Q and not U - No Kill, No Beep Beep, 2000

It hard to talk about bands from D.C. without mentioning Fugazi, especially one so obviously influenced by the masters of the D.C. scene. And I won't lie, there are parts of this record that scream Fugazi, but really only in the homage category. Largely, and impressively, this band offers us a vision of post hardcore that really does make you think. And not just politically, but about love, life, laundry, and symbolism. These men were not fools, nor talentless copies of success. They created themselves amid the huge weight than can and has destroyed many bands out of D.C., and made themselves stand out by not just being in the right place at the right time, but speaking with voices and instruments melodically, methodically, and with hooks that still get me all these years later. "D-O-W-N and that's the way we get down..." My, my, what a wonder thing. And, my, what a wonderful album. Sadly, their later records didn't have the same depth for me, but this album has been, and always will be, quite near the top of my list of the all time greatest. You will not regret this record. No one does.

Circa Survive - On Letting Go, 2007

reviewed by Judasfry

I found out about this band a few years back after recovering from a serious bro-mance with 'The Mars Volta'. Searching for something that had similar lyrical depth... and some serious chops to live up to for a fan of TMV. I discovered this Philly based group that met the challenge and then some.

This release shows some growth from their first full length release 'Juturna' (which I also really liked, but between the two, this one is much tighter in production). The album title correctly instructs what we should all do with life's insecurities. The songs reflect the intensity that life's troubles can inflict if carried for far too long, and is pleasantly tied up with sweeping landscapes painted by the coordinated musicianship of the band as a whole. The album artwork is again a wonderful piece by Esao Andrews.

The opening track starts off this album adeptly and contains a great line "He makes it up as it goes, it goes away." Reminding us all that sometimes off the hip doesn't always make good permanent scenarios. From there the album continues a maddeningly pace, nagging the listener to try and keep up. The guitar lines phasing from simple lines to more dreamy phrasing, the drums & bass pounding the urgency home.

All in all a great bit of tune-age. If you dig this as much as I did, you might check 'Juturna', and if seeking something a bit slower paced, but still having the lyrical depth, the lead singer's solo release 'Avalon' is a great choice. And likely to reviewed at some later point by this reviewer.

[Rock and roll is the culmination of hundreds of years of popular culture. Some say it's leading us down a slippery slope of loose morals and wrong ideas, to a place where all of us will fall off the edge of a world that's just too flat. But not this editor, and obviously, not Mr. Judas. In a world where folks want to be handed the next best thing, it's refreshing that somewhere out there exist people of honest principles, who work to be proud, not to be paid. People who only want the best for their listeners, regardless of the cost in terms of comfort. Not every band gets to be the Rolling Stones, but enough of them try, edge of the world or not. Proof positive, though the world may be square, a few of us are actually listening to the rounders.]

Beauty Pill - The Unsustainable Lifestyle, 2004

In a previous review I looked at D.C.'s Smart Went Crazy, a Punk/Pop/Jazz combo lead by Chad Clark. Honestly, as I listen, Beauty Pill is practically the same band lead again by Mr. Clark, and a ragtag group of SWC survivors. A similar energy, Clark's songwriting and studio methodology, and a sensibility that makes them approachable and serious without being too overtly political. But, they're from D.C., and who isn't political there. But the secret seems to be, as a group, they're really only interested in telling real stories with great music, drawing us in with acumen and aplomb. And not without context. These aren't etherial musings on issues, but direct cause and effect questions. Will you come visit me when I'm in prison? Telling us the Mule's name is Consuelo, if we'd been introduced. And that, if we think about it, Idi Amin's violent dictatorship, and the assassination of John Lennon are just two terrible things that happened, why not go outside and stop them. It's a good question by a good band who just wants to know. This record suggests that it takes more than hooks and looks to make a point. Thanks, Beauty Pill, I think I get it.

Fu Manchu - Signs of Infinite Power, 2009

After hesitating for several days about this review, and having spent the last few years following other bands, I wanted to give this record a chance. Fu Manchu, in my mind, was once one of the most interesting stoner rock bands out there. Vital and raw, Brant Bjork's drumming set off an elaborate, gain fueled metal experience that spoke to the depths of my spirit. The spirit that craved this uncooked, unbridled rock and roll. But, now, I find myself wishing this record were over. Hooks that fall flat, solos that feel weak and uninspired, and, man, the lyrics are like a preteen describing his favorite comic book. Not that they ever expressed the depths of man's ennui, but honestly, what happened, Fu Manchu? I still listen to everything they put out for Mammoth (except 2000's King of the Road, I didn't like that one either) and Man's Ruin, especially the Godzilla's (Eatin' Dust) ep, but this record will never make it in my collection or my consciousness. It's a sad reflection of a good band falling apart in the wake of a promising career. Bands do fall apart, but the good ones know when to quit. Disappointment. That's what I feel right now.

