Random Seattle Record Reviews (Second of an Infinite Series)

Posted: December 17, 2011 in The Rocket

From the Rocket…

Love Battery, “Between the Eyes” (From the December 1989 issue)

“Here is a band astonishingly adept at recreating the best elements of ’60s psychedelia.  Not as dense or complicated as the Screaming Trees, Love Battery have the sticky, pulsating wah-wah guitar sound down cold, complete with earnestly raw vocals on top.” (Grant Alden)

Sub/Pop 7 (June 1982)

“There are lots of competent, good, and even great rock bands around the country that never leave town.  Sub/Pop’s intent is to make some of these ‘local’ bands available to those of us outside the immediate neighborhood….it’s great to be able to hear even just one song by a band from Kansas or Tennessee or Florida.” (Herb Levy)

Nirvana, Nevermind (December 1991)

“New rules: Axl Rose WISHES he were Kurdt Kobain….the lyrics are shrugs, tossed off, the hardest part is convincing their rancor of imbecility….Next LP we’re gonna all write the lyrics and send ’em to Nirvana….You heard it here last.  Nirvana are the Anti-Christs, TOTALLY in control of Axl Rose’s mind.” (Mike Logan)

Mudhoney, Every Good Boy Deserves Fudge (July 1991)

“Certainly it is loud, passionate, and primitive, but the most astonishing characteristics of Mudhoney’s second long-player—that it will sell—elegantly epitomizes the transformation of the Seattle music scene over the last three years.  Mudhoney, after all, were formed precisely to avoid this fate.  Mark Arm, Steve Turner, Dan Peters and Matt Lukin are the anti-commercial spawn of Green River, the very bad boys who, at the height of the Reagan Revolution, resolutely chose art over commerce.  Their comrades in Mother Love Bone (now splintered again into Pearl Jam) parlayed Green River’s underground cachet into a huge major label contract….[Fudge features] small, carefully conceived parts added by all four [Mudhoney] players to the basic tracks.  This fresh interest in nuance includes quoting the guitar riff from ‘Cinnamon Girl’ as the overture to ‘Broken Hands’ and an homage to the Sonics (having been compared so often, they evidently finally checked out the godfathers of grunge) in ‘Who You Drivin’ Now.’  All that; and a big rock drum sound, too, all recorded on the old Stax/Volt board now housed in PopLlama’s Egg Studios.” (Grant Alden)

Gas Huffer, Janitors of Tomorrow (September 1991)

“Finally, a full-length Gas Huffer release.  And to make sure you buy it, the initial pressing comes with the most awesome insert I’ve seen in a rock record: a comic book that has each song drawn out in comic form by a different member of the band.  Most of this LP is what you’ve come to expect from the Huffer, energetic train rock on a course for adventure….Through the comic book and producer Jack Endino’s clarity, you get a chance to find out what that kook Matt Wright’s been singin’.  Like a song about working in a shoe factory and a song about a family in a nuclear shelter, where the father eats his children in gluttonous hunger.” (Chris Takino)

Mr. Epp and the Calculations, Of Course I’m Happy.  Why? (June 1982)

“Mr. Epp and the Calculations have a hit on their hands….‘Mohawk Man’ is a two-fisted satirical attack on the instant suburban hardcore scene—the type of kids who think it’s ‘punk’ to bash each other (and everyone else within range) with bottles, cans, fists or even their heads….Over [an] eerie cacophony Mark Arm chants ‘I’m the Mohawk Man/I can look real mean/I’ve got a Mohawk, man/I can make the scene…I’ll go see a hardcore band tonight/Gonna slam, hope I get the steps right/If I’m lucky I’ll get into a fight.’  A great song.” (Robert Newman)

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