Anonymous Botch, Chris Mars' fourth solo album, at first glance appears to be an attempt at a more commercial recording, with the addition of acoustic guitars, violin, and cello, as well as a heavier reliance on keyboards, but it is ultimately hampered by his antisocial vocals and a distracting drum sound (imagine a bouncing tennis ball). High points, like the {power pop}-influenced Where and Why, the soaring Narrow, and the steady mid-temp rocker Black Days (a flashback to his strong Horseshoes and Hand G...   [ read more ]

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Chris Mars' third solo effort gets off to a bumpy start with White Patty Rap, an attempt at rapping that is the definition of quirky and resembles one that Ween may have tossed off at some point. Before things get too weird, Mars bounces back as a funky Chuck Berry, with an exposT of inbred/racist Bible-thumpers on Forkless Tree. As was evident on his first two releases, Mars has a distinctive voice, but the appeal of his vocals is limited, and it's likely only hardcore fans of his old band, the Replacemen...   [ read more ]

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Other people also bought:

Blonde Redhead  Symphony of Treble, Superchunk  Here's Where the Strings Come In, Superchunk  Tossing Seeds

After emerging from and defining the Minneapolis music scene of the early 1980s and issuing a series of seminal releases on indie label Twin/Tone, The Replacements signed to Sire Records in 1985. Their fifth full-length and second for a major label, Pleased to Meet Me was also the band's first following the official departure of guitarist Bob Stinson, part of the legendary founding line-up that also included lead singer and songwriter Paul Westerberg, Chris Mars (drums) and Tommy Stinson (bass). Rhino's ne...   [ read more ]

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