| | Pennywise CD Pennywise Discography of CDs
 (4 Customer Reviews)
Named after the evil clown in Stephen King's novel IT, Pennywise debuted on Epitaph Records in 1991 with this fierce 14-song album. Unmistakably influenced by veteran hardcore band Bad Religion (whose guitarist Brett Gurewitz founded Epitaph), the California quartet offers up an assured set of dense, melodic tunes that typify the California pop-punk sound.
Having a rather redundant self-titled song on a self-titled album is about the only misstep on this outing, with the ensemble unleashing formidable anthems such as "Wouldn't It Be Nice" and "Living for Today," which boast pummeling rhythms, blazing guitar lines, and frontman Jim Lindberg's crisp, energetic vocals. Even at this early stage of the group's career, its aggressive sound and positive outlook was fully formed, as best exemplified by the poignant ode to camaraderie "Bro Hymn." It's fitting, then, that when the mid-1990s pop-punk boom came along, and many Epitaph acts, including the Offspring and, oddly enough, Bad Religion moved on to major labels, Pennywise stayed true to the company and became its flagship band.
Recorded at West Beach Recorders, Hollywood, California.
Pennywise: Jim (vocals); Fletcher (guitar); Jason (bass guitar); Byron (drums).
Pennywise: Jim (vocals); Fletcher (guitar); Jason (bass); Byron (drums).
Pennywise Music Review Average Rating: (5 out of 5 stars)  Amazing!
This album kicks ass. If you don't have this album, you fail at life.
Submitted by Chad (California)
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This is a very good punk rock album that's only problem is some of the tracks sound like one another! Still, it is a very strong record.
The first track, Wouldn't It Be Nce, has a really cool beginning, and middle section with the whammy. The song is ctachy enough, and has a good drumbeat.
On to the second track, Rules. Not much to say about this track, except that it is really good! A very strong track, if a little short.
The third track, The Secret, is also the longest song on the album, at 3:34. It also is one of the best songs on the album! The chorus is basically meant for chanting along with, and Jim Lindberg's voice sounds very good in this track. The drumming and instruments are also very good in this song.
Skip ahead to track 8, Pennywise. The song is based on the mosnter Pennywise, The Dancing Clown in the Stephen King novel 'It', which is aslo where the band got their name. The track is excellent and is fast and furious. A good interlude in the middle, too.
Who's To Blame, track 9. Is pretty good, with a good verse and chorus. Good drumming in this song, especially.
Track 10, Fun and Games, is very catchy and a good song. The chorus and verse are both excellent. The gutiar and bass sound vety good in this song, and so do the drums and vocals.
Kodiak, track 11, is a cool song. Sounds somewhat the previous track, Open Door. Exceept a slower version, I guess.
Side One (track 12) is one of the best songs on the album. The openeing drum ebat is excellent and the song is excellent in almost all respects. The vocals could be clerer though, I suppose.
The last 2 tracks on the album, No Reason Why and Bro Hymn, are both strong, and slow down slightly, at least at the beginning slightly. Both excellent tracks.
The final song on the album (the bonus track, so I guess it sort of countsas a song), Psycho 89, is superb. Very fast and furious, as are several songs on this album. Good chorus, too.
Overall, a great punk record.
***** out of *****
Submitted by Xander (Canada)
Was This Review Helpful? Yes No Just non stop crazyness
lol, man. From start to finish this thing is just mind blowing in your face fast as hell punk rock. In my opinion this and Unknown Road are their best albums.
Submitted by enjoiCam (Mill Creek, WA)
Was This Review Helpful? Yes No for sure!!!!!!!!!!
one of the best..................
Submitted by simply_clinton420 (milwaukee,wisconsin)
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Purchase Pennywise CD To buy, Click on price to add to cart | Pennywise Straight Ahead CD (1999)
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Along with other California third-wave punk bands like NOFX and MXPX, Pennywise came to fame in the '90s as a major part of the skater/extreme sports milieu. Though the Offspring had more financial success with a pretty similar sound, Pennywise always had the market cornered in terms of street cred with the skater kids. By the time of STRAIGHT AHEAD's release, the revered Cal-punk quartet were already seasoned vets, having gone through the death of a band member (bass player Jason Thirsk), toured ceaselessly, and released several records on top-dog punk label Epitaph. As this 1999 release shows, Pennywise never abandoned their commitment to the classic West Coast skate-punk sound; fast-and-loud Bad Religion-descended hardcore brushed with thrash-metal dynamics and catchy but unobtrusive pop hooks. For as much as the rabble-rousing lyrics decry the sociopolitical state of things, the churning, frenetic guitar and drums offer an immediate, visceral escape from the malaise.
