M

When you loaded this page, I was listening to:

Courtesy of Kung Tunes

	Machine Head - Burn My Eyes - 55:38 - 1994
	I want to like these guys, but I just can't. No, that's a little harsh, but I feel like they are trying, and maybe it's not their fault, but it just isn't working out. Maybe it's that their trying to be Fear Factory without the keyboards, I don't know. Or maybe, it's that we've reached a point where, when the market gets glutted with bands who, within a particular genre of music, start producing high quality music technically, that just follows a formula rather than trying to redefine. If I had to guess, I'd say these guys are into GWAR. I think some of them are from Sacred Reich, but don't quote me on that one.

	Madonna - Ray of Light - 66:53 - 1998
	I don't know about you, but a sensitive introspective Madonna, reflecting on her life over slightly low key club(ish) music, doesn't do much for me. Then again, I have only been a fan of Madonna's music for one CD, and this aint it. There was much anticipation leading up to this CD, and I thought, since the last one was pretty good, I'd give it a shot (for $4 at the pawn shop, where I get most my stuff), There's something about Madonna's voice that sounds really incencere, and gives me less cause to be emphatic with a whiney millionare. (unlike Mr. Smith, or Morrisey) There's really only about 2 good songs here, and the rest are just dull, and sometimes annoying.

	Marilyn Manson - Antichrist Superstar - 78:48 - 1996
	Holy (or should I say unholy) crap, did these guys blow up or what?! I think they issue this to you if you're going through puberty. Just when I thought I would never see another video worth watching, along came "The Beautiful People." That was a good one, and the song is great to boot. Nothing else rocks as hard as that one, but there is some pretty good stuff on here. What's in the water out there in New Orleans, that makes all the kids think their sex vampires. It's either the swamp air or the drugs I guess. I'm going to add one more notch to the rating for the simple fact that they've managed to cause such a monumentally overblown ruckus. Mac users will notice several Mac voices.

	Marilyn Manson - Mechanical Animals - 62:38 - 1998
	Riding the crest of an tssuneaumi of overblown publicity, everybody’s favorite drag queen (er, I mean anti-christ) promises to do for the late 80's R&B and fluf pop dominated music scene what punk did for the stagnating late 70's. A noble cause I suppose, but who gives a shit what Mtv is pumping out anyway. Rock is not dead, nor has it ever been, you need only to look for it. Furthermore, I can't say I consider this CD as much of a "rocker" in the first place: most of the songs are too slow to rock, and the uptempo tracks are more mechanized. Ultimately this CD hasn't done much for me, but it's not bad, and the Omega's a funny monkey.

	Bob Marley - African Herbsman - 47:33 - 1977
	Classic reggae at its best.

	Bob Marley - Exodus - 37:20 - 1977
	Certainly one of the biggest things to come out of paradise lost, Bob Marley was reggae's ambassador to the world. Despite it's short duration, "Exodus" is crammed with most of his most popular songs, and is the source for most of the hits that reappear on the "Legend" CD. It's really hard to beat the cool soulful rhythms of reggae when it's done right - and Marley is one of the masters. It's not all fun under the sun however, the vocals are filled with a lot of sorrow bespeaking of a country who's beauty is only exceeded by it's poverty. One track is co-written with Curtis Mayfield.

	Bob Marley - Legend - 50:26 - 1984 (72-81)
	There's a reason that Bob Marley is synonymous with reggae music; he's really, really good. He has a beautiful voice and his music is rich, and intoxicating with rhythm. Like James Brown, his lyrics are often spiritual, uplifting, empowering and teach perseverance over adversity as well as tolerance and love for one another. Two of the best elements in a of a lot of reggae music is the fat and thick as maple syrup bass, and the priceless rim/snare shots and percussion. Although I've found it extremely difficult to find good reggae, there is tons of it out there, and you can't go wrong with Bob. This is a great collection of tracks from a true modern day prophet.

