A funny breakup song, done in a very juvenile style, but everything you ever want to scream to your ex right after they dumped you. Sung to a woman, but applicable in all such nasty situations - the feeling is still there. Even when I'm angry, this song has me laughing. Backed by a funky rhythm that just barely turns it into a melody.

This must be the epitome of French progressive rock, a (mostly) languid song made by piano and organ on top of the usual rock instrumentation. There is a short fast/noisy bit just before the middle that jars a bit, but basically you want to just lie back and relax while listening to this track, it's so mellow and lovely. Also recommended: "St. John's Avenue" and "The Gulf Of Knowledge" from their second LP "Windows".

This early single starts off in quite an unpromising way, the sound is quite dry and sparse. Bass and drums, David Thomas muttering teen angst semi audibly in a style that hadn't quite developed into the strange sing song delivery that became his trademark.

"The girls won't touch me cos I got a ". What was that, what?

As it progresses the volume picks up until the final chorus where Thomas is screaming and the guitars start thrashing, then it finishes on a guitar solo that I swear J. Mascis based his entire career on, wah wah squealing on the edge of feedback, while the rest of the band just seem to be lifted into a noisy stratosphere.

I heard for the first time in 10 years last week, and it was breathtaking.

Lou Barlow of Sebadoh has a gift. What would sound corny and clich� if sung by any other -- Lou pulls it off and actually succeeds in moving you. This is just one side of Sebadoh; some of the other stuff is loud and noisy but beautiful in its own right.

Dave Gedge, main man in long-time British alternative band The Wedding Present, decided to do something a bit different in the latter part of the 1990s, so he enlisted girlfriend Sally Murrell and a number of musical friends and put out some really good material under the name Cinerama. The purpose was to do some less noisy, more classic-pop oriented tunes, and it worked like a charm! This track, their second single, is a sprightly '60s-influenced number, which means it's mega-tightly produced and has the rhythm guitars at the back of the mix where they belong. It also has a nifty string and piano arrangement. Lyrically it's a fantasy about a girl he wants very badly (not in real life presumably). The song is on my '90s top ten list for sure!

Great Lost Punk Single #1

...well actually part of an E.P. called, I think, Wake Up Sleeping. I totally take on board what some other guy says about not just typing in the lyrics to songs, but these are too funny. It's a noisy, good humoured racket, 'though not very pc.

I wouldn't kiss Liam O'Maonlai,Guns & Roses or Muddy Waters.
I wouldn't kiss Brian WilsonOr his lovely yankee daughters.
And Shane McGowan is not my type Because his teeth are green and mangled
But Jesus Christ Almighty, I'd love to kiss the Bangles.

exceptional song about love and life in smalltown northern england. A fabulousopening line 'I know she has a boyfriend and I guess we both take turns,he gets hot meals his washing done,I get carpet burns' All the things you loved about the Smiths, a quiet piano led intro bashed into submission by noisy guitars and drums and then back to the quiet bit. Wonderful, buy it.

It doesn't have the electronic elements of some of their songs apart from a DnB drum loop, but it is the only release they have on vinyl. (beautiful 7")
A breathless rush of too fast, too loud guitars, beach boy singing, slaughter and the dogs style riffs and terrible kiddie rock rapping.
Its noisy and fast, but desperatly tuneful.
The B-side "Good Good Girl" is also too fabulous. Catch them live if you can. Too young, too loud, too good. J-Rock!

Somewhat Math-y rock with beautiful instrumental guitar tones, unusual atmospherics, and a mind-blowing conclusion