Skeleton Key - Fantastic Spikes Through Balloon, 1997

From its inception, Skeleton Key stood out as a band that didn't care what people thought. Coming from New York's art punk scene, they take us to places not often explored. Erik Sanko's brilliance opens doors, and gives us insights we may not want. A nightmare reality, with "The World's Most Famous Undertaker," a song steeped in what becomes obvious metaphor, "Only Useful Word," and my personal favorite, and also the last track on the album, "Needle Never Ends." Musically, they feature a junk kit player as well as a drummer, something that sets the tracks apart from anything else that came out at the time. But it's not so far out that its confusing. It's centered, honest, and worthwhile listening. If I had to compile a list of the best albums of the 90's, it would be there somewhere, and not too far from the top.

Ministry - The Mind Is A Terrible Thing To Taste, 1988

What else can someone say in an immediate way, but wow. They took what Skinny Puppy was attempting to do, and brought it directly to the mainstream. But they did it without selling out. It's a wonderful follow-up to The Land Of Rape And Honey by not forgetting what they learned from Honey. The programming is better, the drumming is better. The musicianship and the overall production values brought them to a less eclectic audience, an audience willing to pay large dollars for a performance (If you haven't seen "In Case You Didn't Feel Like Showing, Live", then I highly recommend picking it up. It features a performance by Jello Biafra (of Dead Kennedy's fame), and puts a light on the then future relationship between Jourgensen and Biafra (LARD).

Rye Wolves - Oceans of Delicate Rain, 2008

I saw this band for the first time about three weeks ago, and they literally knocked my socks off (they being extremely loud. Think the volume of the Melvins). But what impressed me, was their stage presence and ability to keep an audience in thrall. Now, this says I'm reviewing Oceans of Delicate Rain, but really I'm talking about the band, themselves. Three of the most calm and kick back guys you'd ever want to meet, they put all their aggression and angst, ennui and anomie in the music, and keep their lives as clean and bullshit free as possible. The space they practice and put on shows, EpicSpace, has a sign out front that reads "Hate Free Zone." And you have to believe it. They welcome everyone, and at the end of the day, help everyone pick up all the socks (they've gotten used to it by now). Anyway, check out the wolves onmyspace, and I think you'll agree. THEY FREAKIN' ROCK!

Judas Priest - Unleashed in the East, 1979

I'm usually not a fan of live albums or Judas Priest, but this album rocks. In Japan, so I've read, it's considered rude to make any noise while the artist is playing, so this recording lacks any of the extraneous crowd noise that often ruins most live recordings. But this is Priest at their very best. They're young and ready rock, and Rob Halford is really at his screaming best. If you have to listen to a live album, and you must listen to Judas Priest, you couldn't do much better than this record.

Smart Went Crazy - Con Art, 1997

This album is a masterpiece from the now defunct Smart Went Crazy. Chad Clark went on to form Beauty Pill, but that is another album, and another post. Con Art was their final album, and it goes out with a bang. The final song, Now We're Even, is 20 plus minutes of ambient sound. And, after such a mind blowing record, it's really very pleasant. But I don't want to gush.

This kick-ass record came out on DISCHORD, and is still available. Download it, especially if you like Beauty Pill. Download it anyway, even if you don't.

Brand New - Deja Entendu, 2003

reviewed by Judasfry

The second release from this Long Island band showed marked maturity from their first, and contains some of the most interesting work in the 'emo-punk' genre (although this reviewer hates labels such as this... being a 'grunge-era' kid, I think enough has been said about these industry labels and I wont bore you with yet another diatribe about said labels). The title translates to mean 'already heard,' which is also a commentary on modern rock.

The tracks have more meaningful lyrics than the standard fare of that year's top-ten, including this reviewer's favorite 'Guernica,' which details the lead singers struggle with his grandfather's battle with lung cancer. The line that catches my attention, "Is this the way a toy feels, when it's batteries run dry?" It really hits home. As someone who copes daily with depression and pre-emphysema it is easy to identify with the lyrics/struggle that Lacey conveys in this very personal song.

