This is a reviews page based on my own collection, which just keeps growing despite itself. If it isn't listed here, it's because I don't own it yet, or I haven't gotten around to it yet.
Also, bother your local "new rock" radio station and make sure they are playing "new rock" and not "I Melt With You," which is not new.
note: entries in red text indicate my pick for the artist's best available album. A gold numeral indicates the POPocalypse winner of the year's best album; second- and third-place winners are in blue. Green lettering indicates an obviously exploitative record company compilation without apparent artist input.
KRISTEN HALL: Fact & Fiction (***)
A beautiful, mostly acoustic 1992 set from the Atlanta singer. Her voice is breathy and raspy and her personal, pained lyrics are very moving. This is her second and last release for Daemon Records, and radio ignored it (as they did everything from that label). "I Gave Everything" is my favorite track, but the double-punch of "Safe and Warm" and "Bed We Made" is a pretty painful emotional combo as well. Kristen left Daemon for HighStreet Records later in the year; I fear her better output was behind her.
KRISTEN HALL: untitled radio compilation
"Empty Promises," the lead single from the 1993 HighStreet reissue of Fact and Fiction, starts the four-song proceedings and a beautiful cover of Dylan's "It Ain't Me Babe" closes it. Not bad at all, and whatever radio station got this should have played the devil out of it. (My copy came to the newspaper.)
TONI HALLIDAY: Hearts and Handshakes (1989, **)
The future Curve vocalist Halliday is helped out by the very capable Alan Moulder and Flood on her debut, and her voice is in great shape, but the lyrics are really not interesting. Consider this reserved for big Curve fans only.
GERI HALLIWELL: Schizophonic (1999, UK #4, **)
More schizophrenic than anything else. After a short time off from the Spice Girls and a lengthy pep talk from George Michael, Geri made a solo bid that was hugely successful in England but died a death here. A few of the songs, like "Mi Chico Latino" and the furious disco stomp "Bag it Up," are quite listenable, but the unsettling variety of styles doesn't make it strong enough for a solid listen. There are far worse records than this, but honestly, it would have never made it to stores or the charts if, a year before, Geri hadn't been Ginger Spice.
P J HARVEY: Stories from the City, Stories from the Sea (2000, UK #23, ****)
It sounds like this is the album she's been trying to make her entire career. It's very focussed and energetic; most of the songs are played by a tight three-piece, with occasional guest vocals by Thom Yorke. She sounds like she's truly evoking Patti Smith here, rather than following her. "A Place Called Home" is beautiful.
JULIANA HATFIELD: "Forever Baby" CD single (1992)
The lead and two other tracks from her 1992 album Hey Babe, teamed with two non-LP cuts "Raisans" and "Tamara."
JOHN HIATT: Stolen Moments (1990, UK #72, US #61, ***)
I've read that this is one of Hiatt's lesser albums, but I find it quite charming. Well played and written with a dry, sardonic tone, it wears very well. "The Rest of the Dream" is great, and really, any record with the line "These days the only bar I ever see has got lettuce and tomatoes" can't be all bad.
HILLBILLY FRANKENSTEIN: ...hypnotica! (***)
Aggressive and very fun garage rock from the Athens combo, stuck in a pompadour fifties where a cover of "Maneaters on Motorbikes" sounds a lot like their originals. Great retro packaging and art by Joni Mabe complement a winning set of songs.
HOLE: Celebrity Skin (1998, UK #11, ***)
Not surprisingly, Courtney Love started getting better press and higher sales when she compromised enough to stop the unpleasant angsty shit and record something with a few listenable tunes. Lyrically, she's still mad as hell, but the music is very clever rock/pop and far more audience-friendly. For what it's worth, I appreciate the quarter she gave me, otherwise I'd never have bought this.
MICHAEL HOPPE: The Yearning: Romances for Alto Flute (1993, ***)
There's an interesting premise behind this collection of twelve short classical pieces written for flute and keyboards. Each is inspired by a famous actress or person photographed by Hoppe's famous father E.O. Hoppe. Very charming, light, relaxing dream music.
PAM HOWE: Human (1999, ***)
Atlanta's Pam Howe is better known in the region as the singer for PH Balance, an act with a rotating lineup and a few splinter acts which is often sadly overshadowed by the similarly flexible and experimental Elephant 6 acts from Athens. Pam's first solo album hits a lot of styles convincingly, and the cut-and-paste sampling in "This is Not a Song" is very impressive, albeit challenging and difficult. "Strong Ass Me" and "Get Ups" are very entertaining, but she stumbles when she takes on Brel's "If You Go Away," trying for drama at the expense of passion. Overall, quite recommended.