	M/A/R/R/S - Pump Up The Volume - 25:42 - 1987
	This EP contains 20 minutes of 4 versions of "Pump Up The Volume", which granted, is a good song, however, there's really no reason you should have to listen to one song that long, with almost no difference in the remixes (shades of Depeche Mode). I think I either got this one for free, or for like a buck or two, in which case it was worth it. I don't know who these people are, or what became of them, but I suspect they were producers with a little free time. There is one other song tacked on the end that totally does not fit. Sounds like something that would be on 4AD.

	Massive Attack v Mad Professor - No Protection - 49:58 - 1994
	Every now and then I have a moment of weakness and question myself. Have I lost touch, am I getting too focused on one genre, am I narrowing my own horizon by settling for what I know I like. When this happens, I'm often susceptible to influence which I ordinarily wouldn't be. In one such spell, I read reviews based on artist I new had potential, and set out on one of my most disastrous buying sprees to date. This CD was supposed to be the cat's meow, and it's difficulty to find only added to that mystique. Instead, after having blown $18 I find yet another pointlessly boring "techno" (in between dance and trance) CD. I don't hate it, but I don't have any reason to like it either. The moral "One man's epiphany is another man's shoe fart."

	Material - Seven Souls - 39:26 - 1989
	Sometimes soothing, sometimes annoying, this curious offering from a group of folks including Bill Lasswell, and Sly Dunbar, takes you through a narrated musical journey of the "Seven Souls." William Burroughs provides the narrative over dub on a variety of sounds, sometimes eastern, sometimes ambient, sometimes pop disco, with an occasional sample here and there. Borderline mediocre, this CD can be halfway descent given the right mood. Lasswell pops up a lot here at CDjunkie, and although the people he works with almost always have great potential, the collaborations almost always stink - I'm not sure why that is.

	Curtis Mayfield - Superfly - 36:48 - 1995 (72)
	Curtis is the most mackin, most pimpin, most hustlin player of them all. All others are merely pale imitations. This CD is packed with the most soulful, 70's gangsta style music you are likely to come across. Mayfield's high pitched mellow voice reveals the pain of his message much the way Marvin Gaye did. Only Mayfield's music is funked up and injected with wah wah guitars and the whole 9.The only thing missing is the screeching car tires.

	Curtis Mayfield - A Man Like Curtis - 70:48 - 1992 (70-77)
	"A Man Like Curtis" is a really nice sampling of Mr. Mayfield's work, and an example of how you can put together CD's like this with the care and respect these performers deserve. (artistic direction 5 color printing, retrospective text, and a full CD) Mayfield, originally fronted the band The Impressions, but really started to shine upon striking out on his own. His soulful ballads about urban social issues paint rich visions of life on the streets in the 70's. (like Iceberg Slim, but not as dated) It's not all about pimpin and hustlin, but you will find all the classics like "Superfly", "Pusherman", "Fredie's Dead", "Move On Up", and one really cool song "(Don't Worry) If There's A Hell Below We're All Gonna Go".

	Meat Beat Manifesto - 99% - 44:50 - 1990
	This is a masterpiece. This is what sampling is supposed to be about. Most bands base an entire song off of one ripped off riff, whereas MBM use almost unrecognizable snippets that merely supplement the texture of the overall soundscape (note the killer Heaven 17 loop). Every note is pure perfection here. Buy this CD before it goes out of print!

	Meat Beat Manifesto - Satyricon - 64:23 - 1992
	MBM weave such an intricately layered soundscape that it's absolutely euphoric. It's entrancing like Kraftwerk but they constantly break up the track, so it doesn't become monotonous. This CD comes off as a really cool , slow grove, but it's not slow. Soothing yet not sleepy. Another of my favorite MBM traits, is the contrast between the throbbing, undulating bass, and the fried shrill almost supersonic high tech spurts and tweaks that sound like a robotic pre-historic landscape. I submit myself completely to this CD.

