’ but is not followed by a plural or collective noun, you probably suck. I’m qualifying this because several exceptions spring immediately to mind—The Left Banke, The Action, The Jolt, The (Paul Collins) Beat, etc.—but you haven’t heard of any of them, so you suck.” If this were a cereal, it’d be Cheerios with sugar added by the consumer. Please, become Honey Nut Cheerios! You can do it! –Maddy (Self-released, jaybanarjee.net)

JAY REATARD:
Hammer I Miss You: 7” EP
Dude, the title track sounds—GASP!—radio friendly! Fret not, though, for although much of the mud and vitriol that fueled the Reatards is not readily apparent here, there’s enough edge in “It’s So Useless” and “All Wasted” to keep those fans who’ve been around longer than a week on their toes. Sounds like the man’s music is starting to get more sophisticated and, in his case, that doesn’t mean he’s starting that steady slide down into nether reaches of suckdom. The verdict? This is pretty fuckin’ good stuff. –Jimmy Alvarado (Goner)

JAY REATARD:
Blood Visions: CD
In a past review I said The Reatards are rock’n’roll, and here ya go again: contagious songs, fast guitars, voice blown since the first show and equipment duck taped together after last show. This album is just Jay, which might make you think its even more loner basement rock with buckets for drums. It is definitely rock but faaaar more clean. Even on the poppy punk end, although too speedy for the radio. Where some of the Reatards songs are great, angry outbursts that work together or on mix tapes, this album seems really tight, it is solid from start to finish and needs to stay together. Blood Visions is similar to his kinder, gentler “Hammer I Miss You” single but this full-length blows that away. The 7” had good sounds but this is more structured, or maybe practiced before recorded. Add the occasional keyboards and Jay is Gary Numan on meth and beer. You will drive fast and yell along “It’s so easy, when your friends are dead….” But so will your girlfriend. –Speedway Randy (In the Red)

JAY REATARD:
Night of Broken Glass: 12" EP
Good lord! Jay Reatard just keeps getting better and better. As a youngster Jay produced uninspired sludge with the Reatards (sorry garage dogmatists), mediocre material with the so-so Lost Sounds (but goddamn—what a live show with the latter!). So there really was no precedent for the seminal work Reatard put out on his first solo album Blood Visions last year—a shockingly sublime effort culling influence from early Roxy Music and the best elements of the Adverts. With that in mind, I was really happy to get Jay’s new EP in the mail: Night of Broken Glass EP. And it’s off the MOTHERFUCKIN’ HOOK, boys and girls. The Blood Visions’ sound is still present on this one (see above), but Reatard keeps moving more and more into pop music, with chord progressions reminiscent of Buddy Holly and (DARE I SAY) keyboard playing that makes me stoked on the Human League’s Dare! all over again. The four songs on here are over before you know it; so when the fuck’s the next full length comin’ out?! –Ryan Leach (In the Red Records)

JAY REATARD:
I Know a Place: 7"
Whoa. Heartfelt singer-songwriter. If you only want your Jay Reatard songs to be fuzz fucked, you may need to skip this one. Or just pick it up at the same time as the extreme Terror Visions LP that just got released, which will destroy the notions he’s gone soft. Over all this time, Jay has played every type of rock from bucket punk to new wavy to death synth, so why not step back too? It’s all rock’n’roll. –Speedway Randy (Goner)

JAY REATARD:
I Know a Place/Don’t Let Him Come Back: 7"
Another solid outing for Jay…this 7” sounds a lot like Reatard’s debut, Blood Visions; good songwriting, the Adverts, and early Wire are clear influences. Jay has really hit his stride with this smart, ’78-style punk rock… done with enough erudition and irreverence for convention to make it appealing. Bottom line: The kid is innovative, not a plagiarist. Those riding the punk nostalgia wagon—drop the Boys’ covers and pickup on what Jay’s putting down. –Ryan Leach (Goner, www.goner-records.com)

JAY REATARD:
In the Dark: 7"
I’m speeding on a freeway to his other work, while, here, it’s driving the speed limit on the right side of the street for a change. It’s really good and fun, just not up to the high bar set by the Blood Visions album. I imagine this is going to be the comment of the year for him, as that LP is on everyone’s “best of the year” lists. But, like his 7” that came out before that album, Hammer I Miss You, at first I feel like it’s a lesser extra throwaway, but as time goes on, I like the songs more and more. Lighter than Blood Visions, which is moody, fast, and powerful without being fuzzy. Here, you’ve got the mood in full force. But seeing as how his band Angry Angles is supposedly finished, I’m wondering if In the Dark is basically his parts of the song they might have played, here without harmony vocals, keyboards and harder drums. Still cool. Backside is folk versions of two songs off Blood Visions, if that wasn’t enough. –Speedway Randy ((Squoodge, www.squoodge.de))

JAY REATARD:
Blood Visions: CD
Every once in a while a record comes along that’s so ferocious that it makes me grateful to be a reasonably sane, reasonably stable person, because if I weren’t, Blood Visions would push me right over the edge. Some records are so intense, so relentlessly dark, that you can’t get the drugs inside of you fast enough when you put it on. (So far I’ve found six or seven that do the job.) I realize it’s late in the game and I’m preaching to the choir, but you have to get your hands on this record. Your sanity may depend on it. –Jim Ruland (In The Red)

JAY REATARD:
Singles 06-07: CD/DVD
In The Red’s great comp of Jay’s solo singles—recording after he started playing under just his own name, recording all instruments himself (except for one Alix Brown solo). He first beat a guitar and some pails into a broken 4-track at age fifteen and has now come full circle. Reatards and Lost Sounds fans are split on his solo stuff, which is a lot more mild at times, even acoustic. I love all his stuff. The bands are different from each other—if I want to hear the fuzzzzzz, I can still put a Reatards album on. If you see him live today, the fury is still there. The singles are less furious and more nasal than his Blood Visions album, but are as good. Most of this feels like it could have been for his Wire-style band Angry Angles had they not broke up. As kind as the pop punk parts are, they are still spirited by the fifteen-year-old in his room singing about being a fashion victim. “All Over Again” starts out plucky and sweet but gets dark. “I Know a Place” has some moody piano and woooooo-oooo alongside the powering guitars and drums, but then it gets dark too. “I guess we both got what we asked for…” Each project is different but you can never separate Jay from his music. He is not getting stale in one spot nor turning to a boring imitation of himself. Keeps rock and roll fucking interesting. The DVD is three live performances and an interview that’s short and okay. The performances don’t catch any bloodletting or fights, but the music is incredible; much more hyper and loud than the recordings. Only downer is a lot of songs are repeated over the three. Still, this is a must. –Speedway Randy (In The Red)

JAY REATARD / BOSTON CHINKS:
Split: 7"
Great split from Memphis legend and new kids. Jay has a strange ‘70s rock feel to his “Let It All Go,” as in less punk, more rock, sing more than scream, “it’s too lAAAte” radio friendly. Along with his other new 45s, Jay has a collection of lighter songs to party to that are still fun, just more friendly. Boston Chinks continue to impress me after their last 45. They pump out tight rock that feels new and exciting, but it keeps to traditional rock’n’roll themes of get in there, do your business, and leave. Chinks play with Jay on his solo tour, which should be some of the best shows of the year. –Speedway Randy (P. Trash)

JDJ BAND:
Cruel Way: CD
JD Jackson, formerly of the Boston band The Destroyed, presents us with this solo recording, accompanied only by his own guitar and the drumming of a fifteen year-old girl named Misty. I’m just not sure why. It’s boring, with long monotonous guitar solos and JD’s gravelly vocals muttered with just a hint of melody. I can’t think of anything positive to say about this one. –Brian Mosher (RPG)

JE NE SAIS QUOI, THE:
Secret Language: CDEP
Electroclash music with a fair bit of punk energy (think International Noise Conspiracy with lower production values) that doesn’t really go anywhere interesting. If you really need to hear this, go buy the first DFA comp and listen to the Rapture’s contribution—you’ll hear everything on this disc and how it could be done better. –Puckett (Coalition)

JEALOUS SOUND, THE:
Kill Them with Kindness: CD

My friend Brent rarely tells me about bands, but when he does, he’s always right. He turned me on to The Weakerthans; about a year or so ago, he told me that I needed to check out The Jealous Sound, a band featuring ex-members of Knapsack and Sunday’s Best among other indie / punk luminaries. The debut EP consisted of five songs of outstanding emo-inflected indie-pop which didn’t fall too far from the previous trees and whetted my appetite for more. Thus, the full-length. It’s a tremendous pop album – there’s not much here in terms of the stuff that usually fuels me (like politics, revolutionary sentiments, etc.), but it’s an addictive record, one which practically demands to be put on repeat and allowed to play for about a week. Blair Shehan’s characteristic breathy vocals combine with Pedro Benito’s ringing guitar lines to yield a slew of majestic pop songs, each of which seems better than the one before.

–Puckett (Better Looking)

JEAN MILLS SOCIETY TORCH:
Start Tomorrow: 7”
It’s no surprise that this band contains ex-members of The Spark. The songs are well-constructed, angry, blasts of floor-moving fastcore. These guys have been in so many bands and know how to do this so well that, at times, it feels like they’re just toying with the genre; pulling its strings like a marionette to orchestrate what ever they want to hear. But goddamn, even if at times it seems a little played-out, it totally rages. –Daryl Gussin (Firestarter)

JEAN MILLS SOCIETY TORCH:
Start Tomorrow: EP
Straight-forward thrash in the vein of bands like Tear It Up and Life’s Halt. Fast and faster is what you get. Good stuff from start to end. Not much else to say but turn it up and kick some shit in the room over. –Matt Average (Firestarter)

JEANIE & THE TITS:
Slut Fame: 7”
In seventh grade we were dicking around in the schoolyard and playing soccer. Except we didn’t have a ball so we were using a crumbled-up ball of paper. The bell rang and we had to get one more kick in. I went for the ball of paper. So did a girl. I hit the paper. She smashed my shin. Literally. I flipped over and fell down. Cracked my shin, broke my leg. She ran away to class and I hobbled in numbing pain to the nurse and into a cast for weeks. Like to think she grew up to sing in a punk band. –Speedway Randy (www.floridasdying.com)

JED WHITEY/RETARDOS:
Split: 7"
Jed: AC/DC with a weak-ass singer. Retardos: AC/DC with a Norwegian singer. Nice artwork of three-eyed goats on the cover. Scrap the disc and frame the cover. –Jimmy Alvarado (Out of the Loop)

JEDI FIVE:
Relentless: CD
More useless pop-core for the just-starting-high-school crowd. Fuck music quality and relevance, the guys in the band are cute! Ain’t that right, girls? –Jimmy Alvarado (Hell Bent)

JEFF:
Castle Storm: CD
A lot of times a two people rock combo don’t gonna cut it—no question, Mark—but here’s a time where it’s cut it with righteous and fearsome serrations. In addition: charm and style. Wit, too? Probably, but they sent no lyrics sheet. Brothers J(ake) and J(amin) Orrall from a bunch of other bands (including Be Your Own PET who, no, I’ve never heard, but I bet they’re good with a name like that) play mostly guitar and drum at around eighteen and twenty years of ages and channel all that short-lived energy and lack of buzz-killing bass player (unless there is one) into a thoroughly nice heap of rock'n'roll tunes (with also moments of fantastically pleasant keyboard fingering for space-outting or breath-catching, as on the fourteen-minute “Track 13”). There’s moments of fraternity with other duos the White Stripes and the Immortal Lee County Killers I, but even more moments of confident crashy unclicheed (s)punk(y) rock with even fewer moments of playful Sonic Youthy squall, and drums almost all the time. On top of all that, the production is GREAT; everything can be heard and the guitar sounds like a gorilla with an electric punching machine. Except when it’s not supposed to. –Cuss Baxter (Infinity Cat)

JEFF DAHL:
Cursed, Poisoned, Condemned: CD
Another year, another jaw-dropping Jeff Dahl record! This man is so prolific that I can't believe it. At last count, I had over twenty full-length releases by Dahl and I don't even have everything. The thing I love is the way he can distill fifty years worth of rock’n’roll into such an amazing blend. There is a heaping helping of glam, punk, ‘60s garage, ‘50s rock’n’roll, and even blues to be had on this release and he pulls off all styles with class to spare. Some of my favorites over the years have been the ballads and bluesy songs. There is a great one here with “Wicked Trail of Sin.” A couple of his best ever straight-ahead rockers here as well, with "Cock O the Walk" and the great "SXSW Whore" being the standouts. This record is rock solid from start to finish, just like always. Getting better like a fine wine, motherfucker! –Mike Frame (Steel Cage)

JEFF DAHL:
Cursed, Poisoned, Condemned: CD
Gotta love Jeff’s tenacity—he’s been mining the same plot of rock’n’roll real estate since the days when Powertrip stomped terra and, while his work might not be the most incendiary of punk’s acolytes, he does make a mighty fine racket. This is no exception, with some good tuneage that grooves along quite nicely without sounding like more Thunders/Dolls rehash. –Jimmy Alvarado (Steel Cage)

JEFF DAHL:
Back to Monkey City: CD
Hot damn, a new Jeff Dahl full length is here! Always a big event round this household and this new one is a rager. A heaping helpin’ of ‘70s rock in the mix and the band is really gelling after a few releases together. This new one is turbocharged and sounding better than ever. More than twenty full lengths later, I still can’t get enough Dahl hooks and licks. Once again, this is a perfect cocktail of the last fifty years of rock’n’roll mixed up and firing on all cylinders. Amazing songs, killer guitar tone, and great vocals; what more can a rocker ask for? –Mike Frame (Steel Cage)

JEFF OTT:
Will Work for Diapers: 2X CD

Remember Crimpshrine? Remember how Jeff Ott’s voice sounded really gruff and scratchy? Forget it. Now he sounds like David Brenner. I can’t even begin to fathom why someone thought it would be a good idea to release this.

–Guest Contributor (Sub City)

JEFF POTTER & THE RHYTHM AGENTS:
Rhythm Riot: CD
Jeff Potter takes his cue from Jerry Lee Lewis, pounding the ivories and singing in a voice that could either testify for the Lord or send hundreds of teenage souls to the deepest pits of hell. This is the devil’s rock at its most primitive and if Potter had been around fifty years ago he would probably be considered a threat to the social order on par with The Killer. The album’s title track, interestingly enough, is this work’s biggest departure. Gone are the hammered piano keys, replaced by—get this—a drum solo. –Eric Rife (Raucous)

JEFF THE BROTHERHOOD:
The Boys R Back in Town: LP
Jeff The Brotherhood aren’t easily categorized, which is certainly a good thing. I guess you could say they’re a jam band, since the songs have a feel. They’ll hit on a riff and the song takes off. But there’s also a lot of searching in between than can be tedious. Fear not, this is not some gland stroke prog stuff. Irreverent for sure. They tip towards psychedelia on the first couple tracks. The rest of the songs are a mixed bag with varying results. The instrumental keyboard-driven song is pretty good. Other than that, it’s a crap shoot. –Matt Average (Infinity Cat)

JEFF WAGNER’S TUNNEL OF LOVE:
An Eternity of Love: CD
I do believe that this is the most awesomest singer/songwriter record that I’ve heard in a month of Sundays. Imagine Tom Waits meets Rob Zombie with a dose of German expressionist painting thrown in for flavor. Visceral and highly nutritious. –The Lord Kveldulfr (Glorious)

JEFF WALKER UND DIE FLUFFERS:
Welcome to Carcass Cuntry: CD
This is one of the guys from goregrind grandfathers Carcass, doing covers of country songs. It sounds like a stupid idea, I know. I was fully prepared to rip this album a new one when I put it on, but it was surprisingly good. The covers are pretty straight-forward and faithful, with the exception of the distorted guitars (a little unnecessary) and Jeff’s surprisingly Shane MacGowan-esque voice. It sounds ridiculous, I know, but it’s actually pretty good. It’s always nice when a “genre” musician tries something different and pulls it off successfully. Recommended. –Ben Snakepit (Fractured Transmitter)

JEFFERSON PLANE CRASH, THE:
The Future of Brutality vs. Nature: CD
A noisy, grindy hardcore band that, although they have a pretty funny name, sound pretty much like any other noisy, grindy hardcore band. Then again, how many variations can one pull out of that hat? –Jimmy Alvarado (Spinsgood)

JEFFIE GENETIC AND HIS CLONES:
Need a Wave: CD
Jeff from the New Town Animals playing all the instruments, making all the moves, having all the fun. A good album all the way through, straight-shootin’ early ‘80s black-and-white new wavey rock. But the lyrics are fun, as the title track questions the difference between the army and kids looking for today’s new wave to follow, “Scooter Queen” about a guy who’s girlfriend scooted into a bus and now he watches Quadrophenia all day, and the obligatory lobotomy song. –Speedway Randy (Dirtnap)

JEFFREY NOVAK:
One of a Kind: 7”
Similar to his Memphis neighbor Jay Reatard, Novak has a furious and steady output of records, also moving from a more harsh noise to cleaner poppy work. I didn’t want to describe it as “growing” because Novak’s early fuzz sound as a one-man destruction crew is still great and accomplished. He is just doing a different type of music now. I never get hung up on someone not sounding exactly the same for fifty albums, provided what they are doing is good. As the OMB, Novak tore it up with the precision timing of vicious, noisy garage punk on a full-length and tons of 7”s in a short time, moving on to the three-piece Rat Traps, which slowed down to punk before hitting breakneck speed on their third 7”. Next came Cheap Time, which seems to be a band concurrent to his solo releases, both embracing a sort of post-Bowie and T. Rex sound—I’m sure I’m missing much better, more obscure references/influences. While Cheap Time is more poppy, the solo work on his recent full-length and this 7” is more slow and dreamy, some piano mixed in, with the pedals on but not distorted. It’s catchy, it’s sweet and melodic, and probably more popular in Brooklyn and Silverlake than the early, brutal stuff. All in all, Novak is someone to always listen to. –Speedway Randy (Sweet Rot)

JEFFREY NOVAK ONE MAN BAND:
Fire in the Hole: 7"
This is one guy???? Awesome. He must be a magician channeling the early spirit of Lux Interior, Stardust Cowboy, and the entire Rip Off Records back catalog. Big thunder screaming sound, plucky and staticy but somehow really tight, not messy. No shit. Recommend'd. He's a Memphis Houdini. –Guest Contributor (www.ptrashrecords.com)

JEFFREY NOVAK ONE MAN BAND::
Southern Trash: LP
The Memphis Houdini strikes again—somehow he has the strength of four men playing guitars, drums, and screaming out all the air in their lungs yet keeping it all handcuffed together cleaner than you think. Southern Trash is the perfect title. Sounds like I’m on the payroll of P. Trash Records lately, but they really have been hitting on everything I’ve heard so far. If you need to get back to the bones of rock, this is a good starting point. –Speedway Randy (P. Trash, www.ptrashrecords.com)

JELLO BIAFRA:
In the Grip of Official Treason: 3 x CD
This is a lot of Jello. There’s a lot of great information on this three-CD set, but be prepared to get your listen on. One of the most important political commentators around today. –Daryl Gussin (Alternative Tentacles / AK Press)