Recorded at Stall #2, Redondo Beach, California.
Recording information: Stall #2, Redondo Beach.
Pennywise: Jim Lindberg (vocals); Fletcher Dragge (guitar); Randy Bradbury (bass); Byron Chase McMackin (drums).
| | Pennywise Land Of The Free? CD (2001)
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Pennywise themselves are calling Land of the Free "a wake-up call," aimed at the slumbering masses of America -- an attempt to shake people out of their lethargy, and prod them into thinking about the world. It's also a clarion call to action, made most forcibly on "Fuck Authority," via its demand that "it's time we had our say." However, given the opportunity, Pennywise isn't quite sure what it is they want to say. The songs throw out concerns and reactions, opinions and questions, ideas and concepts, unleashing their own mixed emotions along the way. The quartet's frustration with the current state of affairs singes the tracks, yet solutions and causes by and large evade them. At times it's evident the group feels like they're calling to the deaf while stumbling blindly around in the dark. "Is there anyone listening?" they inquire at one point, half in plea, half in defiance. Pennywise is high enough up in the punk hierarchy to know the answer is yes. Wrapping their message in a barrage of melodies and pummeling beats insures that at every show hundreds of kids will parrot back Land's lyrics, fists punching the air. But will these fans seriously ask themselves the same questions the band are posing? The group hopes so, for the album is obviously meant as a starting point for discussion, raising issues, and consciousness, in hopes of encouraging an eventual grassroots revolution. It's the beginnings of a manifesto, delivering up discussion points for the interested to mull over, then respond with their own ideas via the band's website. From these beginnings Pennywise is determined to forge a plan of action for the future, one that everyone can make their own. ~ Jo-Ann Greene
In their seventh studio release Land Of The Free, Pennywise have turned their attention toward the issues of global politics, drawing inspiration from the worldwide WTO protests and the recent United States Presidential elections as fuel for their anti-establishment position. 10 tracks. 200
| | Pennywise From The Ashes CD (2003)
Pennywise music CDs
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With their eighth album, FROM THE ASHES, Pennywise continues down the same uncompromising and rebellious path that found them snubbing major labels back in the mid-1990s, when peers like Green Day, Offspring, and Bad Religion were hopping aboard the gravy train. With Byron McMackin and Randy Bradbury providing jackhammer rhythms and guitarist Fletcher Dragge firing off machine gun riffs, vocalist Jim Lindberg aims his crosshairs at plenty of political and social issues. "God Save the USA" finds Lindberg having a chat with the big guy in the sky and eviscerating a number of right-leaning demagogues including the CIA, NRA, and President Bush, while "Look Who You Are" hammers at apathy amidst the conservative atmosphere of 2003. Boredom ("Something to Change"), nostalgia ("Yesterdays"), and cynicism ("Judgement Day") are all topics addressed with the kind of focused, melodic fury that's manna to anyone who likes it hard, fast, and smart. Unbowed and opinionated, Pennywise uses FROM THE ASHES to affirm the concept that politically conscious punk remains alive and well. Fans curious to see how the band comes off on celluloid get the benefit of a bonus DVD that warns of "stunts that neither you nor your dumb buddies should attempt."
With the release of "From The Ashes," Pennywise continues their commitment to the ideals and the sound that made them so important to their fans. The CD includes 14 tracks and includes a bonus DVD!
This includes a bonus DVD disc.
Recorded at Stall #2, Redondo Beach, California.
Pennywise: Jim (vocals); Fletcher (guitar); Randy (bass); Byron (drums).
Personnel: Jim Lindberg (vocals); Fletcher Dragge (guitar); Byron McMackin (drums).
Recording information: Stall #2, Redondo Beach, CA.