	Meat Beat Manifesto - Subliminal Sandwich - 138:16 - 1996
	It's hard for me to sort out my opinion on this one. On the one hand there's CD 2 and on the other, there's CD 1. Also if I judge it on it's own, I like it, but if I judge it against any previous MBM release, I hate it. It was a long hard wait for this one which also factors in. This one dives deep into the trance end of the spectrum(BPMs plummet), and although I like that, it's not what I want out of MBM. Although this double is value priced, I think everyone's interest would have been served best with a weeding out of songs like "Asbestos" and concentrating more on quality than quantity. I'm sure the more I listen, the more I will like, it's just hard to let go of the old MBM. After all MBM on a bad day still out does just about everyone elses best.

	Meat Beat Manifesto - Subliminal Sandwich - 138:16 - 1996 Re-review
	Now that I've had almost a year to digest the Subliminal Sandwich, all is much clearer to me now. Although there are a couple of shitty songs on CD 1, and it's not as fast as I expect from MBM, this is a superb CD set. You just have to take it in a certain setting. In my mind, CD 1 kind of sets you up for CD 2, sort of. CD 2 is an epic journey into the subconscious mind. Just as the name would imply, it more or less is food for the inner crevices of your gray matter. Dangers builds layers of rhythms and sounds so subtly, that you don't really realize how complex they have become. The effect is very intoxicating and hypnotic. It's sort of like time slows and your floating in a passive euphoric state. If I had to die, I might like to slip off this way. I imagine designer synthetics could have quite an effect coupled with this CD. (there is one song that sounds like it came off of Cabaret Voltair's Voice of America (one of my favorites))

	Meat Beat Manifesto - Original Fire - 66:50 - 1997 (88-97)
	Original Fire is a loose ends re-mix CD, that captures Mr. Dangers doing what I like best. Even though these singles span almost a decade, they most reflect his 99% period. Most of these songs hover around the 7 minute mark, with the exception of the last song which is a re-mix by the Orb, which hits an almost unnecessary 13 minutes. The choice of song's is a little odd, with "Radio Babylon" being repeated 3 times, but their so different it's not really that big of a deal. The only stink ball, is the worst track off "Subliminal Sandwich", "Asbestos Lead Asbestos". Man I hate that song! "I AM ELECTRO!"

	Meat Beat Manifesto - Actual Sounds and Voices - 73:08 - 1998
	99% fans, Jack is back. In A,S&V you have a perfect blend of 99% & Sub. Sandwich. There's the smooth, sophisticated, and mentally intoxicating sounds that have been his forte as of late, but the tempo has been kicked back up and, he's dropping those wonderful beats (enlivened with "real" drums) like he used to back in the day. As always, the thing that brings me the most joy, is his use of sounds & rhythm. The noises are like digital candy, somewhat reminiscent of Kraftwerk. Juxtapose these sonic bits & bytes with some deep and passively unyielding bass, and I'm transcended.

	The Meatmen - Stud Powercock - 76:09 - 1990 (81-94)
	It's hard to imagine how a band as bad as the Meatmen, could get so good later on in their life. Here's a collection of just about all the early Meatmen music you really never need to hear. There's no reason to have this CD, which has a lot of repetition, unless you are a really big fan. The music is extremely raw, and the sound quality leaves something to be desired. However, one thing you can't complain about is Tesco Vee's sense of humor. From their homo erotic songs like "Tooling For Anus", and "Orgy of One" to other PC classics like "Crippled Children Suck", you just have to love it. Weak, repetitive, but funny nonetheless.

	The Meatmen - War Of The Super Bikes II - 52:13 - 1996 (85-96)
	Super Bikes 2 is a true gem, combining the original WotSB album with some wicked new tracks. At the time the original album was released, most other bands were doing skate/thrash music, but not these boys, they were hard, fast, funny, and much more heavy. Similar to GWAR in some ways, they are quite serious about the rockin', but have really funny lyrics. Much to my dismay, the new material is very good also. These new tracks are real barn burners: raw and quite punchy. Tesco takes yet another stab at Morrisey, which you just gotta love. This CD goes to show you the boys still got it, well over a decade later.