JELLO BIAFRA:
Machine Gun in the Clown: 3 X CD
Another ultra-long player of spoken word from Biafra, this one focusing on 9/11, the resulting war on terrorism and the general corporate and governmental shenanigans that all of the banging of the war drums is supposed to be covering up. Love him or hate him, you’ve gotta give Biafra his propers. At a time in American history when civil liberties are being wholly done away with and openly questioning the government’s actions could result in a nice long jail stay (or worse), he’s there, reminding us all that no matter what sugarplum dreams the major corporate media lulls us sleep with, no matter how many pills the Ministry of Wellness force-feeds us to make us “better,” no matter how many times King Georgie the Lesser insists that the only way to achieve peace is through all-out war, when punk seems to be more content to wallow in an insipid realm of fart jokes and affected posturing and suckle the corporate nipple than to actually raise a little ruckus, reality is sometimes worse than your wildest nightmares. Call him paranoid, but that don’t mean they ain’t out to get you.
–Jimmy Alvarado (Alternative Tentacles)

JELLO BIAFRA AND THE GUANTANAMO SCHOOL OF MEDICINE:
The Audacity of Hype: CD
The Good: Biafra’s lyrics remain as witty and topical as ever, and the band he’s recruited lean more towards his collaborations with the Melvins than Lard, whose output always wavered between “wow” and “ugh” for me. There are no overt, pointed criticisms of Obama leveled here, but I think it’s a safe bet they will be along shortly, with good reason. The Bad: While the band knows how to milk the most out of a groove, the bulk of the songs are a bit long. Probably an odd and petty complaint, but it seems to me the point to some of the songs here could’ve been made more succinctly in about half the time. Chalk it up to personal preference. The Ugly: It seems the more time passes, the more relevant the bulk of Biafra’s work becomes. If anything, the social order he’s lampooned and railed against since the 1970s is regressing rather than progressing. –Jimmy Alvarado ( Alternative Tentacles)

JELLO BIAFRA WITH THE MELVINS:
Never Breathe What You Can’t See: CD
As far as I’m concerned, this CD blows all of Jello’s spoken word albums, Lard, Jello with DOA, Jello with Mojo Nixon, and the No WTO Combo OUT OF THE FUCKING WATER. This is the best Jello material since the Bedtime for Democracy LP was released. My goodness, if “Islamic Bomb” isn’t the song of the year, I don’t know what is. The Melvins rock out eight tunes of punk/metal mayhem like it’s no one’s business and Jello gets right to the point of his annoyances with the world. Oh yeah, and it looks like gang vocals include the talents of Jesse Luscious, Johnny Fleshies, Wendy-O-Matik, and John the Baker among others. Great artwork, great music, and great lyrics: what more could you want from a perfect record? –Mr. Z (Alternative Tentacles)

JELLO BIAFRA WITH THE MELVINS:
Sieg Howdy!: CD
Some new tracks, some remixes of tunes from the last album and a couple of covers (including an updating of “California Über Alles” in honor of our current Hummer-driving Aryan caricature of a governor). Jello is just as topical, witty, cynical and pissed off as ever, and Buzz and the gang serve up what is easily the best music that Jello has fronted since, oh, 1984 or so. Speaking of the ‘80s, check out “Those Dumb Punk Kids (Will Buy Anything),” a swipe at both a certain band that once entertained some relevancy during that gilded age of punk and the hordes of modern-day consumerist “punks” who line up to pay top dollar to revel in nostalgia rather than look for and appreciate what’s going on right now. Worse than hippies, that lot is. –Jimmy Alvarado (Alternative Tentacles)

JELLO BIAFRA WITH THE MELVINS:
Never Breathe What You Can’t See: CD
Those of you who thought this was gonna blow can breathe a sigh of relief, ‘cause I gotta admit it’s pretty friggin’ good. Lyrically, Jello lays bare the dark, embarrassing recesses of the American empire, while the Melvins bash away in punk rock abandon, referencing both Jello and punk’s past while pumping enough modern riffage to keep the whole thing from stinking of mothballs and stale clove cigs, resulting in what can only be described as one of Herr Biafra’s best collaborative releases to date. Hell, I’d even place it above the latter DK stuff if I weren’t sure I’d be burned at the stake for heresy by the puritanical hardcore unwashed who wouldn’t know a creative idea if it came and sat in their laps. Sure, there’s just a hint of metal in that guitar crunch, but somehow it actually complements rather than detracts from the proceedings. If you haven’t been whining like a spoiled brat for the genero-thrash follow-up to Bedtime for Democracy, this will satisfy in all the right ways. –Jimmy Alvarado (Alternative Tentacles)

JELLYROLL ROCKHEADS:
Kill Trend Thrash: EP
The sort of hardcore to have any fucker with a 1/4 of a brain set to drooling like a rabid pup in a school yard. A lot of folks shit their designer britches over Japanese hardcore, and with the full on attack of these here J-Roll Rockheads it’s well warranted. And with the kiddie-kore doodoo drawing flies over here in the US, a band like the Jellyroll Rockheads is a welcome respite from all these bands who can do nothing but write song after song of “here’s what hardcore means to me” turdery. This seven inch salvo is essentially their demo from ‘99, and they give it to you straight and reject the establishment and other buffoonery lobbed at us daily. Comes on two different colors of vinyl. Damn if I remember which is rarest. –Matt Average (Youth Attack)

JELLYROLL ROCKHEADS, THE:
Intense and Mild: 7"
Manic. These Japanese punks bar no holds and thrash for a good time. Songs flash by in less than a minute. Eleven songs are squeezed onto one tiny platter of fun. The lyrics are sung in English, the translation comes off skewed, but the themes are clear: smoke pot, get drunk, and rock out! They seem silly but the aggression is there; screamed vocals backed by wild abandon. They made their way into Cali but it was a week night and in OC. If I was fifteen years younger I would have gone! I, for sure, missed out on a good rockin’ time. There is a cover here that I recognized but can’t seem to put my finger on. The mind is deteriorating. My memory might be going, but I have something that is material here and it will outlive me any day! –Donofthedead (625)

JENNIFERS, THE:
Colors from the Future: CD
On the Jennifers’ previous EP, John Irvine sang, “That which doesn’t kill me/Can still hurt a lot.” It’s a simple twist on a familiar line and it represents what The Jennifers do so well: tweak what you’ve heard before. Swirled among the band’s kaleidoscope of sounds are glimpses of presumed influences—Television, the Soft Boys, XTC, and R.E.M., among others. Over the years, the labels for the Jennifers’ type of music have changed like a James Bond license plate—punk, new wave, indie pop—but the essence remains constant and simple: it’s smart guitar pop. Not since the Young Fresh Fellows’ Electric Bird Digest have I listened to a record so many times in one year. I turn to Colors from the Future like most people turn to syndicated sitcoms. It’s a fantastic mental pipe cleaner of a record, a disc that clears away the work day. Musically, that is. As was the case with Electric Bird Digest, I’ve barely scratched the surface with the lyrics on Colors. That’s likely to take another year or three and I didn’t want to wait that long before passing along my two cents on this brilliant record. (Note: The Jennifers do not count in their ranks anyone by that name. There are, however, one John, two Joes, and a Skizz.) –Mike Faloon (Beef Platter, www.thejennifers.com)

JEREMY NAIL AND THE INCIDENTS:
Self-titled: CDEP
Call me Tim Yohannan, but this is not punk! This is one of those very serious singer/songwriter endeavors, or at least that’s how I interpreted it. Three songs with lyrics like, “All I hear inside my head/ is a forgotten child’s cry.” I’m guessing they’re going for some sort of late-period Paul Westerberg meets Tom Petty thing. Yikes. If this were a cereal, it’d be Kashi. Stop taking yourself so seriously! You’re a cereal! –Maddy (Self-released)

JEREMY PORTER:
Party of One: CD
Lots of acoustic guitar and plaintive singing on this one, and Mr. Porter is obviously talented because he’s credited with playing all the instruments on this album. I didn’t find much here that grabbed me, but it didn’t offend me either. I’d have this on in the background while I puttered around my house. I bet it would be more interesting live, so I’m not willing to write this off entirely. –Jennifer Whiteford (Mag Wheel)

JERK ALERT:
Self-titled: CD
To say Jerk Alert sounds like a musical bowel movement would be unfair, since bowel movements can be pretty darn enjoyable. You’re sitting there on your porcelain throne, maybe reading Razorcake, if you will, and you’re eradicating waste in a bliss-like state. Jerk Alert is more like the waste that’s left ever at the end of your doo doo symphony. It’s the part you don’t want to savor. You might take a peek to see what’s there but, inevitably, you just want to flush that load of stink as fast as possible. –Dave Disorder (Eradicator)

JERK ALERT:
Self-titled: 7” EP
Would-be quirky punk stuff with wiggly vocals. –Jimmy Alvarado (Eradicator)

JERK ALERT:
Dirty Slur: LP
Think along the lines of a more raunchy, less catchy, slightly more inept Beautys, and you’re in the ballpark (all in good ways, mind you). Songs about love (and breaking hearts) and fucking (and wanting to get fucked and being disappointed that the fucking got sidelined by whiskey, and male prostitutes). Party fun. Think Schlitz. Think Nalgene touring bottles with Toys That Kill and Goner stickers. Think small town. Think they would be good on a bill with The Okmoniks. –Todd Taylor (Eradicator)

JERK APPEAL:
36 Cents b/w New City & I Don’t Think So: 7"
Fair-to-middlin’ early effort by a Montreal band that might wax, wane, mutate or destruct utterly prior to emitting a full-length. The toolbox of the Dropkick Murphys and/or Rancid is, apparently, open and available to them—which is fine—however, in numerous spots on this 45, it seemed to me as if the band were manufacturing their would-be bombastic street anthems out of more or less nothing but non-load-bearing structural elements. Like, you know, where’s the fucking BEEF, jack? Everything can be rocking along mightily one second, and, the next, one gets the distinct impression that nothing dwells beneath the surface of these songs—like a well-crafted piñata that somehow didn’t get packed with anywhere near as many SweeTarts™ as would be right and just. I mean, they have the outer form of the music they wish to play down cold (dig those air-raid-siren Clash guitars on “36 Cents”), but, in other spots, the singer howls “IIIIII DAUUUUNNNNN’T THAAAANNNNNKK SOOOOOOO!!!” in his dorky fake British accent (which, BTW, i have no problem with) like sixty-four (or something) times in a row, like he REALLY thinks he just invented either a.) a cure for cancer, or b.) the best Rock Hook since “NOooooo FUUUUU-CHAH! NOoooo FUUUU-CHAH! NOooooo FUUU-CHAH FO’ YOUUUUUU!!!” ... it’s like, dude, get over yourself—”I Don’t Think So” is NOT a rock masterpiece—so plan your assaults on Planet Earth with this in mind. At this early stage in their career, i am reserving judgment on Jerk Appeal—the one X-Factor on their side being that this band contains an ex-member of the Radicts. The Radicts were one of those bands that even i, as a guy who maybe kinda might occasionally slide into Music-Snob-ism, could appreciate—i mean, you’d hear like the first ten seconds of a song and be like “oh, fuck, i listened to this music when i was sixteen, who needs it?”—but then you’d keep listening and be like, “fuck, these guys know their shit, totally!” The Radicts were probably the best American band, ever (unless we’re counting like Rancid and the Dropkick Murphys), to be able to handle those sort of English street punk clichés and use ‘em and spit ‘em back out as damn fine tunes—i mean, it was just something they could do, perhaps without even thinking about it. I hereby “suggest” that the guy from the Radicts take over the band, and everybody else listen to what the fuck he says. Unless there is some manner of French-English language barrier, in which case let the best Esperanton win! BEST SONG: “36 Cents” BEST SONG TITLE: “I Don’t Think So,” which is not that great of a song title FANTASTIC AMAZING TRIVIA FACT: I already said it: That one guy was in the Radicts. That’s all ya get! –Rev. Norb (Sonik’s Chicken Shrimp; )

JERK OFF JACK OFF FRIG FACE:
Songs from the Outlaw Country Musical: CD-R
Starring Too Bad Strembicki and Abby Banks. This is so freakin’ good that I get drunk at least once a week and lose it in the CD player for a few hours. Write now and see if you can get a copy of this: it’s a freaking musical: one with songs like “One-Thousand Ghost McGee,” “Whiskey!,” “Tattoo for Breakfast,” and “The Man Who Shot Everyone in the Face.” It’s all acoustic with character-driven pieces. If it sounds like theater, then it’s because it is. I saw them on tour this summer, and if there was ever a rejected vaudeville show that played in the alleys or homes of the people who didn’t go in for the big time of the day, then this is it. I don’t know if they’ll tour ever again, and that’s okay. But if you listen to this and let the cartoons play out in your head, then you’ll be doing fine. It’s all right. It’s only make believe. –Guest Contributor (jerkoffjackofffrigface@yahoo.com)

JERK WARD:
Too Young to Thrash: LP
Jerk Ward was a hardcore band that formed in Victoria BC, Canada in 1982. They came up in a scene alongside the likes of The Neos, Nomeansno, and Dayglo Abortions, and although they may not have gained the notoriety of their luminaries, they easily stood alongside them as one of the best bands in Victoria. Not bad for a thirteen-year-old and a couple of fourteen-year-olds! As most hardcore bands of the era, Jerk Ward was all but finished by 1985, having recorded a cassette (Flesh & Bones) and several demos. This record compiles these songs and presents them for the first time on vinyl. Spastic and angry, yet soaked with humor, the songs do stand the test of time and then some. This is truly a gem of a bygone era that is well worth picking up from both a historical standpoint as well as an unbelievably rockin’ one. –Ty Stranglehold (Supreme Echo)

JERRA:
Play Like a Girl: CD
This release is all over the place. You get bubble gum pop, new wave, and you get some garage rock. The pop songs are the stuff that made me take notice. I think their focus should be there. The garage rock stuff sounds like so much stuff I have heard from other bands over the years. It wasn’t that rocking and not that interesting. Interesting is the cover of Danzig’s “Mother.” It is a tad bit slow and would be much improved and more powerful if they had played it faster. –Donofthedead (Sugar Hooker)

JERRY J. NIXON:
Gentleman of Rock'n'roll: CD
A collection of rare and never released recordings of Jerry J. Nixon, a lesser known rockabilly artist from the late '50s and into the '60s. Personally, I don't think I was missing anything without these tracks. It's not awful by any means, but I'd rather put on some Eddie Cochran any day. –Megan Pants (Voodoo Rhythm)

JERRY J. NIXON:
Gentleman of Rock’n’roll: CD
A collection of rare and never released recordings of Jerry J. Nixon, a lesser known rockabilly artist from the late ‘50s and into the ‘60s. Personally, I don’t think I was missing anything without these tracks. It’s not awful by any means, but I’d rather put on some Eddie Cochran any day. –Megan Pants (Voodoo Rhythm)

JERRY SPIDER GANG:
Exile on Mainstream: CD
Like every other punk rock aficionado stuck to this planet in the year 2004, I’m up to the cut of my jib with Hellacopters-styled poonk rawk bands, what with all their sideburns and greasy t-shirts and their Lemmy Kilmister school-boy crushes. Not to mention their unabashed arena rock bravado that seems, from at least one angle, to fly stupidly straight into the face of conventional punk rock decorum. And let’s be honest: we’ve paid dearly for what probably began as a nordically honest fusion of some of the best aspects of metal and punk. Vapid party-line-toting bands like Gluecifer and the Retardos now seem like mere mediocrities compared to MTV darlings now arriving on the scene, such as Jet and the Strokes. But despite all this baggage I’m carrying around with me regarding these Hella-copy cats, Jerry Spider Gang somehow manages to not invoke my utter contempt. Sure, they’re at least six or seven years late, but what the fuck? They don’t sound like they’re faking it and, though they sometimes come perilously close, they don’t strangle each song to death with never-ending xmas light strings of wah-pedal guitar solos. Plus, it’s pretty catchy. I’ll probably be sick of it by next week, but for now I think it’s pretty good. –Aphid Peewit (Lollipop)

JERRYCAN:
Prog-ress: CD
Sounds like college boys slumming with the punkers to garner at least some semblance of a music career.
–Jimmy Alvarado (www.jerrycan.com)

JERSEY:
Definition: CD
Post-emo rock‘n’roll that’s trying desperately to have that “anthemic” quality that’s missing from so much of what’s passing for punk rock these days. Shoulda come with a complimentary barf bag instead. –Jimmy Alvarado (Fueled by Ramen)

JERSEY:
Definition: CD
This band has members of Grade. This band toured with Less Than Jake and NOFX. I think that explains it all. –Miss Sarah A. Stierc (Fueled By Ramen)

JESSE:
Self-titled: CD
A sweet “re-release” (with the needle surface noise between tracks, nudge, nudge, wink, wink), from one of the two projects Frankie Stubbs did between Leatherface’s death and resurrection. Originally recorded in 1997, quite a few of these songs, like the opening track, “Indestructable,” have already found their way into Leatherface’s live set. The tight instrument weave is there, along with Frankie’s rope-burned vocals and spot-on lyrics (i.e. “you are like lots of pages taken from different books.”), and the melancholy that can play as a celebration or a funeral dirge, depending on your mood. If you’re not afraid of the occasional acoustic number, like “Everwas,” that’ll break your heart if you’re feeling vulnerable, you really can’t go wrong with this. I’d unabashedly call this singer-songwriterly if that genre of music wasn’t typically a piece of crap. This, on the other hand, is fantastic. –Todd Taylor (Big Fish Records)

JESU:
Self-Titled: CD
An individual named Justin Broadrick used to play guitar for Napalm Death and Godflesh. He quit those bands and creates music on his own. Produced here are eight songs, none of which clock in at under six minutes. Reminds me a lot of Godflesh but in a slower, more monotonous manner. This CD feels like committing suicide by using a pushpin. It’s going to take a very long time. –Donofthedead (Hydra Head)

JESU:
Opiate Sun: CDEP
All of the records released by Jesu have been thick and syrupy, but the past few recordings are so crushingly beautiful, slow and plaintive, heartbreaking, and sublime, that they command full attention. I’ve found a few of these songs come up on my ipod shuffle—once pulling over on the highway to finish the song, “Losing Streak,” while staring at a red sun setting beyond the West Maui mountain. This EP captured that moment perfectly. –Steve Hart (Caldo Verde)

JESUS AND THE DEVIL:
Let Them Have It: CD
Seems like we might have some ex-hardcore kids who are getting into heavy rock here. This sounds like a band like Gluecifer or the Hookers with a slight hardcore influence. Not really my cuppa, but well done enough for what it is. –Mike Frame (Fudge Sickill)

JESUS AND THE DEVIL:
Destructive Music Resists the Oncoming Light: CD
Reminiscent of early ‘90s indie rock and the sound is different compared to most bands out now, but that doesn’t make this unique. It falls back on being too rhythmic with the guitar work, something that very few bands can really get away with. I would rather listen to Sebadoh. –Wanda Sprag –Guest Contributor (Fudge Sickill)

JESUS AND THE DEVIL/TWIN WRECKS THE MEMORY:
Split: 7"
Jesus: College rock type stuff short of volume and long on pretense. Twin Wrecks: More of the same. Expected a higher noise quotient. Kinda bummed. –Jimmy Alvarado (Fudge Sickill)

JESUS FUCKING CHRIST:
Self-titled: CD
Is that a punk rock name or what! The name is not the only thing that is good, their music is like the wedgie the jocks would give the nerd kids at school when growing up. Right up the butt crack and it hurts! The music reminds me of early Corrosion Of Conformity, Poison Idea, Battalion Of Saints, and even at times Crucifix. They definitely have a mid ‘80s sound going for them. Rock and metal overtones played at a mid-tempo to fast pace, but straight up punk rock. The vocals are yelled or screamed but phonetic so that you can understand what is being sung. Their guitars are crunchy and bright, so they sound warm opposed to dirty. Bass is nice and clean but punchy and also warm. The drumming is more than competent with a sound that’s reminiscent of early drummers from the So Cal scene. I saw this band a number of months ago. The crusty kids didn’t quite get it. But I think if they gave a few listens to this disc, they will learn that there are other ways to play punk. –Donofthedead (Inimical)