This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files.
| | Pennywise Full Circle CD (1997) Remastered
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Pennywise plays the kind of four-on-the-floor, no-holds-barred Cal-punk that was pioneered by the likes of Black Flag and the Descendents and has come back into fashion in the wake of Green Day, Offspring, et al. As the four members of Pennywise demonstrate on FULL CIRCLE, however, these guys are no Johnny-Rotten-come-latelys. On their fifth album for punk standard-bearer Epitaph, the band displays the kind of raw energy and tireless inspiration that is the mark of every great punk band.
FULL CIRCLE is the band's first album without bassist Jason Thirsk, who died in 1996, and Thirsk's loss can be felt in the troubled, searching themes that run throughout the album. The album is dedicated to him. On "Did You Really," vocalist Jim (Pennywise doesn't go for that whole surname thing) asks "Did you really wanna die?," immediately adding, "Tell me I'm forgiven." Pennywise may take the weight of the world on its shoulders, but if FULL CIRCLE is any indication, this band is strong enough to keep its balance.
On the first listen of Full Circle, it's hard to believe that Pennywise had a founding member commit suicide prior to the album's recording. The record is tough, heavy, hard, and fast, expanding the breakthroughs the group made with 1995's About Time. Listen a little more closely, and there's a newfound pain and pathos on the record that makes Full Circle Pennywise's most affecting album. [This version of the album includes bonus material.] ~ Stephen Thomas Erlewine
Recorded at Total Access Studios, Redondo Beach, California.
Pennywise: Jim (vocals); Fletcher (guitar); Randy (bass guitar); Byron.
Personnel: Jason Thirsk (vocals); Ronnie King (piano); Byron (drums).
Audio Mixers: Eddie Ashworth; Darian Rundall; Milton Chan; Pennywise; Brett Gurewitz.
Recording information: Total Access Studios, Redondo Beach, CA.
Pennywise: Jim (vocals); Fletcher (guitar); Randy (bass); Byron (drums).
Additional personnel: Justin Thirsk (vocals, drums); Bro Hymn Choir (backgroun
| | Pennywise About Time CD (1995) Remastered
Pennywise album
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One of Pennywise's finest outings, 1995's ABOUT TIME features the California skate-punk band continuing its early/mid-'90s winning streak. While the previous record, UNKNOWN ROAD, found frontman Jim Lindberg rejoining the group after a brief departure, ABOUT TIME fully conveys the singer's renewed commitment to the ensemble with passionate performances on tracks such as the surging "Peaceful Day" and the urgent "Not Far Away," both of which showcase the act's fierce rhythmic attack and blistering guitar lines.
As always, Pennywise bears strong sonic resemblance to Bad Religion, but this works to charming effect, making the younger group an aspiring contender to the elder band's crown. Although Bad Religion and the Offspring had broken through to the mainstream by this time, Pennywise was seemingly unfazed by its former Epitaph label-mates' success, and soldiered on without signing to the majors. Sadly, this would be Pennywise's last record before the suicide of bassist Jason Thirsk, though the ensemble would admirably bounce back on '97's equally impressive FULL CIRCLE.
Recorded at Total Access Studios, Redondo Beach, California.
Pennywise: Jim (vocals); Fletcher (guitar); Jason (bass guitar); Byron (drums).
Pennywise: Jim (vocals); Fletcher (guitar); Jason (bass); Byron (drums).