	Melvins - Stoner Witch - 49:55 - 1994
	I bought this one because I've always been curious about the Melvins and I saw some model talking about them on TV, along with a small snippet. They are a Seattle based band, that have often been credited as an influence for bands like Nirvana. I wanted to embrace this CD, but I just couldn't bring myself to do it. It's similar to Jesus Lizard in style. Sometimes they rock and sometimes it's just annoying. The last (I don't know) about 20 minutes, it's totally dead. A bass note every now and then. They can do better.

	Mentors - You Axed For It/Up the Dose- 73:18 - 1989 (85-86)
	If Beavis and Butthead ever got hold of a Mentors tape, they would never listen to anything else. Fuck GG Allen, the Mentors rule! Who remembers the PMRC? Back when our Vice Presidents wife (funded by Coors beer and one of the Beach Boys) made it her crusade to protect you and me from naughty lyrics, one of her prime targets was the Mentors. The Mentors for Christ sake! Could it have been possible to find a more obscure band? I don't think so. She brought to light lyrics from the hooded men that spoke to my soul. Thankfully, had this divine intervention not occurred, they most likely would have gone on unemployment, and my life wouldn't have been profoundly impacted. Who says censorship is a bad thing? The Mentors have a Beatlesque way of making striped down, basic instrumentation totally rock. The lyrics are hilarious, the videos are outrageous, and when not to drunk, the band played a mean show!And have I mentioned El Duce? The consummate man's man Duce spews forth his special brand of hetro rock with such bravado and great aplomb. GWAR even has a character based on Duce! Also, the Mentors can be used a a relationship litmus test. Find the girl that can appreciate this music, and that's the one to keep.

	Mentors - Sex, Drugs & Rock 'N' Roll - 50:50 - 1993
	I always hate to give the Mentors a bad review, because I do love them so. (why yours truly even did a banner for their website) But, as much as it hurts, it must be done to guide you to the quality and lead you clear of the poop. Unfortunately being in the later category, SD&RnR sounds like another homemade project that has live crowd cheers dubbed in. (I don't know, maybe it is live, I just cant imagine crowds that big at a Mentors show) Duce doesn't even sound like himself half the time (maybe he's sober), and although the musicianship has vastly improved, the spark just isn't there. There are some strange redo's of their best songs off the Trash Bag EP, but they pale in comparison to the originals.

	Dr. Heathen Scum/El Duce - Musical Pornography - 47:32 - 1993
	Admittedly, there's only so far you can push the envelope on porno rock. And god knows, no one has taken it farther, longer, better than the Mentors, but alas all good things must come to a slow drunken decline. Like Metallica's "Load", "Musical Pornography" sees a more crooning, sensitive side of Duce and less of the guttural degenerate we all love. I think, that with some production, this could have been a much better disc. Songs like "Jack Pack", and "Whorehouse Hoppin'" wouldn't have needed much help at all to push them over to Mentor's classic. Unfortunately, Duce caught a train to a party we're all invited to, I miss him already.

	Meshuggah - Destroy Erase Improve - 46:33 - 1995
	Meshuggah, a Swedish hardcore/metal/thrash band is similar in image and lyrical content to Fear Factory, and are pretty cool. The music is very busy and punchy, they have a kind of jazz vibe in the way they play. It's often very skitchy and builds and builds, but you never get that big cymbal crash that relieves the tension and closes up the passage. Also, the music is more involved than most of the artist in this genera. I like the drummer, because he moves around the kit: he's not just trapped to the common bass, snare, cymbal routine. I have to commend them on their list of inspirations which features a wide range of music (EW&F, Steely Dan, Thin Lizzy), writers (Tolkien, Burroughs, Lovecraft), and movies (Aliens, Iron Man: a very cool Jp movie,Gump) Also, you might want to check out their fan driven web site, it's one of the most in depth band sites I have ever seen.