Other favorites include one of the singles 'Sic Transit Gloria...Glory Fades', which covers taking advantage of someone else, 'I Will Play My Game Beneath The Spin Light,' and 'Me Vs. Madonna Vs. Elvis'. I can only hope that this review provides the reader with even an iota of the joy that this album brought to my ears and soul.

[Sometimes rock n' roll comes in many shapes and sizes (and as I've stated, smells), but Mr. Judas has made a very valid point. The micro-genre has become a way alienate audiences away from what is basically straight forward rock and roll. Music made to kick-ass to, whether that kicking ass is working out, cleaning up, or editing reviews. Well, done, Mr. Judas. But please move your desk to the warehouse, I've been getting complaints...]

Electric Eel Shock - Beat Me, 2006

reviewed by Judasfry

The sixth release from this somewhat obscure three-piece from Japan is just a fun rock album that deserves much more attention than it has gotten. Inspired by the likes of AC/DC, Black Sabbath,etc...produced by Grammy nominated Attie Bauw...this is just too good to miss!

I saw them open for The Bloodhound Gang on the tour for Hefty Fine (a great album in it's own right, but not why I'm writing this review)...was totally blown away by the genuine enthusiasm and energy they brought to the stage. While some of the schtick was common among most rock bands, they brought it to another level with the way they put it out on front street. From the sock on cock show of Tomoharu 'Gian' Ito the drummer, to the face smashing with the head stock (ouch!) of the guitar by Akihito 'Aki' Morimoto lead singer...these guys can rock hard! My favorite moment of the show was when 'Aki' proceeds to point out various members of the audience telling them they are bastards... "You are bastard, and you are bastard, and you know how I know this...cuz I am bastard!!!" Then the band erupted into what had to be one of the catchiest tunes I had heard that year "Bastard". The song contains multiple lines to former president George W Bush, that even a strict "red-stater" could find amusing. After their set I approached the merch table and picked up this album...they were kind enough to autograph it on the spot and thanked me profusely for buying a copy...class! And the album does not disappoint at all comparably.

Besides just rockin, 'Aki' is also a world class angler. So how could this "hippie" not love a band that shares his loves?

'Nuff said! Go out and get this ASAP!!!

[I just don't understand how one hippie could like anything good, and still smell so bad. Honestly, the smell of this guy is enough to curl your nose hairs, and then he has the gall to get all on my grill. If I didn't have column inches to fill, and actually enjoy listening to led zep 4 ALL THE TIME, I'd have fired this guy years ago.]

MGMT - Oracular Spectacular, 2008

reviewed by JW

www.whoismgmt.com

MGMT’s Oracular Spectacular, released early 2008, begins with an upbeat “college” anthem to get you in the mood to get you out of your crappy little mood.

"Hey, life can f****** suck. So what? Shake your hips a little and Fuggetaboutit."

As soon as I put on this record I imagine myself joining the crowd on the back cover and prancing around on the beach in crazy dresses and feathers in my hair while flinging homemade torches into the ocean. This album reminds me that it is OK to wear yourself out to remember hope. Hey! Be a Kid, run around a little, and quit over ANALyzing everything!

I’m not particularly interested in being trendy or “hip” which is one of the main reasons why I was so reluctant at first to buy this album. It is so damn popular from what the House of Records guy says. I especially felt guilty for buying the entire album for one particularly cool hip song. But this hipster song, “Electric Feel,” refused to leave my brain and I had to buy the album to “exercise” its demon. That Demon Song! The rest only gets better. After the first half of the album gets rid of your bad mood, the second side turns to a little more experimental with “4^th Dimensional Transition” and each track continues to push boundaries in lyrics and imagination. When the album ends, I’m ready to flip it over and do it again!

Remember how cool Modest Mouse was when they came out with their party anthems and singles? It is the same with MGMT. I have to remind myself, Don’t count out the band just because they’re cool! Hell! There’s nothing wrong with being cool. I don’t want to be a judgmental prig and miss out on all the fun. Yes, kids…remember that word? FUN!!! And we can all get there just by letting down the needle.

Oracular Spectacular debuts on the label giant Columbia / Sony. Should I feel guilty? Well, maybe this album is a little bit of a guilty pleasure, but then so is LOST. So Suck it!

[Although, this is an excellent review, JW will no longer be writing for us. Something about the editor and an overly amazing attitude... Regardless, Judasfry, despite his hippie smell and Led Zep sensibilities, is hereby promoted to head writer. However, Judas, it doesn't come with anything but hard work. Money is for editors, not writers. Also, take a shower.]

