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.
JOE JACKSON: Night and Day (1982, US #4, **)
One glance at the Al Hirschfield sleeve caricature implies dated, early 80s New York sophistication and that's exactly what you get here. "Steppin' Out" and "Breaking Us in Two" are timeless and beautiful, however, "Cancer" and the hysterically bad "T.V. Age" (which complains of having 13 channels) will have you cringe. Look for a compilation instead.
THE JAM: Greatest Hits (1991, UK #2, ****)
They were one of the most important bands to bridge the 70s and 80s. This flawlessly planned 1991 collection contains all 18 Jam A-sides on one disc, along with "Precious," which was a "double-A-side" in 1982. All the tracks are, of course, remarkably good. "Going Underground" inspired Pat Mills to create Nemesis the Warlock, and it always makes me want to draw comics too. The only down side to this effort is the slapdash booklet, with thin sleeve notes and photos.
JAMES: Laid (1993, UK #3, US #64, ***)
This is direct, subversive and sometimes shocking intelligent pop, best represented by the fab single "Say Something." The vocals on "Skindiving" are seductive and the drums on the title track are really, really good.
JAPANCAKES: If I Could See Dallas (1999, ***)
This is the first release from this Athens six-piece instrumental combo. Their tracks tend to follow conventional song structure, and not float off into improvisational jamming. Spectacular background mood music.
JENNIFER NETTLES BAND: Story of Your Bones (2000, ****)
Ms. Nettles used to sing with Soul Miner's Daughter and learned a lot from Janis Joplin, not least the sassy and casual way she pronounces "drink" as "draynk." She also "yee-ha"s quite impressively. The debut from her current band rocks hard and is wonderfully enjoyable, but Jennifer scores tremendously with the title track, a far slower, heartbroken mess of a song which collapses in tears around her feet and was one of the best things released that year. Sadly, Atlanta is one of those stupid radio markets that ignores its own talent, and Jennifer did something to annoy all the alternative press in town, meaning the spotlight she deserves may never find her.
JEWEL: "You Were Meant for Me" CD single (1996, US #2)
With "Foolish Game" also present, this is a handy little disc, as it contains her only two good songs in one simple package.
THE JODY GRIND: One Man's Trash is Another Man's Treasure (1990, ***)
This Atlanta band made a lot of noise in the region in the late 80s with their strange cocktail-goes-country sound. One Man's Trash..., apart from band originals, contains oddball covers of such tunes as "The Peter Gunn Theme," "Wishin' and Hopin'" and Gershwin's "It Ain't Necessarily So," all performed with a minimalist, bass-heavy stomp. The band used this album as a decent enough calling card to make inroads to college radio stations throughout the southeast.
MILLA JOVOVICH (credited as MILLA): The Divine Comedy (***)
Yes, the famous actress and model recorded an album in 1994. No, it's not too bad. It's upbeat, simple pop played with the addition of many traditional European folk instruments, from buzoki to ukelele to dulcimer. This was made before she became a megastar, so it's not like she was cahsing in. A solid effort, the best track is probably "Gentlemen Who Fell," which has a lick of haughty royal decadence to it.
JOY DIVISION: Permanent (1995, UK #16, ****)
Probably the final word anyone needs to say on the band. This amazing compilation, featuring some of the best mastering I've ever heard, is both a fine introduction to Joy Division and a closing statement. I rarely pull out the ole vinyl anymore, but this gets a lot of play when I'm upset.
JUCIFER: Calling All Cars on the Vegas Strip (1998, ***)
The loudest thing to ever come out of Athens, this hard-pounding debut album goes all the way up to heavy metal sound, but never once falls into cliche or pretension. This is pure, unadulterated, old school rock and it works like an ear-bleeding charm.
THE JUDYBATS: Judybats '00 (**)
The Knoxville act had managed a minor hit in the early 90s with "Being Simple" but didn't find a successful follow-up before splitting for a few years. They regrouped in 1999, and while this indie return to the record bins didn't sell, it's still very listenable and as honest as pop can be. The best track may be "California," which sounds a lot like a warning of what the record industry expects from hot young bands.