| | Pennywise Unknown Road CD (1993) Remastered
Pennywise CD music
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The echoing piano melody that opens Pennywise's 1993 effort, Unknown Road, suggests a more thoughtful side to a band known more for raw energy and aggression than introspection. The almost melancholy intro barely winds down before Pennywise launches full bore into the title track with simultaneous fury and accuracy. Pennywise hits a new level of controlled chaos on Unknown Road with a finely tuned, tightly wound musical attack. Jim Lindberg's caffeine-fueled, angst-ridden diatribes on lost time and personal responsibility mesh seamlessly with Fletcher Dragge's fiercely visceral, yet melodic guitar crunch. Scorching personal anthems like "It's Up to Me" and "You Can Demand" showcase the concept of the do it yourself ideal that has been alive and kicking since the inception of punk. Pennywise began recording Unknown Road in the absence of Jim Lindberg, with bassist Jason Thirsk attempting to fill the gap on vocals. Thirsk's bass teacher, Randy Bradbury, took over bass duties for the majority of the recording. (Bradbury also took over Thirsk's spot in Pennywise after the founding member's death in 1996.) Lindberg rejoined Pennywise midway through the recording of Unknown Road, enabling the completion of the album and the continuation of the band. Bradbury and Thirsk, along with drummer Byron McMackin, frame Dragge's speed-freak guitar riot and Lindberg's drill sergeant delivery with adept skill and inventive musical craftsmanship. They add high-test fuel to the fire of Dragge's screaming riffs and unflinchingly accommodate dizzying time changes. The band hits their collective stride on "Time to Burn" and "Dying to Know," combining their musical prowess and intensity with forceful personal messages. The ferociously fan-loyal Pennywise continues to reinforce their dedication to inspiring their listeners to embrace life from an enthusiastic perspective. Their message of optimism, however, is tempered with a stern dose of reality. While these are somewhat common themes in
| | Stratford Mercenaries Sense Of Solitude CD (2000)
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Almost as bad as No Sighing Strains of Violins, Sense of Solitude is another careless disappointment from the Stratford Mercenaries, who seem to be incapable of good taste when it comes to recording. Here, it's not just the fault of bad production ideas and failed attempts at experimentation as it was on No Sighing Strains of Violins, but also some worthless songs. "Dispossessed" is a rotten karaoke-sounding song with some wack keyboards, while "Series IIa" is a guitar wankfest that's not unlike Chinese water torture. The Stratford Mercenaries prove themselves to be inadequate at playing anything but punk rock, though there's very little of that on this record. Singer/songwriter Steve Ignorant's former band Crass was more experimental than most British punk bands and was usually successful with that sort of thing. But the Stratford Mercenaries fail in a big way when it comes to branching out at all. ~ Adam Bregman
Steve Ignorant is the former lead vocalist of Crass.
2nd Rel;Former Members Of Dirt Crass,Ss Trolleys
Stratford Mercenaries: Steve Ignorant (vocals); Gagsy (guitar); Mariska (keyboards); Ed Da Fed (bass); Phil Phuture (drums).
| | Madonna Bedtime Stories CD (1994)
Pennywise songs
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For Madonna, pop music is the canvas of her greatest aspiration. While some critics might be ready to write her off, BEDTIME STORIES reasserts Madonna's claim to the R&B/dance floor turf she ceded to others as her own productions became elaborately self-conscious. And where performers like R. Kelly filled the breach with risque, sexually explicit fare, BEDTIME STORIES marks Madonna's return to a more stylized, elegant form of R&B.
Not that Madonna has gotten herself to a nunnery, as the soft-focus ooohing and aaahing of "Inside Of Me" demonstrates, but the overall approach on BEDTIME STORIES is less carnal, more romantic (like the difference between the Supremes and Salt N' Pepa). But in collaborating with innovative producers such as Babyface and Dallas Austin, Madonna has again positioned herself on the cutting edge of modern R&B (compare the layered, collage-like production of "I'd Rather Be Your Lover" and "Human Nature" to Dallas Austin's innovative collaborations with Joi on THE PENDULUM VIBE, or, for that matter, with the eerie "Bad Baby" from P.I.L.'s METAL BOX).
The spooky "Sanctuary" samples Herbie Hancock's "Watermelon Man" to create an African backdrop for Madonna's tale of earthy devotion, while the Icelandic diva Bjork's elliptical "Bedtime Stories" propels Madonna way beyond the limits of language on this crafty, near Eastern textured arrangement. The Oriental-flavored R&B of "Take A Bow" provides a confessional epilogue for this delicately-mannered program.
Live Recording
Personnel: Madonna (vocals); Tommy Martin (guitar); Dallas Austin (keyboards, drums); Babyface (synthesizer); Donna De Lory, Nikki Harris (background vocals).
Audio Mixer: Jon Gass.
Recording information: Axis Studios, New York, NY; Chappell Studios, Los Angeles, CA; Darp Studios, Atlanta, GA; Enterprise studios, Burbank, CA; Hit Factory Studios, New York, NY; Music Grinder Recording Studios, Hollywood, CA; Soundworks Studios, New York, NY; Tea Room, Atlanta, GA; Wild Bunch Studios, London, England.
