I'm not sure how most people listen to albums in their collection (do people still listen to albums?). For me, I've always had a "go to" rotation - those albums that just seem to get grabbed when I walk up to my cd rack, looking for an unknown something. Through the years, the "rotation" has changed and morphed to reflect who I was (music newbie teen, depressed student, falling in love, etc) and what music had touched my life recently. The current list - the result of a 30 something with changing and uncertain paths before him - is a bit mellower and indicative of the searching nature of my life (find something unique, dear boy). All of the music I've heard by the Ass Ponys is on it and Lohio is my favorite. I guess you would call the Ass Ponys a country-rock band. They don't fit the mold of most 90s alternative rock in that it is conceivable that Chuck Cleaver could include a passing mention of mold in a song about a disjointed summer romance. (Bad pun) And, when he vocalized such a song, you could bet that it would be passionate, oddly sung, visually vivid, and have a chance to be the perfect composition for one of your 1440 minutes in any given day. Lohio is part of the Ass Ponys' return from the realm of major label land (not a bad realm for this band, by any stretch, from a musical perspective). The album leads with a wonderfully juxtaposed concoction that pairs a gentle, acoustic "Last night it snowed..." opening with a striking, electric conclusion. Then, the snapshot-of-an-evening "Kung Fu Reference" displays the mastery that Cleaver has of pairing together a passing night at home observation with one's philosophy of life. And, when you're singing "if you ever gave a damn for Sonny Jim, I'm sure you must remember him" (in your head, or out loud) and don't know anything about what it means (not being a Kung Fu aficionado), you start to realize how good they are. "Donald Sutherland" starts with a suicide/murder scenario. "Black Dot" is a fun, feels-like-I'm-part-of-some-gathering romp with a dog in the background (I always hear the dog). "Calendar Days" feels like a major hit in an alternate universe where stars have fiddles and a questioning lament of "do I still exist in the bottomless pit of your heart?" evokes tearful emotion. And, life's little details, a beautiful guitar, and a realization that we can't always be what we want create a masterpiece in "Nothing Starts Today" - further enhanced by the inclusion of "cybergirls" and "pissing at the moon." As I thought about writing this review, I kept thinking about the Ass Ponys as the "sound of Southwestern Ohio." But, that makes them sound too grand and exalted. So, let's try something like: the humor, phrasing, words, and vision put forth by the Ass Ponys make me feel at home. And, the quirkiness, fascinating instrumentation, and unique singing make for a heck of a listening experience. An easy recommendation, I can't see Lohio slipping off my "go to" list anytime soon.

I once read an album or band described as "post alternative." For me, that phrase conjures images of space suits and weird digital soundscapes. Something to which you might listen and feel smug and inflated, experiencing something that others aren't. From the moment I listen to ANY Brainiac, I get this sensation. From Smack Bunny Baby to Hissing Prigs in Static Couture (and probably Bonsai Superstar, in the chronological middle, the most), Brainiac creates something remarkable. But, if you walked in haphazardly, it might be too, um, remarkable. Electro-shock for President is the Brainiac for the uninitiated. Definitely a product of the end of their short career, Electro-shock is 14 minutes of Brainiac perfection. "Fresh New Eyes" is an abrasive working of strengths: bizarre lyrics, unorthodox instrumentation, and those odd soundscapes and feedback. It's hard to describe the transition from its sparse beginning to the incision it makes in you over the course of two minutes. Following is what I might call a typical "album track." "Flash Ram" is a song, in the traditional sense. It has a chorus and builds from oddly textured vocals and real emotion. But, to me, it's glue. It's what Tim Taylor and company performed to create an album. These two songs then give way to three tracks of soundscapes. But, where others may say these become some sort of filler, I believe them to be an essential part of the whole experience. They're full of entertaining noises, half-vocals, obscured background talking, and music. This is where you start to feel smug. Yes, you are special for having found this. Then, you're hit with the "the single." Brainiac ended their first album with a piece ("Get Away") that just owns you with its distinction. This does the same, in the "mature" Brainiac fashion. "Mr. Fingers" is as impassioned and hard edged as Brainiac gets, and the thump of the bass line during the final minute separates it from "ordinary" music. Rattle the walls with "Mr. Fingers." Scare someone. Of course, I have been teasing with images of grandeur and intellectual superiority. Brainiac is an aggressive, loud, and supremely inventive band. And, Electro-shock for President is a wonderful example of the mood they were capable of creating. But, listening to this Dayton band is not like listening to some great piece of jazz or classical music; the musical intelligentsia probably wouldn't be too impressed. I would be. But, they probably wouldn't.