JESUS FUCKING CHRIST:
Life’s Hateful Seed: LP
The band with the total cool punk name comes back with another record that you will either love or not get. It’s mid-tempo punk rock with a strong metallic rock sound that doesn’t have to rely on speed as a source of power. This time out, they seem to get more comfortable around each other and have expanded on their sound; experimenting more with sounds, time changes, and riffs to create a darker brooding sound. But the music still retains its charging energy and keeps up the feeling of rocking out. It also has more of a dual vocal attack this time around, with one being yelled and the other more guttural, adding to a more dynamic output. This is one of those that the more you listen, the more you grow to like. –Donofthedead (Inimical)

JESUSCENTRIC:
Self-titled: 12” EP
Screamy, sludgy pain stuff. Guitars are tuned down low enough that for a second there I thought I had it at the wrong speed. One-sided with a red skull screened across one-third of the flipside. –Jimmy Alvarado (torjohnsonrecords.com)

JET BOYS:
Teenage Thunder Revisited: LP
Like the frenzy of a good, old-fashioned Japanese whale slaughter comes the rip roaring sonic pandemonium of the Jet Boys. It’s got the glam swagger of the Joneses, the cocky looseness of the Heartbreakers, and the intense ferocity of the Carbonas, all delivered like a snot rocket from the nose of Johnny Rotten. My recommendation is to start with side two, as the first four songs on it are absolute punk monsters. But, be warned—the needle of the record player may well solder itself to the wax due to the resulting eruption of rock’n’roll magma. “Kick out the Poster” should be the National Anthem of the underground, and “Power Kids” the state song. I haven’t got any info about whether these guys are a living, breathing band, or if Teenage Thunder Revisited is a reissue. It doesn’t matter much, as this is one of the best ‘77-inspired slabs to come down the pipe in years. And if you don’t like it? “I don’t care/Kiss my ass!” –Josh Benke (Demolition Derby)

JET BOYS, THE:
“Shit My Pants” b/w “Gonna Bite You,” “Burn Out”: 7"
The Jet Boys remind me how simple my tastes really are and how much little it takes for me to like punk rock if it’s well done. These three burners stab as fast as Blood, Guts, and Pussy-era Dwarves and the Jet Boys are comparable to the Japanese punk rock band that’s hard not to mention if there’s garage, speed, and not sucking put into the same sentence: Teengenerate. This seven inch is simple as a pencil in the eye, sharp as prison concertina wire, and as fast as premature ejaculation (but, you know, not embarrassing). Cool. –Todd Taylor (Black Lung)

JET BOYS, THE:
Jet Patrol!!: CD
It’s hard not to compare Japanese rock and roll bands to Teengenerate, the band that pretty much set the standard that has yet to be touched. The Jet Boys aren’t nearly as trashy, but the sound is there. They also have a bit more of a hard rock-type of sound, not in a Van Halen way, but more like Bloodbrothers by the Dictators kind of way. It’s somewhere between the classic rock-isms of Electric Eel Shock and the fuzzed-out trash rock of Guitar Wolf, and that’s a good sign that it’s pretty rippin’. Not for the weak of heart. –Josh (Pictus, no address written in English)

JET SET, THE:
Let's Get Broken: 7"
Farfisa-tinged trash rock with a little more musicianship evident than most. The A-side went on a bit longer than was good for it, but the proceedings were, for the most part, painless. –Jimmy Alvarado (Wee Rock)

JETHRO TULL:
The Very Best Of: CD
I was never too interested in Jethro Tull when I was a kid for some reason, even though I had friends who swore by them. Okay, sure those friends were into Kansas and Rush, granted, but still we had enough in common that I took their opinions seriously. Something about Tull’s classical/rock/baroque sound (flute, you must admit, isn’t a very rockin’ instrument to have on everything) just turned me off immediately – no, scratch that. It didn’t so much turn me off as it just didn’t intrigue me whatsoever. I mean, my brother had a 2-disc Tull collection one bedroom away from mine and I wasn’t even curious enough to borrow it once. Later on, their reputation as the band that made a whole album out of one song was enough to keep me at arm’s length, at least long enough that I never heard an entire album played from front to back – although statistics probably lean towards me having heard all of Aqualung at one time or another. So frankly it’s with a bit of surprise that I find a decent amount of enjoyment within The Very Best of Jethro Tull. I only recognized three or four of the song titles on the back cover (and that’s counting “Aqualung”) but upon listening I find most of music immediately familiar, and pleasantly so. Perhaps it’s the judicious editing that eases my listening experience, paring the bloat so endemic to classical/rock hybrids of the ‘70s and getting to the point. Perhaps it’s the comfort of recognizable music in an easily digestible package. Perhaps Jethro Tull just produced better work than I would have thought likely. I’m not going to be running out to buy up the Tull catalog or anything else anytime soon, but the Very Best Of comp serves my needs quite well and will probably remain in my collection for at least the near future. –Aaron J. Poehler (Chrysalis/Capitol)

JETHRO TULL:
The Very Best Of: CD
I was never too interested in Jethro Tull when I was a kid for some reason, even though I had friends who swore by them. Okay, sure those friends were into Kansas and Rush, granted, but still we had enough in common that I took their opinions seriously. Something about Tull’s classical/rock/baroque sound (flute, you must admit, isn’t a very rockin’ instrument to have on everything) just turned me off immediately – no, scratch that. It didn’t so much turn me off as it just didn’t intrigue me whatsoever. I mean, my brother had a 2-disc Tull collection one bedroom away from mine and I wasn’t even curious enough to borrow it once. Later on, their reputation as the band that made a whole album out of one song was enough to keep me at arm’s length, at least long enough that I never heard an entire album played from front to back – although statistics probably lean towards me having heard all of Aqualung at one time or another. So frankly it’s with a bit of surprise that I find a decent amount of enjoyment within The Very Best of Jethro Tull. I only recognized three or four of the song titles on the back cover (and that’s counting "Aqualung") but upon listening I find most of music immediately familiar, and pleasantly so. Perhaps it’s the judicious editing that eases my listening experience, paring the bloat so endemic to classical/rock hybrids of the ‘70s and getting to the point. Perhaps it’s the comfort of recognizable music in an easily digestible package. Perhaps Jethro Tull just produced better work than I would have thought likely. I’m not going to be running out to buy up the Tull catalog or anything else anytime soon, but the Very Best Of comp serves my needs quite well and will probably remain in my collection for at least the near future. –Guest Contributor (Chrysalis/Capitol)

JETS TO BRAZIL:
Perfecting Loneliness: CD
I can’t believe how much dough they’re gonna rake in on this one. If you really think you need this: 1) I hate you. 2) Wait a week and get it out of the used bin, where it is sure to be after people hear (among many others equally as cheesy) “We live like astronauts/and our missions never cross.” What?! This rocks so hard(ly), it makes Styx look like AC/DC. –Megan Pants (Jade Tree)

JETSET RADIO:
From Ashes to Life: LP
I’ve nothing against these guys, but I don’t seem to have a whole lot for them either. They live up to their self-described “Alkaline Trio, The Ataris, and Jimmy Eat World” influences and there certainly is a niche out there for their “Emotion, Pop, Punk und Rock” sound. They’re German and for some reason I hadn’t ever imagined this type of German boy angst, so perhaps their music can be considered an important cultural import in our understanding of their particular sensitivities and is therefore of some sociological value in that regard. –Susan Chung (Wanda)

JETT BLACK:
Dead Town: CD
Imagine going to a club to see a band and the place is completely spotless, not a speck of dust anywhere. You head to the bathroom and it’s as sterile and antiseptic as an operating room. The bar is polished so that you can see your reflection in it and every time you pick up your drink the bartender is there to wipe up the ring of moisture your beer bottle left. The place is so clean that it lacks character. That’s how I’d describe the production of Jett Black’s Dead Town. It’s like there was a button in the studio marked “removes all excitement, energy, and soul,” and the band pointed to it and said, “Let’s push THAT one!” Technically, they play leads without missing a note, stylistically, they lean heavily towards “rawk,” which the do well. But, I’ll be damned if I have to hear any more of it. They sing songs about drinkin’ whiskey and screwin’ women, but the only one who gets fucked here is the listener. –Josh Benke (Fivecore)

JETT BLACK:
Dead Town: CD
Straight ahead, no bullshit rock from Denver. The title track and “Dirty Girl” stand out on this second release from this outfit. Was there ever a question with a bass player named Igor? Plus, this baby features the best version of a Joe Walsh chestnut since Triumph covered it. No, I’m serious! –Sean Koepenick (Fivecore)

JEUNESSE APATRIDE:
La Victoire Sommeille: CD
French-Canadian sung street punk out of Montreal with female-led vocals backed by the female bass player make for great harmonies. Thank their underpants for the English translations because I would have been a lost camper. They seem to be on the anarcho vibe with song titles like “Stateless Youth,” “To My Revolution,” and “Unity, Struggle, and Victory.” The lyrics are well thought out and voice a strong opinion. I wish the lyrics were backed with a heavier and faster sound of crust. I think it would have brought the anger more to the point. Not that this is bad. This is better than ninety-five percent of the street punk out there. –Donofthedead (Fire and Flames)

JEWDRIVER:
Hanukkah Hangover: 7” EP
Funny, but I seem to remember hearing something about these guys being a Skrewdriver cover band with some much-needed changing of the lyrics, a la Manic Hispanic, but the only obvious cover here is of the Nuns’ “Decadent Jew.” The rest sound like no Skrewdriver song I’ve heard and, truth be told, they remind me more of the Fuck Ups or maybe, maybe the Nihilistics than anyone else. Either way, it’s not a bad listen. Also dig the cover model’s tattoo. –Jimmy Alvarado (www.myspace.com/jewdriver)

JEWDRIVER:
Hanukkah Hangover: 7” EP
I’m not going to win any friends with this, but I like Skrewdriver’s first record a fair sight more than this. (The reissue with “You’re So Dumb,” misprinted as “You’re So Dump,” is priceless.) Jewdriver’s music reminds me of second-tier, early ‘90s East Bay punk (fill in band names of your own choosing), with guitars-so-waiting-to-wank, the scuzz of the recording, the scream-shouted vocals, the songs that could end nicely two or three times before they actually do, and the ultra-obvious theme running throughout. I get the joke, but it left me tepid. Sorry. I really wanted to like this more. –Todd Taylor (myspace.com/jewdriver)

JEWWS, THE:
I Need Your Lovin: 7" EP
Sweet, snotty, no-nonsense garage rock that huffs fabric softener (for that instant, wicked high which leaves blisters in your nostrils but smells nice) that spazzes from the gate like a mis-medicated retard hucked off the short bus and dragged along by his leash. The music trips down to the bare essentials like a meth’d hooker in an ass-floss thong, kicks for the balls on the first note with combat boots and Converse All Stars (care of Omari and Matt), and doesn't stop until a spiked heel (care of Rebecca) grinds it all to a halt shortly after. For fans of the Kill-a-Watts, Motards, and Dirtys. Think Chuck Berry and radioactivity. Me like. Me like. –Todd Taylor (Alien Snatch)

JEZUS AND THE GOSPELFUCKERS/AGENT ORANGE:
Couldn’t Care Less: CD
Tracks from two of Holland’s legendary hardcore bands are once again made available to the teeming masses. As can be expected, the proceedings are loud, rude and up to here with Discharge influence. Definitely worth the time if you can get your mitts on it.
–Jimmy Alvarado (Kangaroo)

JFA:
We Know You Suck: CD
Like the best works of art and literature, from Milton to Dante to Bosch to Grunewald, the records of some bands just deserve to be perpetually available so future generations can readily get their hands on them and glean some influence when the need arises. Case in point this disc here, which contains some of the most influential and exemplary music ever produced by a hardcore punk band. Collected for your listening pleasure are the tracks from the Blatant Localism EP, the Valley of the Yakes 12”, damn near every track that appeared on a compilation (conspicuously absent are the versions of “Guess What” and “Middle America” from the Sudden Death and We Got Power comps, respectively), and an unreleased gem here and there. What makes them so damn special, you ask? Well, let’s not touch upon the fact that they almost single-handedly dragged the whole skatepunk out of the dark corners of the scene and into the limelight. Let’s put aside that they managed to come up with a sound wholly original and singular in a subgenre that was, at the time, up to its eyeballs in stagnant, hypocritical dogma and monkey-see-monkey-doism, by melding high-speed hardcore (then referred to as “thrash,” which, like “hardcore,” apparently means crappy speed metal these days) and unintelligible lyrics with surf-rock, infusing the whole thing with a sense of humor and fuck-it-all attitude and making it sound like not only the most normal combination on earth, but that any asshole could pick up a guitar and do the same. Let’s ignore the fact that the bulk of their first four releases quite possibly served as the soundtrack for damn near every grind, ollie, boneless, acid drop, front-side air and face plant attempted in a backyard pool or half-pipe in 1980s America. What makes them so special? Simple. They fucking rocked and, twenty years down the line, even the most dated track on here STILL fucking rocks. Sure, we can gripe about the fact that the Mad Gardens EP and their self-titled LP aren’t on here, the latter of which included arguably their shining moment, “The Day Walt Disney Died,” but that would be like your mom making a great meal with all your favorite foods and you whining ’cause she forgot the mashed potatoes and the corn. If Alternative Tentacles has any kind of heart, they’ll rectify the situation by following this up with a disc compiling those releases in short order (and while we’re at it, what are the odds of a retrospective CD of Tucson’s Conflict? Just thought I’d ask), so shut up and enjoy what’s already on your plate. Let us all rejoice, for a huge chunk of JFA’s best, most important material is back in circulation and readily available, and, like the reissue of Oscar Zeta Acosta’s book, Revolt of the Cockroach People, let’s just hope it stays that way. –Jimmy Alvarado (Alternative Tentacles)

JFA:
To All Our Friends: CD
I remember seeing this band at Fenders in Long Beach circa 1986. Their drummer Bam Bam was zonked on acid that night, which resulted in a super-looooong, tripped out version of “The Day Walt Disney Died,” but he more than held up his own during warp factor nine versions of all their hits. A badass show that fits easily into one of the top two best shows I ever saw ‘em do (the other being a show they did with Bad Religion and L7 at a Mexican restaurant in Hollywood a couple of years later, where every band was at their peak and the place was on the verge of total mayhem for most of the night, a vibe that finally ended with someone stabbing someone else on the dance floor right in front of Yogi and me while we were tripping on acid. There was also the show they did with Die Kreuzen and Mighty Sphincter, but this little fan-geek is digressing). My clutch of friends fuggin’ worshipped this band not because we were skate rats (although a few were), but because they were masters of a unique brand of hardcore that was fast, furious, and chock full of disparate influences ranging from psychedelia to surf to funk. There was no way you could confuse JFA with any other band, a trait that is always a marker that the band you’re listening to is goddamned good at what they do. This live disc demonstrates that they remain masters of their domain. The tempos are slower than their ‘80s peak, but unlike other bands, what this translates into is that they play at around the speed of the original studio versions of the songs here, which, in turn, were pretty thrashin’ in their own right. The tracks here are culled from the crème de la crème of the band’s catalog—“Preppy,” “Beach Blanket Bongout,” “We Know You Suck,” “Charlie Brown”—as well as a couple from their last studio effort. Sound is faboo, delivery is properly spirited and Brian is in fine, um, howl. Gripes? Inclusion of the aforementioned “Walt Disney” and at least one of their legendary surf covers would’ve been nice, and though it has fourteen tracks, the disc is too goddamned short, which says a lot. Other than that, this is about as good as live hardcore albums, and bands, get. –Jimmy Alvarado (DC-Jam)

JFA / THE WORTHLESS / BLUE COLLAR SPECIAL:
Concrete Waves split: CD
The JFA songs were so miserable that I just couldn’t bring myself to even acknowledge the tracks by the Worthless and Blue Collar Special. It’s very traumatizing when a band you have effectively worshipped for nigh on twenty years suddenly sucks this bad. Don’t think I’m gonna be able to sleep tonight. –Jimmy Alvarado (Bomp/Disaster/Alive/Total Energy)

JFA / THE WORTHLESS / BLUE COLLAR SPECIAL:
Concrete Waves split : CD
During the early to mid-‘80s, my cousin Scott was a dare-devilish semi-pro skater who chaotically careened across many a plywood flux ramp in backyards and skateparks throughout the entire nation. I’d often accompany him to the local flux, which was situated right smackdab in the middle of a loblolly wilderness several miles outside of town. There in the heavy and humid summer heat, Scott would perform some of the most amazing aerial acrobatics on his splintered and chipped skateboard, occasionally bailing and hittin’ the bottom of the ramp full-force and body-first. I distinctly remember a well-worn, multi-stickered old jambox was always blaring the latest and liveliest California skatepunk cacophony, which provided the ultimate energy-enhanced soundtrack for an endless afternoon of spectacular death-defying skateboard feats. Yep, what ya have here is exactly the same kind of teeth-gnashing “old school” skatepunk bombast that inspired a sweat-drenched legion of diehard ollie-grindin’ enthusiasts to grab their boards and giddily hit the ramps a-runnin’ during the culturally retarded Reagan era. JFA (one of the indelibly inspirational originators of the skatepunk genre) and The Worthless and Blue Collar Special (two youthfully exuberant newer groups who passionately carry the skatepunk torch in the most frenzied of fashion!); three bands, three-million decibels of all-out raging fury, and fifteen bone-shattering songs about skating and being a social outcast in today’s fast-food, quick-service, throw-away society. What a raucously cool combination! –Roger Moser, Jr. –Guest Contributor (Disaster)

JFA/FACTION:
Split: 7"
JFA: three great, old JFA songs ("I Want," "Tent Peg," and "Cokes & Snickers") that were recorded live in Chicago probably recently, and they show that, almost twenty years after their first release, JFA is still as fast as any hardcore band out there today, and they're still an amazing band. Faction: this is about right - one faction song is about as long as three JFA. The Faction side sounds a little more dated now than JFA, but both bands are skaterock legends, and four songs from them are still worth picking up. –Sean Carswell (Spontaneous Combustion)

JFA/FACTION:
Split: 7"
JFA: three great, old JFA songs (“I Want,” “Tent Peg,” and “Cokes & Snickers”) that were recorded live in Chicago probably recently, and they show that, almost twenty years after their first release, JFA is still as fast as any hardcore band out there today, and they’re still an amazing band. Faction: this is about right – one faction song is about as long as three JFA. The Faction side sounds a little more dated now than JFA, but both bands are skaterock legends, and four songs from them are still worth picking up. –Sean Carswell (Spontaneous Combustion)

JFK JR. ROYAL AIRFORCE:
Ridicule: CDEP
This mind-swirler of a disc is a hallucinatory audial freak-out from beginning to end and all of its stoned immaculate points in between. It’s a multi-colored musical mishmash of trippy space-rock strangeness orbiting through galactic psychedelic otherworldliness while ultimately being dipped into a big ol’ boiling vat of psychotic acid-drenched sonic dementia... almost as if Hawkwind, MC5, The Amboy Dukes, “Are You Experienced?”-era Jimi Hendrix, and the Butthole Surfers were musically battling it out with distortion-heavy laser beams and blaring raygun guitars on one of the moons of Jupiter during a violently roaring sandstorm. I ain’t no fuckin’ hippie, but, son, I highly recommend that you indulge your ears with these fragrant floral sounds ASAP. So fire-up a coyote-turd sized joint and then listen to the rainbows scream as the sky melts in an explosive array of tye-dyed hues and glittery day-glo wax drippings... –Roger Moser Jr. (Slutfish)