Unknown Contributor Role: Babyface.
Personnel: Madonna (vocals); Tommy Martin (guitar); Colin Wolfe (bass); Marius DeVries (programming); Niki Harris (background vocals); Dallas Austin, Rick Sheppard.
Producers: Nellee Hooper, Madonna, Dallas Austin, Dave "Jam" Hall, Babyface.
| | Tomorrowland Stereoscopic Soundwaves CD (1997)
Pennywise album
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Tomorrowland is a Michigan-based duo consisting of Nick Brockney and Steve Baker, both of Ann Arbor, MI. Prior to Tomorrowland, Brockney had been a member of Children's Ice Cream, who released a single on the Mind Expansion label, a small imprint run by Randall Nieman of the space rock group Füxa. Brockney eventually ended up in Ann Arbor, where he met Steve Baker during orientation as both were preparing to begin attending classes that fall at the University of Michigan. They began making music together in March 1996, initially seeing their first release come out on the Burnt Hair label -- via Mind Expansion -- followed by a 7"-only single, "I Wish I Was an Angel So I Could Sleep on the Moon," released on the Japanese Motorway label. In 1997, they were invited to participate in Darla Records' Bliss Out series. Stereoscopic Soundwaves became the sixth volume in the ambient pop series. The duo used an eight-track Portastudio recording deck to record the EP, looping textured and manipulated guitars, bass, organ, analog synthesizer, Fender Rhodes piano, percussive loops, and something called an audiometer. They then used electronic production techniques to create layer upon layer. The result is subtle and takes repeated listening to fully appreciate. At first much of it sounds like one long, monotone drone of minimalist ambience. Echoed effects and simple, repeated synth motifs carry most of the tunes aloft, with the occasional blurp and chirp from the filtered loops dropping in. The lengthy "Kepler Planet Harmonies" is probably the most interesting statement the duo makes here. ~ Bryan Thomas
Personnel: Steve Baker (guitar, drums).
| | Urban Skins, Vol. 2 CD (1999)
$13.35 | | Black & Blue Nasty, Nasty CD (1986) Import
Pennywise CD music
$14.29 
2003 reissue of the heavy metal act's long unavailable 1986 album. Features the title track & eight others. Produced by Gene Simmons who also co-wrote 3 of the songs with the band. Majestic Rock.
| | My Morning Jacket Chapter 1 The Sandworm Cometh: Early Recordings CD (2004)
Pennywise music CDs
$11.09
This initial collection of My Morning Jacket rarities features the Kentucky band's early recordings. Covering the years 1997 to 1999, CHAPTER 1: THE SANDWORM COMETH finds Jim James and company easing into their twangy rock style. Certain songs, particularly the mid-tempo opener "Weeks Go By Like Days," sound like they could have fit seamlessly onto the group's impressive debut, THE TENNESSEE FIRE, while less-accessible lo-fi experiments (the a cappella "Time Never Gets," the drone-filled "Josta Dreams and Bitter Hands") make for strangely fascinating detours. The band sneaks a gentle reading of Santo & Johnny's "Sleep Walk" into a live version of the similarly dreamy "Old September Blues," a track completely contrasted by the noisy, minimalist rendition of Jefferson Airplane's "White Rabbit." The finest cover tune on the compilation, however, is Elton John's "Rocket Man." Here, James's emotive, echo-laden voice creates an appropriately floating vibe that ends the compilation on a wonderfully sleepy, atmospheric note.
