The Circle Jerks Albums (6)
'Oddities, Abnormalities and Curiosities'
Release Date 1/1/1995
Tracks 12
Label Mercury
See Album Tracklist and Review
What The Critics Say
Legendary L.A. hardcore punk band the Circle Jerks change their approach a bit on their major-label debut, Oddities, Abnormalities and Curiosities. The album contains 12 songs that lean more toward a punk-inspired hard rock approach than their earlier hardcore sound. The tracks on this effort are also longer than many of their earlier recordings. Compared to their early classic "In Your Eyes," which runs all of 46 seconds, "Sinking Ship," at three minutes and 48 seconds, is practically an epic. This may be a change of pace, but it isn't necessarily a bad thing. This set still displays plenty of the trademarks that make the Circle Jerks so endearing, including Keith Morris' distinct howling vocal style, Greg Hetson's great guitar work, and their unmistakable sense of humor. Nowhere on this album, or possibly in the band's entire career, has their sense of humor been so prominently on display than on their cover of the Soft Boys' "I Wanna Destroy You," which features guest vocals by none other than former teen queen Debbie Gibson. This collaboration is not only brilliant but could only be pulled off by the Circle Jerks. "22," "Teenage Electric," and "Fable" are straightforward rockers that set the tone for rest of the album. Although the mainstream sound and more polished production may alienate a few early fans who are looking for something more hardcore, this is an excellent hard rock album with few weak spots along the way. ~ Paul Tinelli, All Music Guide
What The Critics Say
Keith Morris once described his brief tenure as Black Flag's lead singer by saying, "I was the Tasmanian devil, the court jester; I was the dog on the chain who was let out of the cage." So it made sense that after the beer-swilling frontman decided to move on, he would form a band even less subtle and more obnoxious than Black Flag (who represented punk rock at its most brutal in 1979). Group Sex, the first "album" from Morris' group the Circle Jerks, barrels through 14 songs in just under 16 minutes, and pretty much defined the state of the art in SoCal hardcore, circa 1980: raging minor-chord guitar bashing (courtesy of Greg Hetson, later in Bad Religion), speedy drumming (Lucky Lehrer punctuates his manic four-four stomp with short, frantic rolls whenever possible), and a bassist (Roger Rogerson) trying to keep up with it all while Morris bellows about sex ("I Just Want Some Skank"), drugs ("Wasted"), politics ("Paid Vacation"), the idle rich ("Beverly Hills"), and his own post-teenage rage ("World Up My Ass"). Some of it's funny, some of it seems to be serious, and it's all one not-so-long blast of raging energy. As such things go, it's tight, reasonably well played, the songs kinda sorta have hooks, and Keith Morris is a pretty good frontman, but if you're looking for nuance, you're pretty much out of luck. Then again, if you were looking for nuance in a Circle Jerks album, you've obviously been misinformed as to how this punk rock stuff works. ~ Mark Deming, All Music Guide
What The Critics Say
The Circle Jerks burst onto the explosive early-'80s L.A. punk scene with vocalist Keith Morris fresh from a short-lived stint in the legendary Black Flag, who were notorious for their raucous, riot-police-infested live shows. The Circle Jerks earned their credibility and reputation in much the same way; with energy-packed, near-riot-status live performances. While Gig was recorded about a dozen years after their inception, the Circle Jerks live shows still proved to be edgy and exciting, although a little less riot-police prone than their early days. Through a handful of shows in Southern California and Mexico, they manage to document their ear-splitting, sarcasm-laced legacy with sustained energy and a tightly coiled attack. Guitarist Greg Hetson, now serving in the still surviving Bad Religion, plays with the speed of his early days and the skill that results from years spent honing his craft. Keith Morris' sandpaper yowl and sarcastic wit survived their hard-lived years as well, with his legendary storytelling and midsong improvisations setting the Circle Jerks apart from the tough-guy mentality that often pervades the punk scene. Rhythm section Keith Clark and Zander Schloss provide a thundering backdrop for some of the heaviest and most scathing punk rock to come out of the '80s. Punk purists might cringe at the slightly metal influence that they adopted in the mid-'80s, but these years also contributed to the development of their sonically brutal live spectacle, and all the bases are thoroughly covered on Gig. Early favorites like "High Price on Our Heads" and "When the Shit Hits the Fan" embrace the incendiary past and offer listeners the chance to hear them the way they were meant to be: live, loud, and thoroughly obnoxious. Many songs from their mid- to late-'80s heyday make the live cut as well. The ironic "I Don't" and mainstream media critical "Casualty Vampires" take on even more visceral energy than their studio-recorded versions. This recording roars to a close on an old-school note with the anthemic "Wild in the Streets" and the last-second touch of Morris breaking up a fight between some overzealous fans with his razor-sharp tongue. Gig proves yet again that punk rock is meant to be experienced live, and if you missed the Jerks in their heyday, this is the next best thing. ~ Paul Henderson, All Music Guide
'Wonderful'
Release Date 10/17/1990
Tracks 13
Label Combat/Relativity
See Album Tracklist and Review
What The Critics Say
The Circle Jerks were always a limited band who happened to cover the basics exceptionally well. However, this is the worst example of the treadmill-approach to hard rock/punk that engulfed them in the mid-80s. Hetson and Morris were trying out yet another rhythm section (Keith Clark and journeyman Zander Schloss), but the real fault lies in their gutless, inconclusive self-production and lacklustre songwriting. Dodge this and opt for either their earlier or later work. The one saving grace is the cover artwork by Gary Leonard - featuring our heroes resplendent in tuxedos and cheesy smiles. ~ Alex Ogg, All Music Guide
What The Critics Say
This strong album is one of the band's best. Tempos here are slowed down from that of standard hardcore; as a result, the songs here inhabit the uneasy netherworld between punk and heavy metal traversed most successfully by the Stooges and the Dictators. Only Keith Morris' raspy, growling vocals retain the band's tie with classic hardcore. Songwriting is still inconsistent, but there are a surprisingly large number of strong selections here, and all are performed with fiery energy. Highlights include "Casualty Vampire," "I Don't," and the top-notch "Beat Me Senseless." There's also a rushed and raw cover of the Creedence Clearwater Revival chestnut "Fortunate Son." This platter is well worth hearing. ~ David Cleary, All Music Guide
What The Critics Say
Wild in the Streets doesn't have the wild, appealingly offensive mixture of crude lyrics and frenetic riffs that made the Circle Jerks' debut, Group Sex, a minor hardcore classic, but there are enough tracks that nearly make the mark -- including a tongue-in-cheek cover of "Put a Little Love in Your Heart" and the title track, which is a version of the theme song to the '60s teen exploitation flick of the same name -- to make it worthwhile for Orange County punk fanatics. ~ Stephen Thomas Erlewine, All Music Guide