JFK JR. ROYAL AIRFORCE:
Androids: CD
Sludgy, sometimes almost jazzy art damage, sorta like Flipper without all the lyrics or Savage Republic at their noisiest and least Middle Eastern. If you’re in just the right mood, this more than delivers the goods. Factoid that’ll probably never come up in a Trivial Pursuit game: this band features Billy Syndrome, who was in the Pricks with a pre-Def Jam Rick Rubin. –Jimmy Alvarado (Slutfish, no address)

JIMMY EAT WORLD:
Bleed American: CD
The only thing worse than emo is mainstream, major label emo. Scratch that. The only thing worse than emo is mainstream, major label emo with piano tracks. These jackalopeasses got no label support from Capitol and were eventually dropped. They sweated out an album, spewing all kinds of rhetoric about how cool it was to not have the corporate tyranny of deadlines, creative restraints, etc., but the Arizona heat has made their brains softer than baby shit after a day at the carnival because as soon as they finished the album they signed with Dreamworks. Dumb dumb da-dumb, dumb dumb dumb dumb da-dumb. The terrifying thing is there was a bidding war for their services, which means more radio friendly emo ear puke to come. Jimmy Eat World, I dub thee the Rod McKuen of emo. Now please go fuck yourselves. –Money (Dreamworks)

JIYUNA:
The Devil Is Waiting for Us in the Palace—Rush Courageously: CD
Boy, the packaging on this is beautiful: screenprinted on chipboard and hand-cut in the shape of a cityscape, folded in thirds with a little button for the CD to sit on, and with a tiny twenty-page lyric book inserted. However, due to the fact that the actual music on the CD is weak screamy me-core, I do believe I will cause the CD to not be at my house and instead install another one on its top-flight little button. I just hope I don’t forget what I did and start recommending Jiyuna to my friends in a couple years, or—heavens!—accidentally go see them myself. Ah fuck, a couple more years at this pace and I won’t even like music anymore. –Cuss Baxter (ifb)

JIZZ KIDS, THE:
How about a Nice Cup of Shut the Fuck up?: 7”
This band features Kevin Aper and a cameo appearance buy two guys from the Queers (namely Joe and Phillip Hill). Despite such a nice helping of pop punk cred…this 7” fell flat for me. Mediocre at best. –Mr. Z (Rally)

JIZZ KIDS, THE / THE GUTS:
A Safe Return to the Forest: Split 7”
Jizz Kids: standard punk rock. It’s good, but not because it’s original. The Jizz Kids are musical comfort food for me: a rockin’ beat with buzzsaw guitars, aggressive lyrics, and a snotty attitude. The Guts: pretty much the same. In fact, apart from the vocalist, the sound is pretty much the same for both of these bands and they could easily be mistaken for one another. The only real difference is that the Guts have a more melodic sound that seems more obviously influenced by the Queers’ bubblegum punk tunes. The Jizz Kids, on the other hand, seem more influenced by the Queers’ “fuck you” songs. Good record, but not great. Blue vinyl! –The Lord Kveldulfr (Knowhere / No Breaks)

JJ NOBODY AND THE REGULARS:
Rock'n'Roll Doesn't End at 2:00: CD
This is an ear-splittin' sonic assault of high-octane heavy-thunder barroom-brawlin' rock'n'roll rowdiness ala the Supersuckers... unsavory, unpolished, and barbarically unrelenting! JJ Nobody seems to have temporarily packed the Ramonesy punkrock ferocity of The Nobodys into a tattered'n'torn duffle bag and stuffed it in a musty ol' linen closet somewhere, because these here riproarin', whiskey-saturated songs are a cowpokey cacophony of rootin'-tootin' wild-card rock at its most bawdy, bad-ass, and brash... it's 18-wheelin' trucker punk for the red-eyed, road-weary, barstool-squattin', crank-crazed cowboys of the long lone open highway... it's amped-to-the-max, meth-laced, white-trash rock'n'roll robustness... boisterous, rowdy, and belligerently pure! Such lewd and lively lyrical choruses as "I'm a goddamn son of a bitch!" and "Let's get drunk and fuck tonight!" frenetically add more fuel to the ear-scorchin' audial flames contained herein. Yeh buddy, this is the end-all be-all last call... the zestiest, most intoxicatin' musical thirst-quencher of 'em all... a sonically satiating full-throttle rock'n'roll experience! –Roger Moser Jr. (Hopeless, PO Box 7495, Van Nuys, CA 91409)

JJ NOBODY AND THE REGULARS:
Rock: CD
This is an ear-splittin' sonic assault of high-octane heavy-thunder barroom-brawlin' rock'n'roll rowdiness ala the Supersuckers... unsavory, unpolished, and barbarically unrelenting! JJ Nobody seems to have temporarily packed the Ramonesy punkrock ferocity of The Nobodys into a tattered'n'torn duffle bag and stuffed it in a musty ol' linen closet somewhere, because these here riproarin', whiskey-saturated songs are a cowpokey cacophony of rootin'-tootin' wild-card rock at its most bawdy, bad-ass, and brash... it's 18-wheelin' trucker punk for the red-eyed, road-weary, barstool-squattin', crank-crazed cowboys of the long lone open highway... it's amped-to-the-max, meth-laced, white-trash rock'n'roll robustness... boisterous, rowdy, and belligerently pure! Such lewd and lively lyrical choruses as "I'm a goddamn son of a bitch!" and "Let's get drunk and fuck tonight!" frenetically add more fuel to the ear-scorchin' audial flames contained herein. Yeh buddy, this is the end-all be-all last call... the zestiest, most intoxicatin' musical thirst-quencher of 'em all... a sonically satiating full-throttle rock'n'roll experience! –Guest Contributor (Hopeless)

JO & THE MUTHAFUCKERS:
Self-titled: CDEP
I believe this would have been better suited as a demo tape. But who am I to say what a band does. Three songs from a new band out of Boston featuring current members from the Dropkick Murphy’s, Tommy & The Terrors, and The Tampoffs. The singer, Jo, I read did backup vocals on the latest Dropkick Murphy’s release. If you are expecting any of those bands, you might be disappointed. First off, the vocals of Jo sound like she is dumbing down her vocals to sound more punk. Like she is singing in the wrong genre. The recording was not that desirable to these ears. The mix is weird as the vocals are a little too up front and dry. The guitar is played clean and comes off sounding twangy. The bass sounds the same, like it was recorded on a boombox. The drums sound flat and I imagine them being the kind of drums you get for a kid’s first set. More garage rock sounding than punk. If that is your thing, hit them up. –Donofthedead (Email them at jo@jo234.com for a free copy)

JOAN OF ARC:
So Much Staying Alive and Lovelessness: CD
I didn’t even make it through the first song, “On a Bedsheet in the Breeze on the Roof.” At best I’d say that it’s kind of like Pearl Jam inviting a hot new guitarist to jam with them in an acoustic set. I’d burn this at the stake any day.
–Megan Pants (Jade Tree)

JOAN OF ARC:
How Can Any Thing So Little Be Any More: CDEP
Indeed, I am currently feverishly scratchin' my head in a semi-soused state of perplexed bewilderment... this is a loosely disjointed soundscape of 21st-century Syd Barrett-type mind distortions... freaky, fragmented, and beyond fucked-up. Joan Of Arc uniquely create electronic emissions of warped weirdness, feedback-laden wild wonderment, and acoustic sugar-soft swaths of sound that can't be specifically categorized, so I won't even attempt such a maddening endeavor... I'll just call it an audial diatribe of the crazed and demented, a sonic holocaust in varying degrees of infinite insanity. I dunno... now I just wanna dribble beer down my chin and stuporishly stare out the window at the wildly swaying leaf-heavy trees. Damn, who hung the sky upside-down?! –Guest Contributor (Jade Tree)

JOE COFFEE:
Bright as the Stars We’re Under: CD
Not too interesting metal/rock with a gruff singer. –Jimmy Alvarado (Street Anthem)

JOE JACK TALCUM:
Home Recordings 1984-’97: CD
The strangest thing about getting this in the mail is that I’d been listening to The Dead Milkmen’s Big Lizard in My Backyard almost nonstop for four days after not even looking at it for years. (I’d only listened to the CD once since I bought it years after never getting my commercial cassette back from a friend in high school. Attn Joey Costa, I still remember…) Joe Jack Talcum was the singer and guitar player for The Dead Milkmen, who were probably my first favorite punk band when I was in the fifth grade (and have maintained a pretty special place in my heart since). These recordings stray pretty far from what was done with The Dead Milkmen (with the possible exception of some of the tracks recorded between ’84 and ’87). I can see a lot of fans not really getting into this, but it suits me just fine. A lot mellower (as it is just him, mostly with an acoustic guitar) than I’d expected, but it’s turned into some nice down-time reading music for me. It was nice to see another side to it all. –Megan Pants (Valient Death)

JOE JITSU:
Start It Up: CD
This sounds like later Mutant Pop type stuff, which is another way of saying it's boring. They also thank Mutant Pop CEO Tim Chandler, so no surprises here. One song is slower and sounds a little like the Lillingtons. If this were a cereal, it'd be regular Cheerios. That is all. –Maddy (Top 5)

JOE JITSU:
Catastrophe: CD
Pretty generic pop punk with enough Modern English thrown in to make it walk a thin line between radio-friendly college rock and adult contemporary. –Megan Pants (Top 5)

JOE JITSU:
The Perfect Life: CD
Road to Ruin-style mid/slow tempo pop punk. Most of the songs have a Dear You-sounding guitar tone, and a few are more jangly, but I preferred the former over the later. It’s a little repetitive at times, so while I don’t imagine myself listening to it constantly, it’s good for the kind of day that’s mostly cloudy and gloomy, with that little bit of sun shinning through. –Joe Evans III (Top Five)

JOE LALLY:
Nothing Is Underrated: CD
Remember when you first heard Fugazi’s Red Medicine and got to “Fell, Destroyed” and thought to yourself, “This doesn’t sound like Ian or Guy. Who’s the guest vocalist?” And you looked at the liner notes to see that it was bassist Joe Lally. Wow. Like me, you’d probably never heard him sing, but he was pretty good. Well, a solo Joe Lally album is pretty similar to that song in many regards. It’s as if the rest of Fugazi said, “Hey Joe, we’re really busy with some other shit. Can you write and arrange all the music for the next album and write the lyrics and we’ll play whatever you decide to set up? This other shit we’re involved with has just got to get done.” “I don’t know guys. That seems like you’re asking for a lot.” “Um, well, how about we’ll let you sing all the songs.” “I’m in!” That may seem like an exaggeration, but it’s not too far from the truth. The music (it’s not like he went R&B or reggae) sounds very similar to Fugazi’s mellower stuff on the last few albums. Ian and Guy even play guitar on a number of songs. What’s wrong, Brendan? You too busy for the pseudo-reunion? –Kurt Morris (Dischord)

JOE SHITHEAD KEITHLEY:
Band of Rebels: CD
On the Sudden Death website, Joe Shithead writes that he’s surprised to be running his own record label. That is certainly a cool accomplishment, but pales compared to the fact that nearly thirty years after coming on the scene with D.O.A., the guy still goes by Shithead. Cooler still, he received funding for this record not just from the Canadian government but from the Canadian Heritage fund. Joe Shithead is officially recognized as, and financially supported as, part of Canada’s heritage, and he did so punk moniker in check (the sole alteration over the years being “Joey” to “Joe”). That’s power. Band of Rebels is as feisty as its captain but not as impressive. It boasts a wide range of styles—rock, ska, and punk—and it doesn’t shy away from the issues. I can’t imagine a Beltway bureaucrat writing checks for songs such as “Wake Me Up for the Revolution” or “Bust Me Loose” and its “Legalize It” sentiments. Historically significant and worthy of admiration but probably not that appealing outside the ranks of the D.O.A. completists. Mike Faloon –Guest Contributor (Sudden Death)

JOEY CAPE:
Bridge: CD

I put this CD in my laptop and my first impression was of intricate, mostly folky acoustic guitar with slight Latin jazz elements and throaty, melodically droning vocals. I’m listening to this and thinking, “It’s nice, but how the heck did this get to Razorcake?” Then I look up JoeyCape on Wikipedia. Then I have a good, hearty laugh at myself. If you’re a Lagwagon fan but have never heard singer Cape’s solo work, this is definitely not what you might expect. Cape’s songs are delicate and earthy, mostly downtempo, but occasionally picking up the beat. “Canoe” almost sounds like Simon & Garfunkel (using vocal clips of his toddler was maybe a bit too cheesy for me). This is one of those albums you can really enjoy and still put on when your mom comes over. Favorite track has to be “The Ramones Are Dead.”

–Sarah Shay (Suburban Home)

JOEY CAPE/TONY SLY:
Acoustic: CD
Woohoo... Joey Cape of Lagwagon and Tony Sly of No Use For a Name do a split release of acoustic songs from their respective bands. But wait... there's more! You get an original, new song from each person. I don't know how excited you are but all I hope for is they give me more than a dollar worth of credit when I try to sell this to the record store. –Donofthedead (Honest Don's)

JOEY CAPE/TONY SLY:
Acoustic: CD
Woohoo... Joey Cape of Lagwagon and Tony Sly of No Use For a Name do a split release of acoustic songs from their respective bands. But wait... there’s more! You get an original, new song from each person. I don’t know how excited you are but all I hope for is they give me more than a dollar worth of credit when I try to sell this to the record store. –Donofthedead ()

JOEY CORMAN:
Morgue Pt II: CDEP
A CD-R with acoustic guitar songs perhaps influenced in a roundabout way by the Misfits, although it doesn’t sound anything like them. Songs about dead people, song titles like “Bottom of the Lake” and “Morgue Part III,” lyrics like, “I would not believe that I’d fall in love at the cemetery.” If this were a cereal, it’d be a cereal that does not yet exist—Ghoul-ohs, only this version of Ghoul-ohs would not have marshmallows. For shame! I could see some people thinking this is okay, but it didn’t make me want to have a solo dance party, the crucial criteria for a band’s success! –Maddy (Obz)

JOEY CORMAN:
Cheap Therapy: CD
This acoustic style sounds like it needs some drums and a bass. When done correctly, I love acoustic style more than anything, so it’s not that I don’t appreciate it because it’s not electric. I listened to this while waiting for it to kick in, but it never did. I hate it when that happens. This is some coffee shop, bullshit hippie, self-appreciation shit. The guitar riffs are dependent on the voice. I hate when people write songs that are going to depend on their voice, especially when the voice isn’t so great to begin with and they don’t include lyrics, so I can’t even tell what it is that was so important for them to write a song about. That sort of thing should remain in a coffee shop, because that’s the most likely place where people care about what you are saying and don’t give a shit about the music. It has no place for “mass” distribution. Most of the bands I listen to have bad singers, but the great music makes the bad singer sound like an angel. Joey Corman, my friend, does not sound like an angel. I’m going to have to pass on this one. –Corinne (OBZ)

JOEY CORMAN:
Boneyard Betty: CD
I know exactly what you want to hear. First off, you don’t want anything that involves electric instruments, right? And I know you’re sick of drums. That’s just a bunch of caveman pounding. Who needs it? You’re fiending to hear three magical chords strummed on a lonely old acoustic guitar, aren’t you? Not only that, but you would totally poop yourself if that guitar was an accompaniment to some whining, pop punk folk shit. You know, the kind that you used to hear once in a while at open mic nights at that little café next to the university. Because I know you went there all the time, right? That’s where the good stuff went down. Oh heck yeah. –MP Johnson (Self-released)

JOEY CORMAN / DEAD PAWNS:
Split: CD
Joey Corman: a strange pill to swallow. A mohawked solo singer from Texas playing Misfits covers and sweet-voiced pop punk originals in Midwest coffee houses. The Dead Pawns (tracks 11-20): Missourian punks (and a dreamy-voiced woman on a few tracks) with melodic but sometimes off-key delivery. Once you take all that in, there’s something earnest and very sincere here, even though I can’t really get with the music. –Jessica Thiringer (Crustacean)

JOEY RAMONE:
Don’t Worry About Me: CD
I bought this disc a few days after its initial release several weeks ago, but I unfortunately haven’t had time to listen to it until now due to a hectic, unrelenting schedule of academics, homework, exams, beer, and sleep. Today has been particularly grueling and stressful (whatever could possibly go wrong has done so tenfold!), so fuck it, I’ve nonchalantly resigned myself to an inebriating afternoon of cold, ice-chilled brew and the spirit-rousing sonic uniqueness of Joey Ramone. As soon as the powerfully upbeat strains of the opening number, Louis Armstrong’s “What a Wonderful World," kicked into high gear, I suddenly felt alive and replenished with a youthful zeal for life, ready to conquer the world, baby! And it just gets more inspired and delightfully titillating from there: “Mr. Punchy” sounds incredibly like a long-lost out-take from The Who during their youthful speed-addled mod era; “Maria Bartiromo” could’ve very well been performed by Cheap Trick live at the Budokan in ’79; “Spirit in My House” is the closest semblance to a Kinks classic since their very own “You Really Got Me”; “Venting (It’s a Different World Today)” and “Like a Drug I Never Did Before” (with its fiercely smokin’ Steve Jones-style guitar swagger) sound similar to updated, more polished versions of the Ramones’ “I Wanna Live” and “Strength to Endure”; “Searching for Something” is acoustically along the lines of “Lonely Planet Boy” by the New York Dolls; the brutally honest lyrical content of “I Got Knocked Down (But I’ll Get Up)” is a heart-wrenching account of a bedridden Joey’s miserable suffering during his routine hospital stays; and then there’s a spectacular sizzlin’ rendition of The Stooges’ “1969” (a select treat hold-over from the Iggy tribute disc “We Will Fall”). With special musical guests Daniel Rey, Andy Shernoff, Marky Ramone, Captain Sensible, Dr. Chud, Jerry Only, Joey’s real-life brother Mickey Leigh, and other such multi-talented notables, this is one helluva aurally stellar release enthusiastically packed with some of the most well-scrubbed and crunchy rock’n’roll originality ever put to platter. Wherever Joey may be, he should be damn proud of himself for leaving such an indelibly unique imprint upon us all. –Roger Moser, Jr. –Guest Contributor (Sanctuary)

JOHN BARRETT’S BASS DRUM OF DEATH:
Self-titled: 7”
With what little information I’m working with, I think that this is a one man band along the lines of Bob Log III. The difference here is that this record is way more bluesy and John Barrett seems to sing a lot more than screech into a motorcycle helmet/telephone receiver type of thing. The result is a couple of good songs that I could definitely see myself tipping some drinks to. –Ty Stranglehold (Fat Possum)

JOHN BROWN:
Split: 7"
John Brown’s Army are from Albany, New York. I picture a male-dominated crowd supporting this band with no hair or males shaving their hair because they are balding. I see football and basketball jerseys that have been adorned on those east coast punk rock icons. I see the women of the crowd in fear to enter the domain of the pit due to the high testosterone level. That is the picture that I draw. I don’t want to give the impression that they are a skinhead band because that is not the type of music that they play. The music is tough as nails and gives off the tough guy appearance. Intense east coast hardcore that pulls back no punches. Reagan SS: Happy faces at the Razorcake HQ. Matt Average (contributor extraordinaire, publisher of EngineFanzine and father to the Razorcake icon Henry) has a new endeavor and new outlet for his rage. He is the vocalist for this thrash unit. I also know Danny the guitarist and met Apeface, the bass player, because I jammed with him a couple of times. So I have a few nuggets of knowledge of this band. Seven straight-up thrash numbers that expresses Matt’s perspective of life. Saw them live recently and they are even more powerful live than what was captured here. Collectors alert: Half yellow, half black vinyl. –Donofthedead (Gloom)