One of those bands that you've never heard (or heard of) that has a really cool sound to go with their cool name, Carter the Unstoppable Sex Machine is more than worth a bit of exploration. But, where do you start with this 90s British "alternative" band? It might be easiest to suggest the greatest hits package Straw Donkeys: The Singles, but I see no reason to take the easy route. Go with a proper album. And, despite my very great appreciation for 1994's Post Historic Monsters, I'd start near the beginning... 30 Something is Carter USM's second album and, possibly, one of it's most intense efforts. Having said that, I won't pretend that I have internalized each song with the meaning their authors intended. But, who cares? The album rolls out the gate with a sound clip ("big fat bastard" at 25?) followed by a pulsing, loud instrumental. Then, the listener is treated to a reading of My Second to Last Will and Testament, a humorous exploration of a "rough draft" accompanied by a driving beat. And, we're not released from either the song-craft or the "noise-intense" instrumentation for most of the rest of the album. Try not to turn the volume up for the last minute of Prince In A Pauper's Grave. I dare you. No reason to turn it down for Shopper's Paradise (do you think the band revels in materialism?). Next, Billy's Smart Circus has so many sound "layers" that you can't help but feel as if a blanket has been pulled over your head while the screamed lyrics at the end are absorbed by your happy brain... And, following all this loud and wonderful "dance pop," this album has my favorite ending of all the Carter albums (and that's saying something - this group knows how to finish albums). The two song finale (Falling On A Bruise and The Final Comedown) changes the effect entirely. Somber, with a sad tone, I always leave this album feeling as if I've had an experience... It's a victory worth sharing we should celebrate I think with the bloodiest of Mary's but I'm too fucked to drink If I step back to consider, I just maybe might have to admit that Carter the Unstoppable Sex Machine won't appeal to everyone. I guess if they had, you would have heard of them. And, thinking back to my earliest listenings of this album, in particular, I'm not sure I liked it that much. A couple songs can't help but catch your attention, but is it too much... um... sound? I will stand here a decade later and say it is definitely something special.

The significance of Hüsker Dü in the rock/alternative world is beyond the scope of this review. I've spent my entire music listening life in the wake of their existence, and everything I've heard since I was about 16 years old was heard through Hüsker-tinted ears. For two months in the early 90s, Zen Arcade never left my cd player and my world view changed forever. To me, Hüsker Dü is the gold standard... without exaggeration and without exception. Flip Your Wig follows two of the albums commonly cited as essential alternative/rock albums by many critics (Zen Arcade and New Day Rising). Depending on the critic, Flip Your Wig is a marginal step down in terms of significance or a continuation of the monumental work of the previous year. Regardless, this is a captivating collection of post-punk, pop music. The opening track "Flip Your Wig" is a sharing of vocals between Bob Mould and Grant Hart that, when combined with the energy created instrumentally, creates the best start to any Hüsker album (obviously a personal opinion). Following is a steady stream of pop music that grabs a listener more wholly on each subsequent listen. Choruses are absorbed without thinking and anticipation for the next song opening become ingrained. Look forward to "Makes No Sense at All," "Divide and Conquer," "Private Plane," and "Keep Hanging On." But, by no means should you skip tracks to get there. If you do, you'll miss "Hate Paper Doll," "Green Eyes," and another handful of gems. Flip Your Wig was the last Hüsker Dü album I heard (minus live recordings). Because of that it has always held an awkward, uncertain position in my mind. This is the Hüsker Dü that I like best: songs with traditional song structure written by timeless songwriters. Additionally, "Flip Your Wig" and "Keep Hanging On" are two of my absolute favorite compositions by these guys. When asked recently what my favorite Hüsker Dü album was, I may have inadvertently lied and said it was this one. Or, maybe I didn't.