The Chico Hamilton Quintet, The Original Ellington Suite (with Eric Dolphy), 1958.

reviewed by MRAK!

Okay people, stand back. I'm about to unleash a review of Slayer's Reign in Blood... [which was his assignment] No I'm not. Though maybe I will at a later date. Seriously, come closer, you won't hear what I'm about to play from way back there.

The Chico Hamilton Quintet, The Original Ellington Suite (with Eric Dolphy), 1958.

Lineup:

Chico Hamilton: drums

Eric Dolphy: alto sax, Bb clarinet, flute

Nate Gershman: cello

Hal Gaylor: bass

John Pisano: guitar

Cello? Ellington? Dolphy? Yes. This little gem of a record was all but dust-binned before some nerd found it in an actual dusty bin. Or something. One of those stories. Guy looks at a can (or old test-pressing of an LP in this case) that says "Unreleased" or plate of shrimp and he puts it on, then shits his pants and soon finds that yes, it is what he thinks it is, the saxophone is, in fact, Eric Dolphy, and thank God he realized that because otherwise we wouldn't have this aching heartstring of a record. For those of you a little newer to the jazz canon, Eric Dolphy is a bona-fide jazz giant who later would kindly take people's heads off playing with Coltrane and also leading his own bands with his animalistic bass clarinet, flute, and special brand of shocking, atonal, but defiantly purposeful jazz. Can you tell he's favorite of mine? But here it's 1958 and he's just getting started, led by Chico Hamilton, who, because he sat behind a drum kit and not a piano, is one of the lesser known composer/arrangers for no good reason. The tracks on this record are all, as the title suggests, Ellington compositions, and each is now a jazz standard. Amazing then that each of these tracks manages to be my all-time favorite recording of that particular number. Not to mention they are played together as a true suite, many without a break, cohesively and easily drawn from one into the next. The arrangements are spacious and open, allowing ample time and room for each instrument to speak and for Dolphy to quietly predict the chances he would soon take as a band leader. And the recording itself is wonderful considering its age and the strange, less than ideal path it took to get here from 1958. This record embodies nostalgia and melancholy and parties and sex and awesome. Next time you fall in love you'll need a record for that first night. Something classy without any stupid words in it. This would be that.

Favorite track: In a Sentimental Mood.

[If you weren't so busy complaining, Mr. Judas, you could write like this. I like holding hands, but only with girls or Beatles. Also, MRAK!, stay out of my records, kiss-ass...]

Ween - Chocolate And Cheese, 1994

reviewed by Judasfry

After the ribbing I got from our editor-at-large, (and if you've ever met him, he is no petite sweetie, more like a junkyard rabid dog foaming and storming about, bitching about deadlines, and whatever else gets in his craw) for my "hippie" sensibilities, I figured I'd prove him RIGHT, and review a true homegrown style band that does it basically for the love of the music.

This album was their fourth full length release, and the first one that used an actual professional studio. Prior, they had been recording on four-tracks. The cover is definitely eye-candy, with a woman's torso barely covered, and wearing a WWE-like belt with the band's name and mascot/god/demon, Boognish as the buckle. They originally wanted to do a gay sailor theme, but the label execs thought that may not bode well in these BS PC times.

Dean (Michael "Mickey" Melchiondo, Jr) and Gene (Aaron Freeman) Ween show their versatility and mastery of the craft over and over again on this release. From the raucous opener "Take Me Away" to the closer "Don't Sh%$ Where You Eat" it's a combination of hilarious lyrics, and obvious nods to 70's pop/rock. Many of their tunes have appeared in various films and TV, most notably in the recent films Road Trip, and Dude, Where's My Car?

Around my humble abode, a favorite is the ballad (and I use this term for lack of a better one) "Baby Bitch", which much to my in-laws chagrin, my 3 year old daughter has memorized the words to after many a slow dance with daddy. I also greatly enjoy "Buenos Tardes Amigo," a tale of murder, false accusation and sibling rivalry on the level of Cain and Abel.

So, get out to your local independent music store and get this one secured into your collection, and enjoy!

[Although, I prefer to think of myself as a strict, but fair editor, it's now obvious that Judas's lack of professionalism isn't just in the office. Be that as it may, we still have to tell the people what to listen to and why. That, dear readers, is the MOTTO (actually, it is. Right there in the lobby. It's, really, the first thing you see...) of this fine organization. I strive, regardless of my closed and locked door policy, to defend the first amendment. And, MUCH TO MY CHAGRIN, Mr. Judas... I'm going to put this to press, you SOB... By the way. He... Is... Correct... itactuallyrules... There, I said it.]