JOHN BROWN’S ARMY:
Who Fucked the Culture Up?: CD
Fast, tight hardcore with decent lyrical content. Ain’t too fond of the gruff-guy vocal style, but the music made up for it. –Jimmy Alvarado (Gloom)

JOHN FRANCIS & IMPOSTERS, THE:
The Earnest Manboy Suite in E Major: CDEP
I cannot recommend this “opus”: pretentious typewriter solos bookend and infiltrate one-dimensional two-man three-practice guitar rock which I suppose gains “opus” status by virtue of: 1) being a fifteen-minute song with: 2) a recurrent theme (i.e. one riff). I wish I knew enough music theory to dispute its E Major status, but I’ll leave that to the Commissioner. And, oh yeah, don’t get mad at anyone named John Francis; this guy’s name is Jack Francis. –Cuss Baxter (John Francis, etc)

JOHN HOLMES:
Everything Went Blacker: CD
New York thug metal bites, even if the band in question hails from England. Press material says they’ve toured with Poison Idea and it’s too bad they learned nothing from the experience. Look kids, you wanna up the brutality level? Forget all this thick-necked metal crap and take these three words to heart: PICK YOUR KING. With that template you can’t go wrong and you’re guaranteed to put the fear of god into anyone that crosses your path. –Jimmy Alvarado (Household Name)

JOHN PODDY:
Punk Rock Star: CD
An apparent one-man band singing songs like “You Made Me Gay” and “Your Mom’s a Fag.” Punka dunka, dude. –Jimmy Alvarado (Long Bored)

JOHN SCHOOLEY AND HIS ONE MAN BAND:
Self-titled: CD
Perfect flawless synthesis of the gleeful lawlessness of Hasil Adkins, the frantic stomp of Doo Rag/Bob Log III and the gut-wrenching power of the Immortal Lee County Killers. Highest recommendation. –Cuss Baxter (Voodoo Rhythm)

JOHN SCHOOLEY AND HIS ONE MAN BAND:
One Man against the World: CD
Turn it up. TURN IT FUCKING UP. Turn it up. TURN IT FUCKING UP I SAY!!! TURN IT FUCKING UP!!! TURN IT FUCKING UP!!! The first song kind of reminded me of the music to “Beginning of the End” off of the second Eddie & The Hot Rods album. I guess the last one did, too. Did i mention to turn it up? Do so. Seriously. Seriously. Up. Seriously up. No shit. BEST SONG: “One Man Against the World, Part II” BEST SONG TITLE: “Screwdriver,” ‘cause i’m AN-TI-SO-CIAL! Uh, never mind. FANTASTIC AMAZING TRIVIA FACT: Worth purchasing for the liner notes alone, although you can’t really turn those up. –Rev. Norb (Voodoo Rhythm)

JOHN SPARROW, THE:
self-titled: CDEP
These guys in The John Sparrow have got to have some ‘Mats, Big Drill Car, All Systems Go!, or Scrimmage Heroes lying around their stereos. Don’t get the wrong idea, it’s somewhat leaning in that direction, but the rwb (rock w/ balls) fails to come through on this here CD. Pretty decent recording, but I like to get my feet lifted off the ground when something’s trying to kick my ass through the speakers. I’ll be interested hearing a follow-up to this CDEP. And a free drink to the band member wearing the chimp mask on the inner sleeve (I’ll show you later, Tony). That’s just great. Why is it great? Because I said it’s fucking funny, that’s why. –Designated Dale (Johanns Face)

JOHN SPARROW, THE:
self-titled: CDEP
These guys in The John Sparrow have got to have some ‘Mats, Big Drill Car, All Systems Go!, or Scrimmage Heroes lying around their stereos. Don’t get the wrong idea, it’s somewhat leaning in that direction, but the rwb (rock w/ balls) fails to come through on this here CD. Pretty decent recording, but I like to get my feet lifted off the ground when something’s trying to kick my ass through the speakers. I’ll be interested hearing a follow-up to this CDEP. And a free drink to the band member wearing the chimp mask on the inner sleeve (I’ll show you later, Tony). That’s just great. Why is it great? Because I said it’s fucking funny, that’s why. –Designated Dale (Johanns Face)

JOHN SPENCER BLUES EXPLOSION, THE:
Jukebox Explosion Rockin’ Mid-90s Punker!: CD
This here disc is full of the type of wild, caterwauling, honking, punk blues that makes one want to trash an apartment in a grand fit of irresponsible hysteria while drinking whiskey straight from the bottle. John Spencer seems to be a polarizing figure in his present-day incarnation of countrified entertainer (I happen to dig Heavy Trash), but this collection of early singles that originally came out as part of In The Red Records’ Jukebox Series and other various limited release singles provides incontrovertible proof of the JSBE’s ability to defile you with greasy, dirty, lecherous rock’n’roll. “Shirt Jac” jumps through the speakers, grabs you by the collar (of your shirt, Jack!), and shakes the piss outta ya, with a devastating cover of the Chain Gang’s “Son of Sam” hot on its heels. The CD rolls along like a runaway locomotive through “Push Some Air,” “Do Ya Wanna Get It,” and the absolute primitive ferocity of “Dig My Shit.” The Back from the Grave-inspired cover art is priceless, with the Blues Explosion rising as the undead to shovel dirt into the grave of Tori Amos, the Pixies, Smashing Pumpkins , Pearl Jam, and Oasis. This shit is what rock’n’roll is all about. –Josh Benke (In The Red)

JOHN STAMOS PROJECT, THE:
Take Your Best Shot: CD
Okay. There are few things I dislike as much as punk bands singing about their popular, preppy girlfriends. To paraphrase Turbonegro, “Punk rockers should go out with punk rockers.” I mean, if I went out with some boy who liked Dave Matthews Band and shopped at the Gap, well, I’d try to keep that a SECRET, not record a song about it! Geez! Lame! So, um, this band sings generic pop punk songs about having preppy girlfriends, being in a band to get “chicks,” and why Billy Joel stinks. I can only relate to the last of those three. If this were a cereal, it’d be Kashi – that weird cereal middle-age women eat to lose weight. Uncool. –Maddy (Reinforcement)

JOHN THE BAKER / MILLIONS OF DEAD COPS:
Unplugged: Split 7"
Look, I fully recognize MDC’s place in our collective history, and I acknowledge that so much of their lyrical output was based on sarcasm, and I’ll be the first to tell you that, generally, I’m a pretty uptight dude… but holy fuck, this is cruddy. Two songs by MDC, the first a sing-songy campfire ditty about killing cops sung by a nasally guy that I hope to shit is not Dave Dictor, the second a woefully overly dramatic cover of Agression’s “It Can Happen.” John The Baker doesn’t fare much better—two songs that sound like an angry grandpa groaning over his grandson’s instrumental attempts to sound like that slow Stone Temple Pilots song. I mean, the record looks beautiful (a screen-printed cover with Eric Drooker art), John The Baker contributes a pretty interesting insert about winning a case against the police in his hometown and eventually getting some fucked-up cops thrown off the force, and both of these dudes have been active contributors to the punk scene for a long time, but if I have to hear John the Baker screech “The cops are fucking little girls!” one more time I’m going to hurl. As a whole, the record’s just too hokey and poorly executed. –Keith Rosson (Tankcrimes)

JOHN WALSH:
Demos: CD-R
Listening to these songs got me wondering what the point is to being a gimmick band. I was in one once, and, sure, people might initially laugh along or show up at shows, but interest will surely fade at some point, and it may seem like more people are laughing at you than with you. Not to say that you can’t have some goofy fun with music, but I think that in the end, the amount of interest a band can sustain probably correlates to how deeply they connect with a listener. That said, John Walsh plays positive hardcore, but not necessarily in a cheap way. Consider the line, “There’s a huge difference between what I do, and what I want to do. Man, I wish it wasn’t so.” I mean, who can’t connect with that? Through six quick songs, John Walsh toe the unusual line between being hilariously awesome and solemnly thought provoking, and their cover of “You’re the Best” from Karate Kid staunchly sits in the former. –Nick Toerner –Guest Contributor (Self-released, www.myspace.com/americasmostpositive)

JOHN WALSH:
Self-titled: CD-R EP
I swear Nick from Razorcake did not put me up to this, but two Jon Weiner reviews in one issue? Ridiculous! More straight ahead hardcore; think “TV Party” on happy pills. Apparently John Walsh is high on life, and so are these dudes. Every song ends with an exclamation point, so you know they really mean it. Really! When you see them live, make sure you get the art of the high-five down or they will laugh at you. –Sean Koepenick (No label)

JOHN WALSH:
Home: CD-R
John Walsh is a joke band, but a pretty fucking funny one at that. The twenty fast hardcore songs featured here include “The Best Fucking High Five Ever!” and “What I Say Is Heck Yes!” Instead of backing vocals (or “shout outs,” as one might expect from this subgenre), you get whistling. Yes, whistling. John Walsh is kind of reminiscent of Fat Day, but not quite as classy. –Art Ettinger (Self-released, myspace.com/americasmostpositive)

JOHN WESLEY COLEMAN III:
Steal My Mind: LP
I don’t know why I’m having such a hard time finding the words to express just how good this album is, but for some reason I can’t put my finger on exactly what keeps me going back to the turntable to play this fucker again and again. Having heard the Golden Boys and digging them a hell of a lot, I thought that an album by one of them would sound a little different. Like what? I’m not sure, but not like this, and not this good. This record sounds like the Cheater Slicks decided to record with a big time Nashville producer and Bob Dylan’s organ player. There’s even a little Velvet Underground influence going on on side two. Standout tracks are “Donkey Song,” “I Can’t Sleep,” “Where Did My Friends Go,” and “There Goes My Baby.” Track this down and play the shit out of it. –Josh Benke (Certified PR)

JOHN WILKES BOOTH:
Sic Semper Tyrannis: CD
Next to each member’s name is a list of what company made/provided their gear, and the picture on the disc itself is of a penny with “In Rock We Trust” written across the top. I think that says all you need to know. –Jimmy Alvarado (www.jwbooth.net)

JOHN WILKES BOOZE:
self-titled: 7”
This outfit rocks and rolls southern style while wielding a white-hot poker, swinging at your head punker style with the rasping and ripping “Whiskey and Pills” and cooling out on the flip with a tune called “Marc Bolan Makes Me Want to Fuck,” complete with slide guitar. I can totally see these guys raging onstage with Throw Rag or even Tom Waits. Like to see a full length from JWB, hell yeah! Even the name of the band kicks ass! –Designated Dale (Family Vineyard)

JOHNIE 3:
Self-titled: CD
I really wanna hate this, ’cause it’s from what is essentially another Queers clone band, and lord knows we can’t be going around encouraging creatively and originality starved musicians such as those that think sounding exactly like another band is a good idea. Of course, there is much to hate here, especially around the lyrics, which are beyond dumb-in-a-bad-way, and the affected whine in the vocals. I’ll be damned if they ain’t kinda catchy, though, which is more than I can say about the bulk of their contemporaries. I guess they are the “Queers rip-off” equivalent of throwing crap at a wall repeatedly and finally having something stick. Ultimately, I find I don’t hate it, but I don’t exactly respect it, either. –Jimmy Alvarado (Cheapskate)

JOHNNY BODACIOUS & THE BAD ATTITUDES:
From Here to Outer Space: CD
I really had no idea what to expect upon seeing this for the first time, but upon listening it kind of made me think of what it would sound like if Delay were more into metal than Green Day, in that it’s fairly youthful and energetic sounding, with a touch more technical(-ish) parts in the songs. (I actually would’ve said “later-era Propaghandi” instead of metal, but the songs don’t strike me as being political, at least not to any “The public transit systems are a racist bullshit institution” levels [yeah, that’s about as best I can do there.]) It plays a little weird since it’s apparently a collection of some old stuff and new stuff, but it’s not bad, and I’d be interested in hearing more down the line. –Joe Evans III (Cassette Deck)

JOHNNY CASH:
American III: Solitary Man: CD
CDIt's a cold dreary rain-drenched day outside the frost-tinted windows of this inner sanctum I call home. And it effortlessly reflects a drab colorless world of bleak black-and-white motionless imagery that seems all-at-once uninspired, semi-detached, fragmented, and none-too-eager to greet any hapless wayward individual wandering the desolate trash-strewn streets of this tired old town on such a miserable winter afternoon. So I restlessly cradle a can of lukewarm beer while intently listening to these solemn spirit-enriching songs of solitude, the sometimes disquieting loneliness of life, and eventual redemptive hope via the proverbial effervescently shining light at the end of salvation's tunnel. "American III: Solitary Man" is an all-acoustic slice of rural Americana, a stark somber soundscape of haunting melodies that indelibly touches a man deep in the furthermost recesses of his soul. It aurally conjures rustic images of simplistic domesticity in a pastoral countryside sprawl, beat-up old run-down pick-up trucks, festive Sunday picnics spent euphorically indulging in the soothing sun-splashed splendor of a gentle Spring breeze, history and heritage and unrelenting pride, native tribal Indian spirits ghost-dancing in the tall sinewy grass of the windswept High Plains region, a burnt-orange sun slowly setting on the barbed wire-ridden rugged terrain of the wild untamed West, and solitary frontiersmen tombstones basking in the ominous snow-speckled shadows of a moonlit winter's night. The sparse instrumentation (acoustic guitars and an occasional accordion, fiddle, piano, and organ) flawlessly complements the swaggering unfaltering voice (haggard, time-worn, and aged to perfection) of Mr. Cash, a picturesque voice as deep and dark as the bottomless depths of a coal mine and as rich and textured as freshly plowed fertile Tennessee soil. As always, his original compositions are pristinely saturated with down-to-earth country charm that's as idealistically inspirational as it is unique and entertaining. And he reverently takes a diverse assortment of songs from a vastly differentiating array of notable composers (Tom Petty, Neil Diamond, Bono, Nick Cave, and others) and skillfully crafts them into his own with an elegant touch of expertly chiselled clarity. Indeed, his inate aural ability to speak to and for the common man (no matter what race, color, or creed) has become his true lasting legacy, an indelible essence forever imprinted in the hearts and minds of those who recognize the message in his music. Ladies and gentlemen, the inimitable legendary Man In Black, Mr. Johnny Cash... –Roger Moser Jr. (American)

JOHNNY CASH:
American III: Solitary Man : CD
It's a cold dreary rain‑drenched day outside the frost‑tinted windows of this inner sanctum I call home. And it effortlessly reflects a drab colorless world of bleak black‑and‑white motionless imagery that seems all‑at‑once uninspired, semi‑detached, fragmented, and none‑too‑eager to greet any hapless wayward individual wandering the desolate trash‑strewn streets of this tired old town on such a miserable winter afternoon. So I restlessly cradle a can of lukewarm beer while intently listening to these solemn spirit‑enriching songs of solitude, the sometimes disquieting loneliness of life, and eventual redemptive hope via the proverbial effervescently shining light at the end of salvation's tunnel. "American III: Solitary Man" is an all‑acoustic slice of rural Americana, a stark somber soundscape of haunting melodies that indelibly touches a man deep in the furthermost recesses of his soul. It aurally conjures rustic images of simplistic domesticity in a pastoral countryside sprawl, beat‑up old run‑down pick‑up trucks, festive Sunday picnics spent euphorically indulging in the soothing sun‑splashed splendor of a gentle Spring breeze, history and heritage and unrelenting pride, native tribal Indian spirits ghost‑dancing in the tall sinewy grass of the windswept High Plains region, a burnt‑orange sun slowly setting on the barbed wire‑ridden rugged terrain of the wild untamed West, and solitary frontiersmen tombstones basking in the ominous snow‑speckled shadows of a moonlit winter's night. The sparse instrumentation (acoustic guitars and an occasional accordion, fiddle, piano, and organ) flawlessly complements the swaggering unfaltering voice (haggard, time‑worn, and aged to perfection) of Mr. Cash, a picturesque voice as deep and dark as the bottomless depths of a coal mine and as rich and textured as freshly plowed fertile Tennessee soil. As always, his original compositions are pristinely saturated with down‑to‑earth country charm that's as idealistically inspirational as it is unique and entertaining. And he reverently takes a diverse assortment of songs from a vastly differentiating array of notable composers (Tom Petty, Neil Diamond, Bono, Nick Cave, and others) and skillfully crafts them into his own with an elegant touch of expertly chiselled clarity. Indeed, his inate aural ability to speak to and for the common man (no matter what race, color, or creed) has become his true lasting legacy, an indelible essence forever imprinted in the hearts and minds of those who recognize the message in his music. Ladies and gentlemen, the inimitable legendary Man In Black, Mr. Johnny Cash... –Guest Contributor (American)

JOHNNY CASINO’S EASY ACTION:
We’ve Forgotten More Than You’ll Ever Know: CD
Swaggerin’, punky, soul-infused rock’n’roll here from a band that ain’t too bad at what they do. Dunno if I would classify this as mandatory listening, but it doesn’t exactly hurt the ol’ sound-holes. –Jimmy Alvarado (Steel Cage)

JOHNNY CHEAPO:
Rock-N-Roll Sinner: CD
Imagine a less political Sloppy Seconds. Yes, you read that correctly –Jimmy Alvarado (Smut, no address)

JOHNNY COCK AND HIS NUTS:
Tear You a New One: CD
You gotta love a good scum-rock band. Meatmen, Dayglo Abortions, Kill Allen Wrench… It’s just a good feeling to know that there is someone out there sicker than you. Johnny Cock and the Nuts are now apart of that prestigious group. The band plays tight yet chaotic punk rock that’ll get you moving and the lyrics just might get you puking a little in the back of your throat. It’s not all sleaze though. You also get boozing and Bush bashing for your buck here. Throw in a live set at the end of the disc and call it a damn fun time! –Ty Stranglehold (Bitch Slap, no address)

JOHNNY COCK AND THE NUTS / PUBLIC DEFECATION:
Up Split Creek Volume 1 Split: CD
It’s a scum punk standoff! Johnny Cock And The Nuts going up against Public Defecation in a no holds barred rumble. JC And The N make the first move. Uh oh. It’s a song about getting old… but wait, what’s that they’re following it up with? It looks like a Motörhead cover. That’s got to hurt. And what next? Songs about booze, babes, and Santa Claus. But they spelled it “Santa Clause.” Someone’s been watching bad Tim Allen movies again, and that’s just the opportunity that PD needed to sneak in with “The Beginning of the End.” Absolute violence. Growling, grating and blood-spilling. The sound of feces and razors, wielded with anger. The winner of this match is clear. –MP Johnson (Records On Tap))

JOHNNY ILL BAND:
Self-titled: 7”
Anthemic rock on the end of the Indie Brooklyn sound: part poppy punk, part post-country twang, start and stop vibes. That usually means one listen and out for me, but I like this one. Spazzy-sounding singer/guitarist with some good harmonies. I hope he breaks shit at shows. –Speedway Randy (Kaboodle, myspace.com/kaboodlerecords)

JOHNNY MANAK & THE DEPRESSIVES:
Rebound Town: CD
Adequate but not overwhelming punk/rock/roll that is currently reminding me of a street level version of the shorter/punker/better songs off of the Ramones Pleasant Dreams LP, except for the guitar leads, which remind me of End of the Century, and “It’s OK That You Miss Her,” which reminds me of that whole “Taxman”/”Start!” thing. “Gimmie Rock and Roll” is weak. That’s all i got. BEST SONG: “Every Night’s a Friday” BEST SONG TITLE: “She Said Yeah” if you’re Larry Williams; “Young Girls” if you’re Motörhead. FANTASTIC AMAZING TRIVIA FACT: Johnny Manak played all the instruments on this album. I salute his self-sufficiency! –Rev. Norb (Reach Around)