	Metallica - ...And Justice For All - 65:26 - 1988
	With the shortest song weighing in at 5:12, this CD is epic to say the least. It's also a masterpiece of metal. Once again pacing proves to be key to success. Take their most popular song "One" for example; it starts off out of silence and slowly grows and builds until it launches into this monster charging you like a rhino. You end up with your stomach in knots and fist clenched; powerful stuff. The sound quality is outstanding [ADD], and on a good car stereo, Lars will have your hair vibrating and your sphincter taught.

	Metallica - Metallica - 62:37 - 1991
	This CD is fat with a capitol PH. This surely must be the catchiest metal album ever released. These guys can write hooks like you would not believe! If ever I had an urge to air guitar/drum or sing along, this one does it. Although this CD is not as hard or fast as previous releases, that doesn't make it any less bad ass. Ok, well maybe just a little less, but the fact remains that this is one great album. There are some pretty decent lyrics on this one as well. These guys make excellent use of negative space, although it's not as pronounced as Helmet.

	Metallica - Load - 78:57 - 1996
	Ok, so this was a pretty tough load to swallow. It's never easy whey a band turns to crooning, but I'm a big boy and these things happen all the time. And for the record, the "man they sold out" line is really inept. Bands don't sell out (most bands that is, particularly ones that have already got a wad in the bank) they progress (or at least change). Sometimes there's something to be said for stagnation, but ultimately growth is the best thing. After I had about a year to digest it, Load is a pretty good disc. These guys can make seriously hooky music. I'm considering bumping up the rating, we'll see how it goes.

	Metallica - Reload - 76:07 - 1997
	Well, here they go again. If you couldn't gather from the clues on the cover, Reload is the companion disc to Load, which when combined together offer a massive amount of material, that is somewhat overbearing. If you were one of the ones that hated Load, your not going to like this one any better, because it is the same material, only slighly less interesting. That in itself is the biggest problem for me, I don't so much mind that they have settled down, but two oversized, nearly identical albums in such a short timespan, is a bit much. The only song that really rocks is "Fuel," the rest are ok.

	The Steve Miller Band - Greatest Hits 1974-78 - 44:22 - 1978
	Chances are you've heard 90% of these songs on your local classic rock radio station. They're much more enjoyable when digested together in one sitting. The Steve Miller Band sets the standard for quality middle of the road songwriting. (I mean that in a good way) Pop music doesn't have to be crap, and this just proves it can actually be done well. I enjoy almost all of the songs on this CD. I particularly like the sound quality, you can tell they hung out in the studio a lot, like Steely Dan or ELO.

	Ministry - The Land of Rape and Honey - 46:43 - 1988
	In the early 80's, if it didn't have to do with keyboards and such, I wasn't interested. Toward the later half of the decade, I was more into punk, and was constantly aggravated that I couldn't find a band who could mix anger with technology - then along came Al. When I saw the video of "Stigmata" on Miami Vice, I new my wait was over. In one stroke, Ministry went from making gay ass keyboard records that even I wouldn't listen to, too actually taking the reigns and redefining a genre. The rapid fire bitterness of "Stigmata" rolls like a freight train up your spine, and militant beats like "The Land of Rape and Honey" make you clench your fist - all hail the new dawn. (It only took me 11 years to figure out what's on the cover)

	Ministry - Filth Pig - 54:31 - 1996
	I don't know if Mr. Jourgensen has changed his prescriptions, or if his boat has just run aground, but this is one lackluster CD. It is charged with some pretty good guitar sounds, which are more prevalent than the electronics which usually dominate Ministry's sound. This thing just kind of drones around, not really doing anything interesting, and not seeming like it has a point (sounds like Pigface). It also feels like maybe their weren't enough people involved in the creative process. If you wait around long enough, there are a couple of good songs towards the end, and oddly enough the best is a cover of Dylan's "Lay Lady Lay" - go figure.