Joanna Newsom - Ys, 2007

I don't often review stuff like this, but she has all of the bona fides she needs to prove to me she rocks. Steve Albini recorded her harp and voice, and if he likes it, it must be good, right? This music speaks for itself, so I'll shut up...

http://en.wikipedia.org/wiki/Joanna_Newsom

Bon Iver - For Emma, Forever Ago, 2008

Okay. I've listened to my share of Mope Rock, Shoe Gazer Indie, and even a little Christopher Cross ("Arthur" is rad...), but nothing prepared me for this amazing and sure to be classic recording. The man locked himself in a cabin in the middle of a snowy wood with a laptop and a guitar, and redefined for me what is possible if you have all the time in the world, and what appears to be a broken heart (Also, it seems you have to have a crap-ton of talent...).

The sentiment of this album locks itself down with, "Skinny Love," a marvel of production value and songwriting. I haven't been this happy about someone else's blues since Chris Isaak's "Forever Blue." If you have the means, I highly recommend picking one up.... (an homage to the late, great, Mr. Hughes. R.I.P. my friend...)

Spoon - A Series of Sneaks, 1998

Elektra dropped the ball with this one. Since its rerelease on Merge, sales have blow away original estimates. And, why? Because it's the BEST record of the nineties that no one ever heard of... Buy this record, and thank Britt Daniel yourself.

[a recycled post, i admit it...]

L7 - Bricks Are Heavy, 1992

Listen. I'm a reader. And thus I quote, "...but my favorite book is "Cash" by Johnny Cash." I was at the Eugene public and found this GEM among the large and impressive (and I do not kid about libraries or records, Dig?) CD collection. I checked it out. And was transported back to high school, sloughing, racing cars, um, holding hands with nice girls... THIS ALBUM JUST KICKS ASS!!! (I had a buddy who once said that chicks couldn't rock. I gave him this example, Joan Jett, Veruca Salt, The Pretenders, and many many many others. He still never got it...)

"Pretend We're Dead" was the single, and it hit pretty well. That was when GRUNGE (I hate that word. Why not smorg, or lig-up-nix-poop-poop. It's only rock n' roll, and I like it. Seriously.) was just hitting, and this thing made the top ten. And it's the "nice-girl" song on the record. The first track, "Wargasm," has a line, and this is the first line of the song, "Wargasm, Wargasm, 1, 2, 3, tie a yellow ribbon 'round the amputee..." This is a rock n' roll protest song at it's best (I think Country Joe, Barry McGuire, Janis Joplin's "Mercedes Benz," too, but "Wargasm" isn't very subtle). This also has a kick-ass Feminist statement about body image. ("Diet Pill") I think my Grandma bought this for me on easter (he he he). I only wish I could give you wonderful rock n' rollers more than five metal fingers. It's true, brick are heavy. Like this record!

The Mars Volta - Deloused In The Comatorium, 2003

Reviewed by Judasfry

Okay, kiddies, first a bit of musical history on what has to be one of the most incredible rock bands ever (that's right I said ever, and if you don't agree, your taste is all in your mouth!).

There once was a band called At The Drive-In from El Paso TX, and they were great pop-punk for the 90's. Unfortunately, they were kinda locked into repetitive style by the limits of marketing, members skills, style, etc. But the genius portion of that band (Cedric Bixler-Zavala, and Omar Rodriguez-Lopez) parted ways from ATDI and formed a project called De Facto (a free-form jazz, dub reggae like group). De Facto didn't blossom, and so they sought out some other like-minded musicians and formed what could only be called this generation's Led Zeppelin: THE MARS VOLTA.

De-Loused was their first full length release (an earlier 3 song EP called Tremulant was the actual first release of this seminal band). It is a concept album about a man (Cerpin Taxt) who attempts suicide, and while in a week-long coma experiences a multitude of other-worldly sights and sounds. Loosely based on an artist friend of the band Julio Venegas.

Completely unfettered by the limits of corporate rock and radio edits (although one track Televators was edited sadly for radio-play for the purposes of exposing the dopey masses of eleven-teen year olds), it takes us on a journey through the depths of the sorrows that led our hero to this decision, and the heights that may possibly be his redemption. Omar, being the maestro, beautifully opens with what can only be understood as the interpretation of the sound of a heart monitor and the chaos of an emergency room, Cedric, chiming in with a bit of an introduction to our hero's current state of mind and body,

"Clipside of the pinkeye flight

I'm not the percent you think survives

I need sanctuary in the pages of this book

Gestating with all the other rats

Nurse said that my skin will need a graft

I am of pockmarked shapes

The vermin you need to loathe..."