JOHNNY THROTTLE:
Stukas Über Shoreditch: 7”
Now this is what I’m talking about! Rockin’ punk that brings to mind the likes of Smut Peddlers, The Fakes, Broken Bottles, or any number of the Hostage Records types of bands. Gang back ups, a touch of piano here and there, and a helping of hand claps in the mix and you get the idea. I can’t get enough of this! That’s it Johnny Throttle, you’re on my list. I want more! –Ty Stranglehold (Wrench)

JOHNNY THROTTLE:
Stukas Uber Shoreditch: 7”
Not the most original take on ‘77 style punk, but these English punk rockers hit all the right notes. Kinda slow, like the Sex Pistols, but with a flair for the dramatic. –Jim Ruland (Wrench)

JOHNNY THURSDAY AND THE FRIDAY KNIGHTS:
Ruin It for Everyone: CD
Really dig the vocals on this one. Just the kinda higher pitched, vaguely glammy voice I like. It’s almost a cross between Brian from the Trash Brats and Mark from the Ducky Boys. If they were playing Dolls/Heartbreakers style glampunk, I would be all over this. Unfortunately, the songs are really fast and the two guitars are going nonstop: no real dynamics to speak of. This reminds me a whole lot of a band like the Turbo A.C.’s or the Gotohells, almost great, but just missing something. Too much guitar, not quite enough vocal hooks; the songs just aren’t quite there. Good ballad though, which, in all seriousness, is high praise from me. I am a big ballad fan and it is rare that I hear a good one, especially from a punk band, which just makes me think that if they slowed it down a bit, this band would kill. They would be a good band to see on a Friday night, but on this disc, there’s just not enough here to warrant repeat listenings. This singer should do an acoustic record. I bet that would be freakin’ awesome. –Mike Frame (Hangmen)

JOHNNY VOMIT:
Extreme Championship Drinking: CD
Not for the politically correct crowd, this Chicago punk band still may put a smile on your face with songs like “Boozehound” and “Beer Bong Barf Bag!” A cool mix of punk and metal, these guys are pros, having been in the biz for twenty years now. So you know the chops presented here are tasty. Kudos on the bonus tracks too—any band that covers Gang Green and Girlschool on the same CD is top banana in my book. –Sean Koepenick (NGS)

JOHNS, THE:
In Tune: 7” EP
A-side sounds like a cross between any Ramones song C.J. ever sung and “Fight For Your Right” by the Beastie Boys, the latter only tangentially. The first half of the B-side sounds like Orange County’s ten-years-too-late answer to the Humpers, who were, for the record, a great band (at least some of the time). Second half of the B-side has a little guitar that reminds me of later Vandals, but, other than that, i’m stumped. You could play me this record, show me the cover, show me pictures of the band, and tell me they were from any year from 1983 or so til the present and i would believe you. BEST SONG: “Wanna Die” BEST SONG TITLE: “Wanna Die” i guess FANTASTIC AMAZING TRIVIA FACT: The record came with a CD-R of the songs—a practice which, square as it may seem, i strongly endorse. –Rev. Norb (Anko)

JOHNSON FAMILY, THE:
No Forwarding Address: CD
An English trio’s stab at bluegrass/rockabilly. The music ain’t too bad, but the vocals are a bit out of place, sounding a bit too Cockney instead of country for this to work. –Jimmy Alvarado (www.cherryred.co.uk)

JOLENES, THE:
Rinse and Repeat: CD
Cutesy girly pop. Hand me a barf bag quick. –Jimmy Alvarado (Last Chance)

JOLLY:
Forty Six Minutes Twelve Seconds of Music: CD
In case the overly precious and ridiculously pretentious title wasn’t enough to tip you off, this music takes itself very seriously. There are very few styles of music that I have absolutely no patience for, the top style being prog rock or progressive music in any sense. This disc is P-R-O-G to the hilt. Therefore, it is like kryptonite to my ears. Progressive music is the embodiment of everything I dislike about music. Gimme simple and stoopid any day. The band’s record label has the following to say: “Embedded throughout the album are various forms of brain wave stimulation known as Binaural Tones. These tones are scientifically proven to enrich feelings of happiness, focus, creativity, and relaxation through inaudible changes in audio frequencies.” Bleeeaaaccchhh. –Mike Frame (Galileo/ProgRock)

JOLT, THE:
self-titled: CD
Prime-grade English mod-punk from way back when that’ll whet the appetite of both the average Jam fan and the average punker with a jones for something good that predates Ronald Reagan’s presidency. Included in the deal are extra tracks from assorted singles/EPs and a great cover of “Whatcha Gonna Do About It?” Pretty up there on the recommendation list. –Jimmy Alvarado (Captain Oi)

JOLTS, THE:
Jinx: CDEP
Total garage punk, as evidenced by singing, “I got stabbed in the eye to-n-eyeaaaght,” instead of “tonight!” Yes, it IS a difference, and a significant one appreciated only by the kind of people who spend time trying to figure out whether 20/20 or The Beat could be considered the epitome of power pop. (Jury’s still out on that one, as I continue to lose brain cells thinking about it.) If this were a local band, I’d buy them beer and candy...and even go to their shows! This is Fruit Loops! Yum! –Maddy (self-released)

JOLTS, THE:
Haute Voltage: CD
Picked this up ’cause I thought it might be something new (or at least a “best of” or something) from the old mod band The Jolts, but this is a modern band from Vancouver. They call themselves “punk,” and I ain’t gonna argue with them on that point, but what I’m hearing musically draws just as much from the “rock” end of the spectrum as it does the “punk.” The songs are loud, tight, and very catchy, which means they weren’t painful to listen to and I’m betting they’re even better live. –Jimmy Alvarado (www.hautevoltagerecordss.com)

JOLTS, THE:
Kaminari Lover: 7"
I’m guessing this is the Canadian band and not a third band using the name. Two more tracks of rock/punk that aren’t bad as far as that stuff goes. “Kaminari Lover” is a bit plodding in delivery but still manages to be catchy, while “Loser (Baby I’m a)” hits the spot much better. –Jimmy Alvarado (nofrontteeth.net)

JON COUGAR CONCENTRATION CAMP:
My Brain Hurts: LP
The story behind this record is that while Chris Fields was recording the new record by the Bugs (featuring former Queers/JCCC band mate Dave Swain), Chris and Dave used the extra studio time, got together, and recorded Screeching Weasel’s legendary My Brain Hurts (don’t tell anyone, but Wiggle is actually my favorite SW record) as a surprise birthday present for international pop superstar Josh Mosh (of Sunnyside and the Phuzz). Josh Mosh then told Chris that the record was rad and suggested he put it out. Luckily for us, Livid Records agreed with J-Mo’s recommendation and this shit is out on vinyl for your listening pleasure. (And luckily for me, I got to catch them play a couple of these at North Park Awesome Fast this summer. Two times!) Limited to 500 with artwork by Cristy Road, who beautifully did the artwork for Recess’s re-release of My Brain Hurts earlier this year, as well. The songs here retain all of the charm of the originals, plus get a little kick in the pants by the Coug’s leather jacket swagger. Chris’ vocals are gruff and gritty and ripping solos fly throughout the record. Stand-out tracks include “Guest List,” “I Can See Clearly,” “The Science of Myth,” and, of course, “My Brain Hurts.” This comes highly recommended. –Jeff Proctor (Livid)

JON SNODGRASS:
Visitor’s Band: CD
It takes time to distill a crooner voice into an appealing raspy tone. Jon Snodgrass has the scars to back the bark in his rootsy whiskey tenor. Being in bands for almost twenty years now, Snodgrass continues perfecting his voice with his solo project. Visitor’s Band stylistically locks into the same vein as other Drag The River records but, of course, it’s Snodgrass calling all the shots. These tracks are also less twangy than the full band efforts. To his appeal, he’s showing no signs of getting any younger, but Snodgrass surely isn’t letting that get in the way of his song craft. He’s already done shows with Joey Cape of Lagwagon to promote his solo stuff and Drag The River has shows scheduled for this summer. With the combination of tireless work and a life devoted to music, Snodgrass knows what nails to leave unhammered in his songs. Surprisingly, he’s able to make alt-country both more accessible and harder edged with this work. “Not That Rad” is a fine mix of rock, country, and pop. Perhaps it’s not rad, but there are eleven fine tunes here. –N.L. Dewart –Guest Contributor (Suburban Home)

JONBENET, THE:
The Plot Thickens: CD
Blood Brothers-inspired sweat-spazz freakout right here. The Jonbenet toe the line. They’ve got moments where they sound crazed like the Locust, moments where they sound versatile but intrinsically gutted like the Plot To Blow Up The Eiffel Tower (when that band’s really cooking and laying off the dull jazz interludes), odd dancey sections, and moments where the vocalist gets all heartfelt, runs his vocals through a fuzzbox, and emotes all rock-style like, uh, Candlebox? Matchbook Twenty? Some band like that. Thankfully, they keep those moments in check, and this album (which comprises their first two seven-inches) is for the most part pleasantly spastic and wigged out. The cat can really scream his friggin guts out when he wants to, too, and the end result comes down to the fact that this band seems to be teetering right on that ugly precipice of sounding just a bit too sassy and cute for their own good, but for the most part I’m still into it. –Keith Rosson (Pluto)

JONES STREET BOYS:
Self-titled: CDR
I recently had the perverse pleasure of wickedly witnessing the rowdily roarin' punkrock wrath of the Jones Street Boys live, loud, and full of unrelenting, skull-walloping fury here in Longmooo of Hades, and I was so overwhelmingly wide-eyed and impressed with their sonically scorchin' set (which included raucously wild renditions of the Ramones' "The KKK Took My Baby Away," Johnny Cash's "Folsom Prison Blues," and Fear's "I Love Livin' in the City") that I shamelessly pleaded with their larger-than-life vocalist to generously give me this here fine-shined sparkling platter of robustly pristine cowpoke punk (indeed, I would've gladly paid for it no matter the cost, but I'd already gluttonously depleted all of my monetary funds on several containers of cold frothy mind-debilitating beverages... drunkenly keepin' my priorities straight, don't ya know!). Like their frenetically fierce stage presence, the Jones Street Boys on CD assuredly do not disappoint in the very least... it's audial lawlessness at its most smokin', sizzlin', gritty, greasy, and savage: gruff whiskey-gargle gravelgut vocals, blazin' buzzsaw guitar struttings, a big bad bass rocketing and rumbling like there ain't no end to tomorrow, and stompin', bone-crushin' whirlwind drumming madness! These are the true sounds of wayward unruliness, disorderly decadence, and debauched drunken recklessness... this is the nihilistic soundtrack for a forgotten generation of rebelrousin' ruffians runnin' wild and belligerent in the crumblin' streets of Yourtown, USA... this is punkrock as it is and always should be; all else miserably fails in comparison. –Guest Contributor (Joey Essex)

JONESES:
Tits and Champagne: LP
Finally I have a chance to actually own a copy of this hard to find 1989 release. I had heard it over the years, but never actually come across a copy. Real good record here, if a little cover heavy. I can‘t get enough of those Joneses originals, so every cover song is just another Drake tune I am not getting the chance to hear. Small gripe, really, as the covers all smoke. Considering that a lot of sunset strip glam band copped their style and sound from the Joneses (esp. GNR), it is amazing to hear how raw and rockin’ and unaffected by the L.A. sound the Joneses were even in 1989. This is still just pure Chuck Berry meets New York Dolls and Aerosmith, just like all the great Joneses stuff. Watch for more Joneses reissues from Full Breach Kicks. –Mike Frame (Full Breach Kicks)

JONESES:
Keeping Up with: CD
Reissue of this classic album, appearing here on CD for the very first time. A great lost-in-time slice of glampunk goodness! Just predating the GNR explosion, the Joneses were Sunset Strip glam rock before it got watered down and stupid. The focus is on songs and killer sound; the look is there but much cooler. A killer cover of Aerosmith’s greatest song “Chip Away the Stone” is included and it is a raging take. Great liner notes by Jeff Drake in the booklet. Just a great, great album for fans of rock’n’roll. Watch for more Joneses stuff coming from Full Breach Kicks. –Mike Frame (Full Breach Kicks)

JONESES:
Criminals & Tits and Champagne: CD
Goddamn, I love them Joneses! Full Breach Kicks does all glam and punk fans a favor by compiling these two rare 12” singles onto a shiny compact disc. The first time on disc for both and they also happen to work quite well as an album together. Twelve tunes fulla Thunders style hooks and snotty punk rock’n’roll vocal delivery. Occasionally veering into rockabilly and even garage, the Joneses are a great mix of everything that makes rock’n’roll great. Both of these killer records are also available on vinyl. –Mike Frame (Full Breach Kicks, www.fullbreach77.com)

JONESES:
Criminal History: 2 x LP
What we have here is a reissue of the Joneses collection that originally came out on Sympathy For The Record Industry at the beginning of the decade. That collection went out of print rather quickly and became quite sought after. This is an excellent overview of this amazing band and this new version is available on vinyl for the first time. In addition, there are bonus demo tracks here that are quite awesome, unlike the usual throwaway bonus tracks. The Joneses are one of the greatest bands of all time and this is a fantastic introduction to the band for anyone who has yet to hear them. –Mike Frame (Full Breach, fullbreach77.com)

JONESES, THE:
Tits and Champagne: LP
I was just talking to my girlfriend Mor about this: The Joneses were a good band, but hardly groundbreaking. I mean, if it were the mid ‘80s and they were playing the Whisky (the Whisky was still a decent venue in the ‘80s), I’d go; but it’s not like missing, say, The Gun Club or something—a band that—along with X to a lesser extent—really had something cerebral to say and innovative music to get across. And I think The Joneses might agree with me. I’ll explain: The Joneses were a trashy band, hopped up on booze and heroin—L.A.’s answer to The Heartbreakers. They fucked a lot of women, had a good time, played their Les Pauls down around their ankles, and then broke up. I think some of them might be in jail right now—at least that’s what I’ve heard. This record, which came out in 1989, must have been something of a godsend to rock fans, considering nothing was happening in ‘89. And, yeah, it’s still a nice piece of vinyl, by a bunch of guys who could have been Johnny Thunders stunt doubles. The only problem I have with The Joneses is that the lifestyle they exuded—the Peter Laughner, Lou Reed, Jeffrey Lee Pierce, Johnny Thunders bit—is currently killing some of my friends who buy that shit hook, line, and sinker. Bummer. –Ryan Leach (Full Breach Kicks)

JONESIN / DUDE JAMS:
Split: 7"
Dirt Cult Records knew this was one of the most anticipated 2009 releases among the underground pop punk circles, so they went ahead and pressed these on their patented yummy orange Tic Tac vinyl! If I didn’t love these songs so much, I’d take a goddamn bite out of this flat Tic Tac right fucking now! Jonesin: ‘90s Minnesota pop punk meets ‘90s EastBay punk rock. Dude Jams: The Queers invented the flux capacitor and then hijacked some plutonium from some terrorists and installed both into a DeLorean and went back to the future, y’all! –Mr. Z (Dirt Cult)

JONESIN’ / DUDE JAMS:
Split: 7”
Jonsesin’: It’s fun to think that if Sasquatch was a hobo who was in a punk band and then he lit himself on fire accidentally from falling asleep in bed while smoking. Oh yeah, and he was in a pissy mood and had a powerful backup band. One song about choking on bad geography, and on the slower second song, the fire turns to smoky-voiced anthems of breaking down. Dude Jams: Is a studio band of an ex-Grumpies dude, who’ll play out occasionally with a full band. The “music critic” in me struggles against the feeling of “This is too easy. I already know these songs,” but the dude in me really likes a song like “Shit Fit,” where it’s totally and simultaneously like and unlike The Knack: duct tape as wallpaper, self-loathing in dirty pop sensibility, and undeniable bounce and sing-along-ability. Fun. As an added bonus, played this as per the label’s instructions at thirty-three and it’s not-so-bad doom, so you get two records in one. –Todd Taylor (Muy Autentico / Dirt Cult)

JONNY AND THE GROADIES/CORPSE FUCKS CORPSE/GIFT OF GOATS/GET GET GO:
Untitled: LP
Jonny: Pummeling, vaguely black metal sounding noise. Corpse Fucks: Disjointed noisecore with tons of tempo/meter changes. Gift of Goats: One stunner of a band who play wholly varied, wholly original hardcore (apparently no small feat these days). The closest equivalent I can muster is Black Flag at their pain-drenched prime, although these guys sound nothing like them. Get Get Go: More skronk, this with more going on than the first two bands in terms of dynamics. Can’t say much else about these bands due to a startling dearth of info included. Recommended for the Gift of Goats tracks alone. –Jimmy Alvarado (Omnibus)

JONNY MANAK AND THE DEPRESSIVES:
Rebound Town: CD
NorCal take on the garage punk sound the Pacific Northwest made world famous in the ‘90s. Good because it sticks to the peppy, time-tested Fumes-like formula. Bad because that’s so last century. –Jessica Thiringer (Reach Around)

JONS, THE:
The Queen of the Abyss: 7”
The first song on Side B is “Electric Kool-Aid.” Someone in the room just said, “Whoa, this band is riff-o-matic.” I couldn’t have said it better myself. They paid extra for the fixed groove on the record that repeats the same thing over and over and over again so the record never actually ends. It’s a burping sound. That’s pretty cool. This band has something going for it, and lyrics ain’t it. Lyrics are on the boring side, but if you have a glass of Electric Kool-Aid, you probably won’t care. –Corinne –Guest Contributor (Wallride)

JONUH:
Self-titled: CDEP
This isn’t too bad, rather rockin’ and melodic, but man-o-man, what cheesy lyrics. Still, this is a kind of a good record when one looks beyond that. But something still sticks in my craw, though. The band’s look and sound reminds me of stuff from the late ‘80s, but not quite, as if this could have been a Taang! record from 1991. Somehow that irks me. Maybe the problem is that this appears to be a self-produced record but it has very slick packaging; using Daddy’s money for a punk(?) band? Okay, final word: decent (if retrophonic) music; rehashed early emo lyrics. Final score: above average, but not by much. –The Lord Kveldulfr (www.jonuh.com)

JOSE PHINE:
Self-titled: Cassette
This is screamy. Heavier than screamo stuff, but with similar breakdowns and slow, melodic parts. I can’t understand what the singer is saying at all, despite the fact that most of the lyrics are in English. Much better recording than I was expecting, considering it’s a cassette. Assuming there are not tons of bands like this in Malaysia (although maybe there are—an investigative visit may be in order), I am excited that Jose Phine is playing this kind of stuff, but I couldn’t get too into it. The screaming just puts me off. It hogs all my attention and I can’t get around to the music. However, if full-on screaming is your bag (or if you can ignore it), maybe you should check it out. Comes in a plastic, blue-colored sleeve, with a small insert with lyrics and a few dark photos. –Jennifer Federico (Utarid Tapes, myspace.com/utaridkaset)

JOSEPH LARKIN:
The Very Special World of Joseph Larkin: CD
Andrew Dice Clay made a record (I think it was The Day the Laughter Died, but I’m not sure), where he attempted to do stand up in front of a crowd of people completely unfamiliar with his material (I also think he made up jokes on the spot, but again, not positive). This is pretty much seems to be the underground equivalent, as it’s over an hour’s worth of a dude bombing at assorted open mics throughout Louisiana (the track listing points out some that “Got me banned”). I want to like this, but it’s not particularly interesting. There’s a lot of self deprecation, which doesn’t work when it sounds like the comedian isn’t over what’s gotten him down in the first place. There’s also a really pretentious attitude throughout the whole thing, even though the material is the lowest of low brow (“My parents died! Because I raped them! Bwaha!”), and he just strikes me as the kind of guy who I’d say hi to at a party, just to get a ten minute rant on how “Everything’s bullshit, man.” Maybe he’s going for a weird Andy Kaufman thing. Lots of people pull that instead of really trying to work on material and it’s a copout. I’m really into the idea of more underground comedy and having it cross over with music, but, ultimately, I can’t get into this. I don’t think Joseph made this to be liked, so I guess everyone wins. –Joe Evans III (Also-Ran)