	Misery Loves Co. - Misery Loves Co.- 47:32 - 1994
	The reason I bought this CD is on the strength of the first track "My Mind Still Speaks", which is one brutal, hardcore, ball bustin track, that blows you away. Although I must admit, the only way you can achieve this effect is if you turn the bass up to the max. Otherwise, is comes up impotent. Unfortunately, the rest of the CD doesn't do a whole lot for me. This Swedish band resemble a lot of bands, at different times: mostly M.Manson crossed with W.Zombie, and sometimes Prong, STP, and Godflesh. So as you can see, they're onto a good thing, it just isn't quite working for me. (I think I'm starting to like this CD more now, a re-review may be in order)

	Missing Persons - The Best of Missing Persons - 60:07 - 1987 (80-86)
	In a time before Baywatch, it wasn't that often that a centerfold ever went on to become anything else, but this one did. Missing Persons was the definitive 80's band, with a strong emphasis on keyboards (and hair spray), but they also had a more "manly" guitar sound than most. The lyrics are custom tailored for teenage girls, but the music isn't lame like say a Debbie Gibson. Most of these tracks are good fun, some of them are even pretty cool, and there's even a Doors cover. They made very poppy songs, but did them in an unconventional way, besides you just gotta' love a girl dressed in plastic who squeaks.

	Moby - Everything is Wrong - 44:50 - 1990
	I'll say! What a piece of crap. I was expecting so much more. I mean after all this guy is supposed to be a deity of sorts. But I guess if most of your peers are in K-holes it does tend to taint your sense of rationality a bit. One or two songs at least register a blip on the radar, but surrounding songs are so lame, it negates the good. (anyone ever heard of continuity, he hasn't) Also, what's up with the end of this thing, it just plummets into Sombertown. Yes, something is wrong, I'm missing $18.00!

	The Moody Blues - A Question of Balance - 38:43 - 1986 (70)
	I really don't know if I can explain how or why the "Moodies" are cool, and I'm not entirely sure that my affection for them doesn't stem from my childhood, but here goes. I think, no I definitely know one of the things I like, and that makes their sound so great, is the subtle use of orchestration in their music. Sometimes ominous, sometimes mystical but never really overbearing. Another thing is there sound is somehow both depressing (as their name might imply), and often at the same time gives you a sense of wonder or introspection. I guess all and all, there's just no other sound like theirs, and that makes it unique.

	Robert Moore - Serve You, Ma'am? - 60:38 - 1997
	I would probably never buy a CD that looks like Larry's (the least understood stooge) greatest zingers, but as it stands, this one came from the artist direct, and far be it for me to decline something free. This day job quitting release is a big improvement over the prior "Wildcat". Since I'm really not educated enough in this form of jazz to offer a proper comparison, I'll say that his vocal stylings are vaguely reminiscent of Dr. John, and even less remotely, Aaron Nevil. Almost each song represents a different style, including a little bit of scatting, which I find almost as repugnant as the fetish that shares the same name. The first track is my favorite, but I'm always a sucker for a good bass line.

	Morbid Angel - Covenant - 41:40 - 1993
	At first I didn't really care for Morbid Angel all that much: I mean, they're ok, but nothing special. But, the more I listen to them, the more I like them. It's kind of like one of those magic eye pictures, if you don't focus on the obvious, you see it. I think their more powerful songs are the slower ones, kind of like Crowbar. Otherwise, they tend to use that 1,2 flash beat a la Napalm Death and those all to familiar high pitched spurty solos. There is one balls out Satan worshiping, teenage suicide pact, kick ass song (even Butthead sang along to it on one episode), but other than that the rest represents a good band in a raw state still needing a little polishing.

	Morbid Angel - Domination - 44:44 - 1995
	Like "Covenant", the more I listen to this CD, the more I like it. Again, like I mentioned in the other review, Morbid Angel's appeal is one that doesn't hit you at first, but you begin to develop a taste for it after a while. They take a more subtle approach to their brand of black/Satan/metal. The vocals are guteral, but not quite Napalm Death, and the guitars are not effected to be brash, but more sublime and rhythmic, which really pays off periodically. The drumming is pretty fast and furious and the double bass is often in effect. If anyone can give me the urge to sprout tattered wings and feast on entrails, it's these guys.