In the mid-90s Kelley Deal of the Breeders had two releases leading the Kelley Deal 6000. Following the pattern of post-Last Splash Breeder's work (including Kim Deal's Amps), Go to the Sugar Altar, is full of wonderful, loud pop-songs mixed in with experimental noise pieces. The first three songs on the album ("Canyon," "How About Hero," and "Dammit") fall under the first category - all A-list material. "Dammit" is a great is a great grundge song beginning quiet and ending with some quality raw emotion. The rest of Go to the Sugar Altar is pretty much all over the place, but no throwaways. Highlights include "Head of the Cult" (which seems to be about some 6000 society) and "Trixie Delicious," with creepy background vocals by the Frog's Jimmy Flemion. You may not think about the Kelley Deal 6000 much anymore, but Go to the Sugar Alter definitely deserves a listen every now and then. Though not quite up there with the Breeder's work, Deal creates a work that is both edgy and silly without feeling dated.

I discovered this album from two directions. The 1995 Richard Linklater film Before Sunrise featured the song "Living Life" during its closing credits. For someone who truly connects with the romance of that film, the lyrics and mood created by that song offer a few moments of catharsis after the intense uncertainty at the film's end. I bought the song on iTunes and lived with it from time to time for a number of years. Then, in reading a profile of Daniel Johnston, a reference was made to artists who had covered his work. Kathy McCarty's interpretation Dead Dog's Eyeball: Songs of Daniel Johnston was praised. I was already interested in eventually finding some Daniel Johnston material. Maybe it would be interesting to explore an "interpretation" first? I had to hear it. It has been worth it. From this album, one might say that Daniel Johnston songs are interesting, to say the least. I would go so far as to say many seem a little "off" on first listen. Johnston does that himself sometimes by use of odd lyrics ("walking the cow") or even drawing the word "monkey" into his songs. But, that's an initial impression. On further listens, this collection of songs varies from truly touching and emotional pieces ("Hey Joe", "Golly Gee, or "Going Down", one of my personal favorites) to near "rockers" ("Wild West Virginia") that compliment the unique vision of their writer. And, I would feel remiss to neglect mentioning the depression or sadness that is pervasive throughout. Though, interestingly, that's not the overriding sensation with which I leave this album. Maybe I'm immune? "Hate Song" is a little too close to perfect as that note you wish you wrote... that one time. Kathy McCarty has created an excellent album. I keep wondering if this is a sort of greatest hits of Johnston's music or more simply a collection of her favorites. One way or the other, it doesn't matter. The instrumentation and vocals seem just right and the singer has captured the sentiments and meanings as her own. Without the reference to Johnston in the title, I would have thought McCarty a bit cooky and very impressive. Even knowing the words aren't her own, I still have the same sense. Probably should check out some Glass Eye... ...and original Daniel Johnston material. Dead Dog's Eyeball is a great find and a great album.

The Oxymoron's Dancing on Billy's Grave should be considered one of the "important" albums to come out of Dayton in the early 1990s. Though not garnering national attention like Guided By Voice's Bee Thousand or The Breeder's Last Splash or having a distinct sound like Brainiac or even Cage, the Oxymorons were a great local band that could have existed anytime and anywhere since the late 1970s. Their sound is somewhat traditional in the punk/power-pop vein with a steady attack of guitars, bass, and drums, as opposed to the "alternative"/grunge bands of the era with alternating quiet and noise. With their final album, Dancing on Billy's Grave, the Oxymorons had the swagger and craftsmanship of a group to be reckoned with. Heck, they took shots at the independent press' wonder kid at the time "Billy" Corgan. ("Smashing Sour Grapes") Dancing on Billy's Grave is built on one quality song after another. On a 19-song album there are only a few throwaways. The band had three songwriters. The lyrics are "smart" with many turned phrases and play on words (listen to 'Taoist Lumberjack'). The band offers Gen X credibility by including audio clips from the movie Heathers. And, "Yes I P.C." has one of the best bitter chorus to sing along with that a listener will ever find. Don't hold my hand / It's too heavy on my heart I am not sure if this was the desired intention, but an underlining theme develops on Dancing on Billy's Grave. Death is everywhere on this album. This can be seen in the albums title, the opening track ("Day of Reckoning"), and in the lyrics of two of the band's greatest moments: "Unearthing your Grave" and "First time today". Death is the past (in the form of relationships) and the struggle is to move on. If I had a Top 10 List of Dayton songs, "Unearthing Your Grave" would be near the top. Ben Schelker's opening wailing blends into a tight and fast number, building to a multi-part chorus (the whole song could be the chorus). Without the lyric sheet, you cannot quite make out what is being said, but you can feel the loud, raw emotion. What more could one want from a song? The recording quality of the whole album is very live-in-the-studio. On many of the songs, Nick Atkinson's drums are in the forefront. Patric Jones' vocals can be heard in the background of the acoustic flavored 'First Time Today'. As the song builds to its crescendo, the electric guitars have completely overtaken the singer. I am sure a record label producer could have cleaned up the sound and the Oxymorons could have sounded like Filter, but Dancing on Billy's Grave is what it is. There is a band just like the Oxymorons in your town. If they put together the best of their material, they might be lucky enough to record their own Dancing on Billy's Grave to sell at shows and local record shops on consignment. I am not trying to belittle the Oxymoron's achievements, but I can see why this album did not lead to instant national success. At the same time, Dancing on Billy's Grave will always be one of my favorite albums.