JOSH FREESE:
The Notorious One Man Orgy: CD
You know Josh Freese best as our generation’s Jim Keltner or Kenny Aronoff: he’s played behind, well, everybody it seems, but off the top of my head: Guns ‘N Roses, Paul Westerberg, Devo, F.Y.P and he’s a full-time member of both the Vandals and A Perfect Circle. Here he takes a solo tack that’s mostly a Vandalsesque side project with Josh playing all the instruments and writing all the material but sports some heavy-hitter guests like Stone Gossard from Pearl Jam to throw in a curve ball; the result is pretty damn enjoyable. May not rise to the top of your “favorites” pile but you won’t regret putting it on - it’s a tremendously witty record, from the dollar-signs in his name on the cover (i.e. Jo$h Free$e) to the album’s title to the cut-up and looped answering-machine messages that are interspersed throughout. And hey, if any of Josh’s bands are so kind as to allow him to do a song from this record live, make it “PlayboyMansion,” eh? –Guest Contributor (Kung Fu Records)

JOSH PLEMON AND THE LONESOME DRIFTERS/ THE ACCELERATORS:
Split: 7”
What we have here is a country version of the Clash’s Bankrobber done by Josh Plemon And The Lonesome Drifters. It has a western gallop feel to it and is done well. The original is still better—interesting interpretation though. The Accelerators’s song is forgettable old school garage punk. This won’t be getting too many spins on my record player. –Buttertooth (self-released)

JOSH SMALL:
Tall: CD
This guy plays the Fest in Gainesville every year. It fits right in with the folk element of some of the Gainesville stuff, like Whiskey & Co. stylistically, at least. Josh Small is from Falls ChurchVA, a small suburban township in central VA that is away from the politics of WashingtonDC and the big city lights of NYC. The idea seems to lean toward a mountain man approach to modern living. The music is mellow and very folky with banjo. If you like bluegrass, Bob Dylan, and maybe, as a stretch, some Crooked Fingers stuff, you might like Josh Small. Mellow out by the campfire with a bottle of whiskey to keep you warm with this one. –Buttertooth (Suburban Home)

JOSHUA GAGNE:
Self-titled: CD
A guy with a guitar. The type of stuff that you here sensitive hippies get all gooey over. Gagne is making what appears to be a sincere attempt at sensitivity and perceptivity, but he relies too much on hackneyed imagery in this pursuit. And he talks through a bunch of the songs, and not in an entertaining fashion. Near the end of the record he has some songs that are a bit more innovative both musically and lyrically, and these songs certainly work much, much better, but I had to slog through too much crap to get there. I could imagine him playing on a street corner and tossing a quarter in his can merely out of pity. There is potential in this guy, but he’s got a long way to go. –The Lord Kveldulfr (no label: www.myspace.com/joshuagagne)

JOYFUL SOUNDS:
Demo: CD
If you’re able to get past the fact that the lyrics sheet contains a drawing of two asses farting lightning, you get some good old fashioned ’80s styled hardcore. Despite the fact that their first song talks about moving on and doing new things, these guys show some promise. If they could get their songwriting a little tighter and show a little more variation, these guys could be a force to be reckoned with in the future. Bryan Static –Guest Contributor (Brain Constipation, www.brainconstipation.com)

JOYKILLER, THE:
Ready, Sexed, Go: CD

Funny thing, drinking is. Seeing as I dug the last TSOL album, Todd gave me this ‘cause I’d told him I’d never heard any of Jack’s post-TSOL/Cathedral of Tears bands. As soon as I pressed play, though, I found myself thoroughly perplexed at my ability to sing along with damn near every track on this. Then it hit me: not only had I heard Joykiller before, I’d actually owned a couple of their cassettes, lost long ago and subsequently shrouded in the drunken haze that other people would probably identify as the 1990s. DOH! Sorry for unwittingly fibbing to you, homie, but you know how it is…. Anyway, this is an anthology of tracks culled from their three albums, plus a few unreleased tracks originally slated for release under the names “The Go” and “Gentleman Jack.” While the songs are just as swell as they were when originally released, it’s especially nice to hear the band’s progression from “good punk band” to “good punk band with some startlingly solid songwriting skills,” all in the space of one 80-minute disc, and the new tracks are just as swell as the older, more familiar tunes they accompany here. It’s also interesting to hear what is arguably the bridge from vintage TSOL to the current TSOL. Kinda helps to make a little more sense of that “comeback” album of theirs, Disappear, which took a little digging to find that old magic, ‘cause listening to this shows step-by-step what they piled onto that classic sound, thus making it easier to excavate it from their more recent work . But, in a sudden glut of overanalyzing, I digress. This is one fine album, buy many copies to make sure you always have one on hand and I thank both Epitaph and Todd for helping me to recapture some seriously lost memories.

–Jimmy Alvarado (Epitaph)

JOYKILLER, THE:
Ready, Sexed, Go!: CD
This is an anthology of Jack Grisham’s last band before he reunited TSOL. I personally liked the self-titled first album. Ron Emory played guitar on that record and he added that TSOL/Beneath the Shadows feel. I had lost interest when I heard the second record: Static. Ron Emery was not playing. I also thought at the time that they sounded too Cathedral of Tears / Tender Fury to me. (Jack’s bands after TSOL.) I saw those bands a bunch of times but I was too punk rock and ignorant back then to enjoy it. Their last release was Three. I didn’t even listen to that one. Hearing this band again is more enjoyable now and coming in with unbiased ears makes this interesting. The band experiments with more varieties of music and has developed a poppy, melodic expression over time. If you want punk, buy their first release or stay within the first nine tracks. If your mind is open, give the disc a full spin. –Donofthedead (Epitaph)

JR EWING:
Ride Paranoia: CD
Do today’s kids even know who JR Ewing was? I think I actually stopped watching Dallas the summer before the season they revealed who shot JR; I don’t know when that was, but it was a long fucking time ago. More on target, though, do today’s kids know who the Jesus Lizard was? Because this JR Ewing, with the bass in the driver’s seat a good deal of the time and the guitar running all around it, resembles that Touch & Go band, with a stern ‘00s update after the fashion of the Locust and that breed. I gotta say, the initial few listens didn’t grab my lapels too hard but subsequent plays in the course of trying to pin down something tangible have burrowed into my appreciation center, even the moody, minor-key parts, which is rare. One thing I still don’t get, though: they seem to be from Norway (recorded there, plus names like Mokkelbost and Snekkestad) and the guy writes better fucking lyrics in English than ninety-five percent of the writers in this country (not too many rhymes, however, if that’s what you look for. And no cop songs). –Cuss Baxter (Gold Standard Laboratories)

JR. JUGGERNAUT:
Ghost Poison: CD
Alt.country with a definite rock core. There’s more guitar noodling and distortion than you’d hear on your average alt.country CD, with the solo on “Early Morning Blackout” almost delving into metal territory. Pretty straightforward stuff, for the most part. –Sarah –Guest Contributor (Suburban Home)

JUANITA Y LOS FEOS:
Self-Titled: CD-R EP
Minimalist, arty punk stuff from España. Although I imagine the amateurish, primal quality of their delivery might turn off the more snooty kids, I think it lends considerable charm to what they’re doing. –Jimmy Alvarado (juanitaylosfeos@gmail.com)

JUANITA Y LOS FEOS:
Self-titled: CD
This is a really fun band from Madrid, Spain. The lyrics are in Spanish so not everyone can sing along, but you’ll definitely be dancing to the beat. The strong bass lines and fluid use of keyboards really make this album jump. It’s so good that these twelve tracks leave me thirsting for more, more, more! They take surf punk and make it their own by the dosage of great snotty grrrl vocals and then spitting the mix right in your face. If Bikini Kill met the Creepy Creeps in a dark alley to record the soundtrack for an El Santo fight scene, it would sound like this. –Rene Navarro (Dead Beat)

JUCIFER:
War Bird: CD
Dirgy stoner rock with pretty female vocals. Different, but not exactly something I’d rush to play again. –Jimmy Alvarado (Velocette)

JUCIFER:
The Lambs: CDEP
Alright kids. Jucifer are finally back with a new release and it’s just as rockin’ as their full length. For those of you who are familiar with Jucifer, you know about their perfect mix between fast, sludgy rock and intense, rhythmic droning. Well, this EP keeps the energy high, like standing on the edge of a rooftop staring blankly below to the distant surface solely supported by increasing winds in every direction. Yeah, they fucking rock. This is the fullest sound coming from a two piece band that I’ve ever heard. Go ahead and try to clean all this mud off your shoes. Highly recommended for anyone interested in something worth listening to. –Guest Contributor (Velocette)

JUDAH JOHNSON:
Self-titled: CD
Reviewing rule number one: if the disc is covered with photos that are out of focus, the odds are that it blows goats. This disc is not an exception to that rule. –Jimmy Alvarado (www.flameshovel.com)

JUDAS BUNCH, THE:
Betrayer’s Brew: CD
Musically, this has all the earmarks of a band trying their damnedest to secure a slot on both the Hootenanny and the Warped Tour. A GG Allin cover and a track entitled “Fuck the Police,” which is not an NWA cover, indicates they’re not quite so worried about radio airplay. –Jimmy Alvarado (myspace.com/thejudasbunch)

JUDAS ISCARIOT:
Dethroned, Conquered and Forgotten: CD
You know, I’ve looked at a lot of pictures of black metal musicians and they always seem like they’re either in great pain or constipated. Hell, maybe they’re in great pain because they’re constipated. Anyway, I think that they all should eat a more health-conscious diet with a daily supplement of psyllium. I bet being "regular" would wipe those frowns away. They should also stop blaming God for everything. It’s not his fault that they have such poor dietary habits. –Jimmy Alvarado (Red Stream, PO Box 342, Camp Hill, PA 17001-0342)

JUDDER AND THE JACK RABBITS:
Self-titled: CDEP
Judder and the Jack Rabbits are a psychobilly outfit from Norwich, England, and this CDEP represents their first demo. The included “Brief History” claims that they play “Demented Are Go type psychobilly mixed with the kind of hardcore punk bands like the Nerve Agents would play.” That pretty much sums it up. Since this is a demo, it’s woefully (and perhaps understandingly) underproduced, and I think that’s where my reservations with the record arise, but not with the band. I think that this demo shows some real promise from these guys, but what I’ve got in my hands is not that compelling. It sounds like a basement recording made after three days of no sleep—a bit sloppy and lacking the production value that would accurately represent a band that gets good response from their live act. –The Lord Kveldulfr (www.myspace.com/judderandthejackrabbits)

JUDDER AND THE JACK RABBITS:
All In: CD
There was a time in my life when I thought psychobilly was cool. Then I actually heard it. P.S. Corpse paint is stupid. –Bryan Static (Cherry Red)

JUDGE:
What It Meant, the Complete Discography: CD
Funny, but after all these, years I still can’t help but think of Crucial Youth’s parodying of the whole “hardline” straight edge thing when I put this on, and I soon find myself singing “I’ve got a positive dental outlook” and “if you don’t shave clean, you’re not in the scene” at the top of my lungs, which is, of course, not what’s coming out of the speakers. Judge was one of those late ‘80s straight edge bands that just seemed to be flogging a plenty dead horse by the time they came along, and nearly two decades later, they sound just about as stale, with all their big, gruff talk about their crew and looking down on people for doing drugs, and yet apparently seeing no irony in embedding more than a little metal riffage into their sound and even covering Led Zeppelin. It’s not that I had/have anything against straight edge as a philosophy, but its more puritanical adherents, with their virulent self-righteousness and fashion sense inspired by Catholic school jocks, hold a special place in my heart, right next to dungbeetles, the Bush family, moco sculptures and born-again Christians. Subsequently, any band that aligns themselves with any group of Neanderthals who think that beating someone up will keep them from getting high is not gonna rate very high around these parts, as some of us are of the belief that such attitudes and actions run contrary to the whole punk ethic. Anyway, if you’re into this late period “youth crew” tripe you’ll be happy to know you can now play their entire recorded output while you’re getting ready for the evening’s brainwashing session at the local Krishna temple without having to stop once to change the record. –Jimmy Alvarado (Revelation)

JUDGE DREAD:
Working Class ‘ero: CD
Hot on the heels of the re-release of his first album comes this, a re-release of his second as well. Like the first, this one is chock full of cool rudeboy/rasta beats and mucho lyrics that mean more than you think. A classic album with classic songs like “Mind the Doors” and “The Belle of Snodland Town,” which was also featured on one of the “oi!” comps years back. Even sweeter is the addition of numerous quality bonus tracks. Just as good as the first album and just as recommended. –Jimmy Alvarado (Captain Oi!)

JUDGE DREAD:
Death Rattle: 7” EP
I was gonna totally ignore the name thing, but I just can’t. I did a quick Google of the words “judge dread” with no quotations or anything, just to see what came up. Three entries down, past two links to IMDB’s entries for the film Judge Dredd is one for Wikipedia’s entry for Judge Dread, the famous reggae singer. This search took me, oh, four seconds to execute. Now, seeing as it’s obvious from their having a Myspace page that someone at least remotely affiliated with them has internet access, it’s flabbergasting to think they couldn’t be bothered to do a search as simple as the one I just did to make sure there wasn’t already someone using that name for the past forty-odd years. I could see if it was some accidental co-opting of an obscure hardcore band’s name, but Judge Dread wasn’t exactly hitting the backyard and basement circuit in Duluth. That said, these guys place some decent, noisy thrash with reasonably intelligent lyrics. –Jimmy Alvarado ((xchildrenofthegravex@gmail.com)

JUDGE DREAD:
Dreadmania: CD

A re-release of the first album by skinhead/rudeboy hero Judge Dread. If you’ve never heard of him before, imagine that period in the late ‘60s when rock steady was losing popularity and “classic” reggae was starting to take over the airwaves. Now imagine a white, English guy peppering the tracks with double entendres that would make Lord Creator blush. If you have heard of him, here’s 15 reasons why he’s rightfully considered a legend. Highly recommended.

–Jimmy Alvarado (Captain Oi!)

JUDGEMENT:
Just Be. . .: CD EP
Japanese hardcore that isn’t as crazed as other bands from that country, but still pretty good. I really can’t think of much more to say about them. I liked it, though. –Jimmy Alvarado (HG Fact, 401 Hongo-M, 2-36-2 Yayoi-Cho, Nakano, Tokyo 164-0013, Japan)

JUDGEMENT:
Just Be...: CDEP
Every time I get a release by this prolific Japanese band I always feel short changed. I'm guessing that this is their fourth release and this one was released on CD. There are only four songs! The two previous releases (and the first, I assume, but I never have seen a copy) was on 7" and only had two songs each. What you do get every time is quality old school Japan-core. The songs are mid-tempo and pack a lot of punch; manic vocals over powerful guitar chords. Under all the rage is a fine line of melody. The songs just have a hook that carries it over the edge and keeps things interesting. Something new in the mix from their previous releases is some background vocals from the female bass player. I don't know her name. I can't read Japanese anymore. Consistent, as always, and brought to you from a label everybody should check out. –Donofthedead (HG Fact, 105 Nakano Shinbashi-M, 2-7-15 Yayoi-Cho, Nakano, Tokyo164-0013, Japan)

JUDGEMENT:
Just Be...: CDEP
Every time I get a release by this prolific Japanese band I always feel short changed. I'm guessing that this is their fourth release and this one was released on CD. There are only four songs! The two previous releases (and the first, I assume, but I never have seen a copy) was on 7" and only had two songs each. What you do get every time is quality old school Japan‑core. The songs are mid‑tempo and pack a lot of punch; manic vocals over powerful guitar chords. Under all the rage is a fine line of melody. The songs just have a hook that carries it over the edge and keeps things interesting. Something new in the mix from their previous releases is some background vocals from the female bass player. I don't know her name. I can't read Japanese anymore. Consistent, as always, and brought to you from a label everybody should check out. –Donofthedead (HG Fact)

JUDO RODRIGUEZ:
Self-Titled: CD
Vaguely arty noise rock that is much better than that description would lead one to believe. Of course, seeing as I was piss-scared this was gonna be some emo crap, my judgment might be a bit clouded by gratitude, but what I’m hearing is pretty fuggin’ rockin’. These guys can play their instruments and it shows in all the right ways. –Jimmy Alvarado (Paranormal)

JUICE TYME:
Self-titled: 7"
Man, these guys know how to pack sludgy hardcore efficiently onto one colored vinyl 7”, as they have eight drum-sputtering tunes here. The music never takes a break, with every track segued by some random noise feedback. Lyrically, I guess their song “I’m So Hardcore” is their anthem as it’s the only easily decipherable chorus. That song also includes the line, “I’m so hardcore I carry around a switchblade knife.” –N.L. Dewart (Headcount, Force Field)

JUICEBOXXX:
Thunder Jam #5 and #6: 7”

Electric drums, electric cymbal, electric piano, dare I say it in a punk zine but it’s pretty fun. Sounds like a party inside a bedroom.

–Speedway Randy (Vicious Pop, viciouspoprecords.com)

JUKEBOX ROMANTICS, THE:
Self-titled: CD
Rock and roll punk that I imagine is made by guys who hang out in Irish bars, have spider-web elbow tattoos, and wear newsboy caps. It’s okay, in a not as good mid-period Bouncing Souls sort of way, mixed with latter day Dropkick Murphys, a bit of ska, and with a too restrained sounding singer. It really bothered me that this came with a parental advisory sticker. Why would you put those on your album, especially since it’s not 1996 and you’re not on a major label? –Adrian (Altercation)

JUKEBOX ZEROS:
Four on the Floor: CD
The fact that they cover the Dead Boys' "High Tension Wire" pretty much tells you all you need to know about what this sounds like. –Jimmy Alvarado (Steel Cage)

JUKEBOX ZEROS:
Four on the Floor: CD
Fuck yes, this is exactly the kind of music I love! Bad-ass, mid-tempo glam punk in the vein of the Joneses and the Humpers. In fact, this reminds me a whole lot of that great Vice Principals LP from a few years back with members of those two bands. Somebody in this band is a Jeff Drake fan and I am reaping the benefits. The songs are the perfect tempo—not too fast—like most who try and play this style. Those leads sound so much better mid-tempo than they do at Motörhead speed. A couple of the tunes on here even remind me of that amazing Loose Lips LP on TKO. That is one of the most underrated records of all time in my opinion. Most likely this will be as well, because for whatever reason, folks just hate glampunk. It is, without a doubt, my favorite style of music in the world and the Jukebox Zeros are as good as anyone out there. Great songs, simple leads, and catchy fucking choruses. I could listen to this all day long. –Mike Frame (Steel Cage)

JUKEBOX ZEROS:
Welcome to Rutsville: CD
Just because they’re a really good Dolls/Stones-inspired rock band doesn’t detract from the fact that they are YET ANOTHER Dolls/Stones-inspired rock band. They’ve got some great songs, but sweet Jesus, not every band that was around in 1977 sounded like this. –Jimmy Alvarado (Steel Cage)

JUKEBOX ZEROS:
Rock N Roll Ronin: CDEP

I have been waiting for this record for too damn long. The first EP and full length by this band are two of the very best records of this decade and still get regular spins round my house. I am glad to say that this new six-songer stacks up right along the others. Released by the king of all tastemakers, Mr. Pat Todd, this new disc sounds right at home on Rank Outsider Records. There are elements here of many the greats: hints of Dictators, Radio Birdman, Ramones, Zeros, and Saints can be heard. Not actively attempting to ape anyone, the Jukebox Zeros bring to mind those great bands because they are themselves an amazing band. Fans of the Humpers, Lazy Cowgirls, Jeff Dahl, Joneses, and other rockers are going to want to be all over this.