	Morbid Angel - Formulas Fatal to the Flesh - 51:40 - 1998
	My first reaction to this CD is one of major disappointment, however, MA has a tendency of sneaking up on me and catching me in the end. In the meantime, I'm left flat because I really had high hopes for this one, and they just don't deliver. The vocals turned more gutteral and therefore less discernible than the more manly and wicked style on such previous tracks as "Burning." Although they are experimenting some with new things, overall they haven't progressed, still throwing in cheezy solos that should have gone out in the 80's. And speaking of cheezy, there are even more mystical instrumentals that sound like they belong on the soundtrack of Zelda II. I may end up eating my words later, if I do, I will do a re-review. (nope, 3 years later and I don't like it any better)

	Morrisey - Kill Uncle - 37:13 - 1991
	You kids today, with your crack pipes and your grudge music. Why, you don't have to listen to crap like Jesus & Mary Chain, Kate Bush, & Morrisey. OK, so Morrisey's not that bad, but this CD should be reserved for hard core, mascara wearing fans. It has very little entertainment value otherwise. The Marrless music is stale and the lyrics are tired.

	Morrisey & Siouxsie - Interlude - 17:17 - 1994
	Oh man, there is that which is crap, and that which takes that extra step beyond crapdom. This my friends, is the later. Released on the Beatles old label Parlophone, this single contains 2 god awful versions by two great artist caterwauling this desperate love song that is just sad. Hearing those two moaning back and forth at each other is not only agonizing but the whole premise is totally absurd to start with. The third track is an instrumental, and is, if nothing else, tolerable. What were they thinking. If I had to guess it was... "Time to exploit the last remaining goth kids that haven't left the 80's and joined the pack." "At the record company meeting..."

	Mark Mothersbaugh - Muzik for Insomniaks Vol. I - 74:23 - 1988
	Mark Mothersbaugh is one of the founding spuds of Devo, who in addition to his duties there, also does a number of other projects including art, multi-media, and most notably a host of scoring gigs for TV and features. This CD was originally released as a gold cassette, in a cool green box, with a pack of MM playing cards - too cool! At the time, this music seemed very different. The sounds he used, and the style were somewhat out of place, but today, it seems more...I'm not sure what I'm trying to say. The CD contains several lengthy, super repetitive computerized toodilings, that at first were almost a test of wills to play in it's entirety, but now I've rather come to like it.

	Mark Mothersbaugh - Muzik for Insomniaks Vol. II - 72:45 - 1988
	I really don't think I could offer a rational explanation of why I like these CDs (Vols. I&II). It's kind of like doing a marathon "It's a Small World" ride, or being strapped in a dentist chair while riding in an elevator that has no destination - with Barney. It's just this collection of endless, maddening, dopey, happy keyboard loops that somehow manage to entertain almost as much as they annoy. If you have ever seen "Rugrats" on Nick., you have heard some of this CD. This one is very similar to volume I, but this one is more sophisticated, less reppiditive, more soothing and more playful.

	Murphy's Law - Murphy's Law - 23:15 - 1986
	Whoa, reality check; this thing is 13 years old. Why I remember the M.L., Fishbone, Beastie (License to Ill) tour as if it were just... Anyway, this is a classic disc. M.L. made cool music that was a lot harder (albeit more lyrically comical) and more competent than most of the snare/bass snare/bass thrash bands of their day. I can only guess that this one is already out of print now, but it would be nice to see it lumped with some of their other, later and less cool material, and reissued. "Care Bear" kicks ass!

	Murphy's Law - Back with a Bong - 29:23 - 1989
	At first I was really disappointed with this sophomore release. I had hoped they would have spent their time honing their already good musicianship and come out fighting. However, I think they mostly spent their time drinking and getting stoned, because they decided to continue down the comical, (punk? frat) party path. With such beer stained jaunts as "Panty Raid", most of the lyrics are too stupid to be funny. The songs are catchy though, and they even use ska driven brass accents, which is only now becoming popular, some 7 years later.

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