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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The Replacements came into their own with Hootenanny, a careening, drunken stumble through punk, rock & roll, country, blues and folk. The eclecticism of the album separated the Replacements from the post-punk hardcore pack.They're still sloppy, to be sure, but Bob Stinson's guitar stings and the rhythm section of Tommy Stinson and Chris Mars rocks with a loose abandon that makes even the filler ? and there's a lot of filler ? enjoyable garage-punk.

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