–Mike Frame (Rank Outsider, www.rankoutsiderrecords.com)

JULIA SETS:
Domino b/w Have You Ever Seen the Rain?: 7”
Long, long time since I had anything like this on the record player: the sort of Dinosaurish noisy but sweet pop that was the rage in certain circles once upon a time. A-side, anyway. The B is kind of toothless, though these guys are so far from CCR, I’ll have to give them some credit for tackling it. –Cuss Baxter (The Bert Dax Cavalcade of Stars)

JULIA SETS:
Yes-Wave: CD
It’s music like this that makes me wish everyone received an inner-city education. That way no one would be able to attend college and develop embarrassing levels of pretentiousness and they’d all be full of angst ‘n’ shit and their songs would have balls instead of whining along in arty abandon. –Jimmy Alvarado (www.juliasets.com)

JULIA SETS PRESENT:
An Alternative to Extinction: CDEP
It looks like a CDEP until you look at the running time—then it seems more like an album (two songs go on for 37 minutes and 14 seconds). Drawing from influences like Red House Painters (fitting, since Mark Kozelek was a Midwesterner before he lived in the Bay Area) and shoegazers like Slowdive as well as hints of mid-’80s college rock, these five songs are actually quite a pleasant surprise. Instead of being the useless emo shit that I typically get to review, this is an unexpected and well-done throwback to a more innocent time when indie bands merely hoped to get their single played on the local college station and didn’t look much beyond that. –Puckett (Julia Sets Present)

JULIE OCEAN:
Long Gone and Nearly There: CD
What do you get when you throw scene vets from Velocity Girl, Swiz, The Saturday People, and Weatherhead into a ski-lodge like recording studio? Apparently, a sugary sweet confection of power pop gems is the answer. “#1 Song” could be just that, but wait—there’s more. “At the Appointed Hour” has a bit of Weller influence in there. Most of the tunes are under three minutes long, like most of the best songs of this genre. But even the epic-length of “Here Comes Danny” fails to disappoint. If guitar-driven pop with killer hooks sounds like your ballgame, then don’t strike out. “Put the needle on the record” and dig the new breed: Julie Ocean! –Sean Koepenick (Transit Of Venus)

JULIETTE:
From Somewhere in the East: CD
This disc has me at a bit of a loss. I popped it in the car and took off for work. A few seconds into the first song I was convinced that I was listening to another Canadian pseudo emo/hardcore band. Seriously, this sounded so much like all the stuff that was happening here in Victoria in the mid ‘90s, I was convinced that it may have even been local. Nope, this is Poland, not Victoria! It still really took me back to hear something that sounded so much like Render Useless or M-Blanket. Unfortunately, the vocals snapped me out of my trip down memory lane. Wow, that’s painful. Do you remember those stories about the guy who would soak pieces of bread in Liquid Draino and go out and feed them to seagulls to watch their stomachs explode? I am convinced that the singer of Juliette sounds exactly like what one of those seagulls would sound like right before death. It’s too bad because I kind of liked it musically. –Ty Stranglehold (Refuse)

JULIE’S HAIRCUT:
Stars Never Looked So Bright: CD
I think the name of the band and CD gives it all away. FUCKING CRAP! Jesus H. Christ. How did this get sent to Razorcake? What is the latest label for this kinda music – slow-alternative-prog-college-radio-pop? I just label it SHIT and carry on. Nothing remotely resembling punk here in any way shape or form. Sounds like any one of Smashing Pumpkins’ slower songs, but that would be an insult to the Smashing Pumkins (and I’m no fan). The only thing this bands needs is a good ass-whooping. –Toby Tober (GammaPop)

JULIUS AIRWAVES, THE:
Dragons Are the New Pink: CD
Kid says: “Hey, Grandaddy! Bare-naked ladies!” Man says: “They might be giants.” –Cuss Baxter (Sickroom)

JUMBO’S KILLCRANE:
Carnaval de Carne: CD
Noisy metal. Not bad, but not particularly interesting, either. It is noisy, though, and I guess that can be construed as a good thing. –Jimmy Alvarado (Crucial Blast)

JUMPER CABLE:
EP: CDEP
Ain’t got a clue as to their opinions on the rules of smokin’ and drinkin’, and frankly I don’t really care to know, but twenty-two years ago these guys would’ve been hot shit with all the straight edge kids. Seriously, they have that mid-‘80s posi-youth sound pat, plus a production quality at their disposal that any of those bands back then would’ve killed for. Even today, what they’re puttin’ down is pretty impressive, especially considering they’re not pushing the same puritanical lyrics those earlier bands were so obsessed with. –Jimmy Alvarado (www.myspace.com/monkeywrenchrecords)

JUNIOR ACHIEVEMENT:
Fade to Black: CD
This is supposedly the first in a series of discs highlighting Arizona’s treasure trove of “lost” bands, and it is one hell of a way to start things off. This album, first released back in 1984, is a gem of ‘80s hardcore punk rock with a gaggle of dark, catchy-as-hell mid-tempo hardcore done up in ways one rarely hears anymore. According to the press materials, it was recorded on a two track which is mind-boggling considering how well it came out. There’s nary a lousy track to be found here, and if the album ain’t enough, a soundboard recording of a live set is tacked on the end for good measure. Now, I highly recommend that all reading this inundate Malt Soda with letters requesting that they offer up Conflict’s (the Tucson band, not the UK hippie punks) sole album, Mighty Sphincter’s Ghost Walking double EP (hell, almost anything from Placebo’s back catalog would be swell) and anything they can manage to scrape up from Soilent Green. Trust me, you’ll thank me for it later. –Jimmy Alvarado (Malt Soda)

JUNIOR ACHIEVER:
All the Little Letdowns: CD
If, when you see a guy with greasy, messy matted-down hair that probably takes a half hour of daily mirror time to maintain, you think to yourself, “Wow, give me some of that! Let me enter your world, Mr. Hipster Doofus,” then you might like this cutesy radio pop. But you should also know that all four guys have beards. The more facial hair, the higher the “suck” rating. You know this to be true. That’s why you’ve skipped over the Allman Brothers section at the record store. –Mike Faloon (Engineer, www.engineerrecors.com)

JUNIUS:
Forcing out the Silence: CDEP
This could have easily been passed up and neglected. Self-described as having influences of the Cure, Placebo, and A Perfect Circle, this EP definitely has all those elements. Take the darkness of the Cure’s best and mix it with the heaviness of A Perfect Circle and moodiness of Placebo. That’s the creation this band has morphed itself into. The songs are intriguing without me losing attention. I feel like I’m swimming in a mind-altering drug hallucination. Their use of feedback is dreamy yet powerful, and it adds emotion. Might not fascinate the masses but this fell into my lap at the right time. –Donofthedead (Radar)

JUNIUS:
The Martyrdom of a Catastrophist: LP
A concept record about Immanuel Velikovsky, a Russian-American scholar who reinterpreted ancient history. The music is post-rock or post-metal and it alternates between dreaminess and swelling rises. The songs ebb and flow and blend together and are post-good. The packaging is eco-friendly and has nice illustrations. This bore of an album is one of the most tedious, pretentious things I have ever heard. –CT Terry (The Mylene Sheath)

JUNK, THE:
Demo: CD
Word on the street is that the institution known as the Smut Peddlers has called it quits after a fifteen-year stab at things. But one not to rest on her laurels, Julia the gate-crashing drummer, is already involved in another band. The tattooing from her long tour in the Peddlers is immediately recognizable. Take the first British wave of punk, ghost ride it into the endless suburbs of OrangeCounty and knock over a phone pole. Let that shit fester under the facade of sunshine and home owners associations, inject it with bad drugs in an attempt to make the cul-de-sacs disappear, and that’s the starting point. The Junk make some important departures from their predecessor, though, namely eyeballing Ohio and Michigan: Dead Boys, Pagans, Iggy And The Stooges. And you know what? It’s menace, pure, simple, shorn, and played with the slightest of smiles. Very effective and a great first batch of songs. –Todd Taylor (Self-released, thejunksite.com)

JUNK, THE:
Novus Ordo Seclorum: CDEP
The Junk is a fast ska-core band from the U.K. with interesting dub and reggae influences. The cover art showcasing pigs beating down a protestor suggests an anarcho-punk groove, but this short EP is too overproduced to induce any kind of political urgency. And true or not, there’s a feel that a lot of the instrumentals were recorded separately rather than live. Still, these three songs left me craving more, with each being pretty damn well crafted. It takes brass balls to include this much brass on a punk record in the new millennium, so there’s not a lot to knock here. The Junk are anything but. –Art Ettinger (12 Step Plan)

JUNKYARD:
Tried and True: CD
The quasi-sleaze punk of bands like Nashville Pussy or the Streetwalkin' Cheetahs always seems to be precariously positioned between the best and the worst of their '70s rock god influences. Whether drawing on the bombast of Black Sabbath, the cock rock of AC/DC or the guitar wankery of Ted Nugent, these bands want to have their cake and eat it too... not an easy feat when you think that punk evolved as a reaction to the excesses of the rock aristocracy. Listening to Junkyard’s 2002 release Tried and True, a lot of questions immediately come to mind—like, why don’t these guys get a more punctual publicist? The band, including former members of Minor Threat and Texas punk legends the Big Boys, have trod a long and moderately successful road that included a 1991 record deal with Geffen. But Tried and True is, as the title unfortunately implies, the sound of a band with all eyes on the past, reluctant to try anything new. At the risk of sounding overly cruel, these guys sound a hell of a lot like Bon Jovi. Even the song titles, "Simple Man," "Holdin' On" and the title track are pedestrian. There's a lot of talent in this band, so why they grind out fetid hair metal is a question they really should ask themselves. –Eric Rife (Heat Slick/Smart)

JUNKYARD:
Tried and True: CD
The quasi-sleaze punk of bands like Nashville Pussy or the Streetwalkin’ Cheetahs always seems to be precariously positioned between the best and the worst of their ‘70s rock god influences. Whether drawing on the bombast of Black Sabbath, the cock rock of AC/DC or the guitar wankery of Ted Nugent, these bands want to have their cake and eat it too… not an easy feat when you think that punk evolved as a reaction to the excesses of the rock aristocracy. Listening to Junkyard’s 2002 release Tried and True, a lot of questions immediately come to mind—like, why don’t these guys get a more punctual publicist? The band, including former members of Minor Threat and Texas punk legends the Big Boys, have trod a long and moderately successful road that included a 1991 record deal with Geffen. But Tried and True is, as the title unfortunately implies, the sound of a band with all eyes on the past, reluctant to try anything new. At the risk of sounding overly cruel, these guys sound a hell of a lot like Bon Jovi. Even the song titles, “Simple Man,” “Holdin’ On” and the title track are pedestrian. There’s a lot of talent in this band, so why they grind out fetid hair metal is a question they really should ask themselves. –Eric Rife (Heat Slick/Smart)

JUNKYARD:
Tried and True: CDEP
Junkyard were a late-’80s hair metal band featuring Brian Baker from Minor Threat and Chris Gates from the Big Boys on guitars. As you may expect from Brian Baker and Chris Gates, Junkyard had more imagination and creativity than bands like Motley Crue or Poison, and they had a way of writing songs up from the gutter, which you wouldn’t really expect from a limos-and-groupies-scene band. They were also one of my brother’s favorite bands, so Junkyard mostly reminds me of good times hanging out with him. But make no mistakes, this is late-’80s hair metal. Now, apparently they’ve reformed without Brian Baker (he’s currently in Bad Religion, but he did write a song on this EP), and they’ve recorded new songs or new versions of old songs. There are a couple of hair metal songs at the beginning, a dreaded rock ballad, a pretty cool country song, a remake of one my brother’s favorite songs, “Simple Man,” and another metal song at the end. –Sean Carswell (Heatslick)

JUNO:
A Future Lived in Past Tense: CD
More overblown, post-Sonic Youth/My Bloody Valentine drivel to bore you all to tears. Please line up to the left for the razors with which to cut your wrists. –Jimmy Alvarado (De Soto)

JURY, THE:
Can’t Fight the Feeling: 7” EP
Well, the singer sounds almost rabid, spitting out simple, to-the-point lyrics with enough force that one ends up worrying he’s gonna end up chucking up his spleen or something. The music is appropriately fast ‘n’ mean. Me likee. –Jimmy Alvarado (Electric Mayhem)

JUST A FIRE:
Spanish Time: CD
Indie rock (whatever that phrase means these days) with a medium tempo and highly emotional singing. –Mr. Z (Sickroom)

JUST A FIRE:
Light Up: CD

All I have to say is they sound like a modern, garage version of the Police.

–Donofthedead (Asian Man )

JUST DIE!:
GARAGES AND BASEMENTS: 7
Furious, speedy hardcore that didn’t forget to pack the melody along before it explodes out of the gate at a hundred MPH; strong songwriting and definite nods to everything from ‘80s skate rock shredding to soaring choruses reminiscent of Hot Water Music. A hell of a six song 7” by this band from Asheville. I’m glad I got exposed to them. –Jake Shut (SELF AWARE/DEAD END)

JUSTIN CLIFFORD RHODY/ LITTLE WINGS:
Split: LP
At best, Rhody has moments where he sounds like old Kind Of Like Spitting demos. No, like outtakes from old Kind Of Like Spitting Demos. But mostly his stuff consists of static, tape loops, and a kid occasionally warbling off key about love. Little Wings fares marginally better, if only for the fact that there are a couple decipherable songs on their side. High falsettos above keyboards and/or strummed acoustic guitars, interspliced with random conversations and fake commercials about fast food burger joints. Seriously. The LP comes on nice marbled gray wax; so it’s a real shame that it also suffers from one of the heaviest cases of schizophrenia I’ve ever heard on a record. Why do indie rock and quality control mix like oil and water? Why can’t they just get along? –Keith Rosson (Friends and Relatives)

JUVENESCENT BEAT:
A Man Could Get Shot Around Here for Asking Questions Like That: CD
Tough band to get a handle on. At times they remind me of a fuller To The Ground-era Shivering, other times the vocal/guitar interplay have a total Old Growth feel to ‘em, especially on the second song. It’s definitely some solid stuff, even at five tracks, though the scribbled, pixilated cover (done in MS Paint?) would lead most listeners to believe that they’re about to be privy to some downright suckiness. Ultimately, yeah, I’d have to go with the Old Growth comparison, if you consider the fact that Juvenescent Beat seems to eschew much of the melancholic qualities I associate with that band. Damn fine attack, but some lyrics would’ve been nice, and that cover art has seriously gotta go. –Keith Rosson (self-released, no address)

JUVENESCENT BEAT:
One Day We’re Gonna Fall through This Roof: LP
First things first: the first song sounds eerily like Altaira, right down to the vocals. I mean this guy is a dead ringer for Tampa J Wang. Weird, really weird. The rest of the record takes on more of an Embrace / One Last Wish / Rites Of Spring All Through a Life EP sound. Clean guitar lines, vocals with a heavy conscience, and a tight and precise rhythm section successfully pounding out complex grooves. These guys clearly live on a musical diet rich in Revolution Summer and they represent that sound very well. For those waving banners that read “emo’s not dead,” this is the record for you. –Jeff Proctor (Ghidorah, myspace.com/ghidorahrecords)

JUVENTED CRASA:
Amor en el Zafacón: CD
Great little record with an awesome early ‘80s hardcore sound. Unfortunately, the lyrical content was beyond me since I don’t know Spanish, which I would guess is the right and proper lingua punka if you’re from Puerto Rico like J.C. are. But the lyrics are translated in the notes in English and Japanese (nice!), so you can get a feel for what the tunes are about—an ‘80s feel there, too. Some of the tunes were straight-on mindblowing hardcore, and some are hardcore with some swirly vocal harmonies the likes of 7 Seconds or later MIA. I have no complaints with this record. Six tunes that are at the very least good, and some are downright grenade-in-my-brain-ish. Huzzah! –The Lord Kveldulfr (Persona Unknown)

JUVENTUD CRASA:
Después de Tanto Tiempo: CD
So far as I can glean, these kids are from Puerto Rico and they belt out some mean punk/hardcore not unlike Argentina’s Dos Minutos, meaning there’s some pop hooks buried underneath all the yelling. Lyrics are in Spanish, but translations are provided for those not hip to that language. This puppy’s gonna get played lots. –Jimmy Alvarado (Southkore)

JUVENTUD CRASA:
Amor en el Zafancón: CD
Another disc of punk rock rife with that classic Latin American punk sound: a little hardcore, a little U.K. punk. Spanish lyrics. The songs are catchy and anthemic, with the closer, “No Funciona,” standing out as the strongest track. –Jimmy Alvarado (www.discosdehoy.com)

JUVENTUD CRASA / MENOSVALIDOS:
Split: CD
Both sing in a language that might be Spanish or an “I Can’t Believe It’s Not Spanish” Spanish brand substitute. Both bands use male/female dual vocals. Both bands play in a style not unlike later ‘80s hardcore (you know, when it started dicking around with metal and caught all those weird STDs). Now here are the differences: Juventud Crasa is entirely forgettable. Menosvalidos’ last three songs almost make the disc worth it, but it seems that these efforts are wasted and they should just put out a 7” instead. Also, isn’t there a rule where splits are supposed to be two not entirely similar bands? This felt like I was eating two pieces of bread disguised as a sandwich. –Bryan Static (Valle Miseria/Southkore/Rocanrolperu/Discos de Hoy/Cabeza e Vacas)

JUVENTUD CRASA / MENOSVALIDOS:
Split: CD

Very solid split album featuring two female-fronted punk rock bands from Latin America. Juventud Crasa hail from Puerto Rico and are the more experimental of the two. They play passionate punk rock with a strong rock en Español influence. The songs move and switch up styles, but carry a consistent emotion that ties them all together. Menosvalidos from Mexico are definitely the more straightforward of the two, but they make up for it in spades with aggression and spitfire. Male and female vocalists switch duties throughout the very tight and short tracks. I can’t read the lyrics in the booklet, but I’m guessing that they’re political in nature. Highly recommended. –Evan Katz

–Guest Contributor (Southkore)

JUYANA:
Self-titled: CD
It frightens me that music like this is being made. Poorly recorded hardcore with vocals that sound like a dog barking over and over again. Really bad satanic samples, etc. from Florida. –Miss Sarah A. Stierc (The IFB, 4424 St. Clair Ave. w./n., Ft. Myers, FL 33903)

J’AURAIS VOULU:
Sans Trahir: LP

Another French band comes my way this month. This, like Charge 69, is good solid punk rock with lots of melody. There isn’t too much more to say. Perhaps the fact that there are fifteen tracks would interest you. Or maybe the fact that the lyrics are good and meaningful will interest you. Regardless of those other things if you like good melodic punk sung with heart you will like this.

–Guest Contributor (Dirty Faces)

·	Smogtown
·	ERIC BLOWTORCH AND THE INFLAMMABLES/DAN FLYNN AND THE INFLAMMABLES
·	U.S. BOMBS
·	PROGERIA
·	Security Threat, Deadlock, SMD, and Worhorse
·	DEADBEAT
·	MARDO
·	GBH
·	TURPENTINE BROTHERS

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