What is the quintessential quick listening experience? Obviously, that's going to vary for everyone, but for me I think it has to be something that doesn't exist in a single emotional state or single place in time. Maybe it's that short recording that leaves you with something you always need. Inconcerated Live is a promotional release (from what I can tell) from the Replacements composed of 5 live recordings and one album track from Don't Tell a Soul ("Achin' To Be"). The copy I possess has a radio station's call letters printed directly on the disk. This may not be the easiest item to find. Perhaps I'm not supposed to have this. I would really like to be able to say I'm a huge Replacements fan, but my personal collection is a little limited. And, my familiarity with their older stuff is minimal. I really like Let It Be, but, I also really like Don't Tell a Soul. With this background in mind, some 'Mats fans might have a different view. But, in my opinion, it would be hard to dabble better in the world of the Replacements then this little promotion. Leading with "Talent Show" and ending with "Achin' To Be", it's pretty clear this is Don't Tell a Soul-era advertising. The magic, however, is between these two. "Answering Machine" has a wonderful, sparse beginning with expressive and clear singing by Paul Westerberg that really conveys the beauty of this piece. "Anywhere's Better Than Here" is full of life and has these wonderful audience moments at the chorus. "Another Girl, Another Planet" is an excellent cover of a song originally recorded by The Only Ones. And, "Here Comes a Regular" is an awesome live version of one of the great songs, in which audience participation, lyrical variations, and impassioned singing combine to create a very special experience. It is clear that the people in that room love that song. I listen to Inconcerated Live when I want something on which I can't quite put my finger. By the time "Here Comes a Regular" finishes, I feel alive and emotional. A perfect quick listen.

It is tempting to toss Me Rock You So Hard into the hard rock/punk rock bin and just be done with it. And, for the most part, this Akron, Ohio band seems okay with that (heck, their website title refers to themselves as a "hard punk rock band"). So, going with that classification, the album is a well produced, energetic affair that is easy to start and surprisingly easy to finish in the same sitting. Laden with infectious, hard rocking guitars and a potent rhythm section, nearly every track has the potential to grab you on that particular day when a specific riff or drumbeat just feels right... The album's lead-in Sounds of Earth does a fantastic job of using the English greeting from the Voyager spacecraft and feeds right into the albums first excellent track and its extremely strong guitar lead, People Watching People; these tracks belong together on every listen. Two songs later, Games showcases some of the strongest "punk" vocals on the album. Having started out so positively, here's a caveat that probably should have started this review: this reviewer isn't typically drawn to "hard rock" or "punk." He's not into the Akron music scene. And, he would be lying to you if he suggested he was emotionally connected to many of the lyrics on this album. So, you may be wondering how such a person would decide that overall this is a good and worthwhile album to recommend. It's very simple: this reviewer was completely sucked in by the tenth track on the album, Next Years New Years Eve, the first time (and every time since) he heard it. This song crosses into other rock genres and isn't quite like the songs that surround it on the album. Starting with an understated guitar and simple vocals that put the singer out in front of the music unlike anything else on the album, the piece builds up a potent energy that carries it through its full four minutes... ...and it inspires one to reconsider everything else on the album that they may not have fully "heard" on first listen. And, on that second (then third, then fourth...) listen, it turns out that Me Rock You So Hard is worth that recommendation.