Terror - "CBGB OMFUG Masters Live - June 10, 2004" CD

Well, I really like the band's name. But tragically, the group's moniker is wasted on a load of generic meathead thug-hardcore. Hailing from the West Coast (but formed by a native New Yorker, go figure), Terror belt out 11 short and less-than sweet cuts of bulldog aggression and drill sergeant shouts. Sure, it's a pummeling chug and whomp, but this kinda militant metalcore just screams one-dimensional bully-boys, and like most others of their ilk, Terror refuse to back down or vary their speed or course of attack. Suckness. (MVD Audio)

The Mooney Suzuki - "CBGB OMFUG Masters Live - June 29, 2001" CD

Bearing abso-fucking-lutely no resemblance to their namesake (look it up if you don't know by now), New York's Mooney Suzuki are all primal garage rock, with a liberal tip of the proverbial hat to the great 60's pre-punk rousters like the MC5. Tracks like 'Oh Sweet Susanna' are raved-up slices of bluesy power-pop-rock, complete with big choruses (and even bigger riffs). If you dig on stuff like Thee Headcoats or even The Brian Jonestown Massacre, check out these wild boys, too. (MVD Audio)

The Toasters - "CBGB OMFUG Masters Live - June 28, 2002" CD

Despite not being much of a fan of ska, I can appreciate this seminal and influential NY-based group, here celebrating over 20 years of skankin' and drinkin'. This stuff contrasts with the awful wave of pop-ska around these days (not naming names, but you know them, and you probably hate them, too). Anyway, the Toasters hold true to the classic 2-Tone ideal, keeping the Jamaican spirit intact and locking into some tight rock-steady grooves. Respect. (MVD Audio)

Crispin H. Glover - "The Big Problem Does Not Equal The Solution. The Solution = Let It Be" CD

Crispin is a highly talented and literate guy, that much I can pretty well decipher. His acting is top-notch, and his film work (I have only seen 'What Is It?') is, at the very least, provocative, and possibly visionary, even. He isn't afraid of being seen as a kook or a weirdo. And that, in itself, is honorable, I suppose. However, this 1989 music & spoken LP (featuring music by Barnes & Barnes of 'Fish Heads' fame) is really pretty lame and far too self-consciously 'weird' for it's own good. Granted, his Charles Manson cover (the fine 'Never Say 'Never' To Always) is fun, but his shrieking and annoying version of 'These Boots Were Made For Walkin' is just plain bad. And Glover's little short story ('Oak Mot') is pretty forgettable and pointless. Leave this one to the bargain bins. (Restless)

Andrew Dominik - "The Assassination Of Jesse James By The Coward Robert Ford"

A surprisingly subtle and well-scripted (though long-winded) film from New Zealand-born director Andrew Dominik (who's only past film credit prior was the seldom-seen 'Chopper', which I've never seen, though I do own Bad Seed Mick Harvey's soundtrack (on his 'Motion Picture Music 1994-2005' CD). Starring tabloid-hog Brad Pitt as the outlaw Jesse James, and Casey 'the other' Affleck as obsessive man-child Robert Ford, 'Assassination' is a strikingly artful portrayal of one man's failure to connect with his heroes, and his jealousy at those around him. Ford is shown as a needy and immature 20 year-old, and one who's not all too likeable or trustworthy. In fact, to put it bluntly, he's a miserable sniveling little prick. Pitt's Jesse James, on the other hand, seems a fair and likeable kind of guy, despite his being a murderer and feared robber. A top-notch supporting cast (Sam Rockwell, Sam Shepard, Mary Louise-Parker, Zooey Deschanel) certainly helps, too, and the cinematography is quite artful, with plenty of soft and fisheye camera views (kind of confusing and unnecessary, but tasteful nonetheless) and wide landscapes. At 2.5 hours, it's a wee bit long, but still an engrossing and memorable viewing experience. And, I can't neglect to mention that one Nick Cave appears in the film, (appropriately enough, singing in a bar), and his score (with Warren Ellis) is superbly crafted and fittingly minimal, echoing the whispery, dusky vibes of the old West. Worthy of the accolades and awards it's been granted. Watch the trailer here.

Alan Vega - "Station" CD

Wow, the legendary vocalist for NYC hellraisers Suicide is back with a scalding, scathing, and fiery album of fearsome grooves and sharp commentary on his homeland's social and political condition. The ominous knife on the cover says it all. Personally, I think Vega's work with Finnish minimalist electro-noise-sculptors Pan Sonic has been an inspiring move, as tracks like '13 Crosses 16 Blazin' Skulls' (my favorite cut here) are surgically-precise blasts of gut-level analogue rhythms boxes and blistering digital noise, with Vega's invective commentary legibly spoken/shouted on top. This is also a logical and faithful continuation of Vega's classic mid-70's work with Martin Rev as Suicide, all unhinged analogue electronics and madman yelps. In 'Devastated', Vega's proclamation of 'How's the future gonna play out for our kids!' is intense and proves that not all of us turn mellow and wishy-washy with age. 'Psychopatha' is a disturbingly funky urban nightmare set to industrial drums and hypnotic noise. Pretty intense and paranoia-inducing stuff, complete with Vega's raving maniac shouts and mutterings. As dangerous and experimental as anything in Vega's impressive 30-year back catalogue, 'Station' is tuned to the frequency of America circa 2008 A.D., on the edge of socio-economic collapse and growing consumer distrust. Vega's never been so necessary or relevant. (Blast First/Mute)

Social Distortion - "Prison Bound" CD and "Greatest Hits" CD

Mike Ness's Social Distortion were one of the coolest bands around when I was a teen. 'Another State Of Mind' (the album and tour documentary) was nothing short of a revelation, and Social Distortion's snotty, bratty, teen-angst anthems were catchy and nihilistic, echoing the overall feeling of suburban paranoia and alienation, but always with a sort of sad and romantic angle underneath the mohawks, spikes and spurs. 'Prison Bound' was sort of Ness' comeback LP from 1988, and this release alienated some of their hardcore audience as I remember. Here is where Ness first demonstrated some of his primary inspirations. Cuts like 'Like An Outlaw (For You)' were Johnny Cash western tales set to a West Coast punk-rock backbeat. Social Distortion would later synthesize these rockabilly and country roots much more effectively in the coming years, but 'Prison Bound' remains a kind of clumsy and weak offering in the group's usually strong catalog. The songs aren't nearly as memorable or catchy, and the production seems lightweight and kinda tinny & dated. This is one for completists only. (Restless Records, recently reissued on Time Bomb)

On the other hand, Social Distortion's 2007 collection, titled simply 'Greatest Hits', is a powerful punch all the way through. Though it's rather short at only 11 songs, you get some of the best tracks ever written by Mike Ness though the years, arranged chronologically from his kinda juvenile (but still tuneful and melodically strong) beginnings ('Mommy's Little Monster' ) to the 90's major label 'hits' ('Story Of My Life', 'Bad Luck', etc.), and a new song to boot. 'Greatest Hits' touches on all periods of this wonderful band's history. Ness' tales of down-and-out losers and streetwise dreamers are poignant and effective, and his band rocks with guts and balls, combining classic western vibes and structures with edgy post-punk aggression and volume. Ness is truly a rocker with heart and spirit - both traits lacking in 99% of the 'rock' bands out there today. He's an icon and a legend, and this disc proves that after 25 years in music, Social Distortion remains as relevant and listenable today as it did yesterday. Incredible and essential. (Time Bomb)