From there the pace quickens, maddeningly, and doesn't stop until we get to the perviously mentioned "ballad" of the album, Televators. They made a video for this that features a tarsier (a tiny primate known for committing suicide when in captivity), that eventually leaps to his death from a tree branch, a reference to the end that Cerpin takes himself.

Clocking in at an hour, it's a wild ride that shows the ferocious abilities of the incredible performers. I wish I could declare a favorite tune, but this is something that must be experienced as a whole to truly enjoy. Like dropping that hit of acid, you need to prepare for the whole ride. I've seen this band live twice, and they not only re-create the sounds of their albums perfectly, but go into extended jams that put them even further above most of what we are being force-fed by corporate owned radio, and major labels.

Imagery, and sound being perfectly blended is all I can say, so do yourself a favor and check this out ASAP if you haven't already.

'Nuff said!'

[The "Real" Music Nerd says:

Dude, you and Zep. They were not the only band. I was thinking Black Sabbath, Rush, and early Peter Gabriel, too. Not just Zep. You need more than just one old beat up Zep record, hippie.]

Shakira Featuring Danzig "Hips Don't Lie"

At first I thought I would keep this just for the "cool" kids, but here it is in all its hilarious...ness?

http://www.youtube.com/watch?v=ZHv3qO_Y8kk&feature=fvw

Also, check out my "new and improved" Danzig post. It's as nerded out as I could get it. (take that original "MUSIC NERD"!!!)

Prince - His Entire Discography, 1978-2009

Honestly, I can't say that I have heard every one of his songs, but this dude totally freaking rocks! Everything I have by Prince (or as I like to call him, The artist formerly known as the artist formerly known as Prince) is rad. He has taken what he learned from his working class roots, and become a full-time musician. I have heard stories (I'm afraid most of this is probably conjecture) that he writes at least one song a day. I think that might explain his HUGE discography. Rock on, you Prince of Minneapolis, you king of rock and roll...

P.S. I love this statement. It explains why he changed his name:

"The first step I have taken towards the ultimate goal of emancipation from the chains that bind me to Warner Bros. was to change my name from Prince to the Love Symbol. Prince is the name that my mother gave me at birth. Warner Bros. took the name, trademarked it, and used it as the main marketing tool to promote all of the music that I wrote. The company owns the name Prince and all related music marketed under Prince. I became merely a pawn used to produce more money for Warner Bros... I was born Prince and did not want to adopt another conventional name. The only acceptable replacement for my name, and my identity, was the Love Symbol, a symbol with no pronunciation, that is a representation of me and what my music is about. This symbol is present in my work over the years; it is a concept that has evolved from my frustration; it is who I am. It is my name."

Also, here is the wiki:

http://en.wikipedia.org/wiki/Prince_(musician)

The PMRC's Filthy Fifteen, 1985

As a chance to see what Tipper Gore thinks of rock and roll (which is actually an old blues euphemism for sex. I don't know if Tipper knows this, but sex and rock and roll were around long before she was. If she thought about it, she'd realize her folks probably made her to Lawrence Welk, or something equally banal..)

P.S. Forgive me, but I was unable to edit some of the content on this post. But, again, this is their list, not mine. Check out the wiki on this: http://en.wikipedia.org/wiki/Parents_Music_Resource_Center

#	Artist	Song title	Lyrical content
1	Prince	"Darling Nikki"	Sex
2	Sheena Easton	"Sugar Walls"	Sex
3	Judas Priest	"Eat Me Alive"	Sex
4	Vanity	"Strap on Robbie Baby"	Sex
5	Mötley Crüe	"Bastard"	Violence
6	AC/DC	"Let Me Put My Love into You"	Sex
7	Twisted Sister	"We're Not Gonna Take It"	Violence
8	Madonna	"Dress You Up"	Sex
9	W.A.S.P.	"Animal (Fuck Like a Beast)"	Sex/Language
10	Def Leppard	"High 'n' Dry (Saturday Night)"	Drug and alcohol use
11	Mercyful Fate	"Into the Coven"	Occult
12	Black Sabbath	"Trashed"	Drug and alcohol use
13	Mary Jane Girls	"In My House"	Sex
14	Venom	"Possessed"	Occult
15	Cyndi Lauper	"She Bop"	Masturbation