My Morning Jacket: Jim James (vocals, guitar); Carl Broemel (guitar); Bo Koster (keyboards); Two-Tone Tommy (bass guitar).
| | Chris Sohre Who Will Know CD (1995)
Pennywise songs
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ALBUM DESCRIPTION Idiosyncratic.Sohre's first solo project combines ethnic folk roots with neo-classical arrangements, creating a landscape of subtle moods and impressions. Besides composing and arranging, Sohre also provided vocals, guitars, piano, percussion and further visual aspects of natural sound effects. BAND MEMBERS Instrumentation is diverse, yet holds a common thread throughout. Chris had the pleasure of working with several talented musicians, mainly located in the Northwest (Seattle and San Francisco); Stephen Kent on didgeridoo, Jami Sieber on electric cello, Amy Denio on accordion, several gifted horn and string ensemble players, as well as bass (fretless 5 string and electric 6), drums and loads of cool hand percussion. The final mixdown was produced at Ironwood Studios in Seattle by John Herchenrider, former co-owner of Colorado Concert Sound. His credits include sound provision for many artists of distinct genres, such as BB King, Frank Zappa, Bonnie Raitt, Miles Davis, Leo Kottke and The New York Philharmonic. To hear samples of all songs, go to chrissohre.com.REVIEWS "Sohre composes with a richness gained from international experience. From England and Ireland to Greece, New Zealand and adventures in between, she seeks to unite various cultural voices, blending them with her own style of writing. She is constantly seeking new ways to infuse her music with depth and texture, whether it be with an aboriginal didgeridoo or esoteric modal melodies... Her energy comes from an open collaborative spirit and respect for the varied cultures of her fellow musicians." - Marietta Szubski - A&E reviewer for Ear Magazine, VH1, MTV "Ecto-Priority - Recommended." "The disc made favorable impressions upon arrival, as it has a haunting photograph of a shadow figure in a circle of light illuminating what may be a subway station. A huge number of instruments make appearances on the album, including cellos, trombones, didgeridoo, accordion and euphonium. But the sound is never cluttered. There's a lot of space, but ample texture too.Sohre is Chris Sohre, a multi-instrumentalist who assembled an intriguing cast of musicians to assist in the multi-layered overdubbed tracks. The music is really tough to categorize. It's carefully constructed and crafted--a hint of classicism, a pinch of world music sounds, and a smattering of jazz touches. On several occasions I thought "chamber goth"."- Neal Copperman - Ectophile's Guide to Good Music
| | Buck Owens Warner Bros. Recordings CDs (2007)
Pennywise album
$39.29 
As the '70s drew to a close, Buck Owens was still a superstar, thanks largely to his starring role on Hee Haw, still going strong after several years on the air. He may have been big on TV, but his recording career was on shaky ground. Things had never quite been the same for Buck since the death of Don Rich, and as the years passed, he started to seem a bit adrift, floating through the end of his Capitol contract and then jumping ship to Warner Bros toward the end of the '70s. Once he was situated at the new label, he began to do many things he promised never to do, chief among them recording in Nashville, which of course led to all sorts of compromises, culminating in covering England Dan & John Ford Coley songs -- something that would have been inconceivable just ten years before. These are the reasons his four Warner albums are commonly dismissed as dull and boring. As tempting as it is to think of this attitude as mere griping from country purists, the kind of thing that's ripe for revisionism, Rhino Handmade's double-disc 2007 set The Warner Bros. Recordings proves all of the conventional wisdom sadly accurate. Despite the uproarious attitude of the title of his 1976 album Buck 'Em, these recordings are an aural definition of listless, lacking in heart and energy -- it sounds as if Buck doesn't really care to be in the studio at all, he's merely biding time, waiting until the clock runs out. It seems as if he turned to Nashville because he not only had nowhere to go, he had no idea what to do, so might as well try the industry's rules for once. The industry helped make Buck 'Em and its successor Our Old Mansion professional records that could ease onto the charts, but such slick surroundings only emphasized the lifeless performance from Buck. Even his latter-day Capitol records had more pep than this -- take a version of "Lady Madonna" on Buck 'Em, which is taken as a slow crawl instead of a brisk skip, which it would have been cut several years earlier. He sounds disinterested in covering "Nights Are Forever Without You," and the neo-Waylon glitzy outlaw of "Let Jesse Rob the Train" -- which reworks "Ladies Love Outlaws" to a disco spin of "Are You Sure Hank Done It This Way" -- is a poor fit. It's little wonder that Owens didn't finish the 1982 album he was recording, the results of which are aired here for the first time -- it sounds like he could barely be bothered to piece together the first two, that he gave up the ghost long before this 1982 session. As dispiriting as this set is, at least it ends on an up note: Buck's 1988 duet on his old hit "Streets of Bakersfield" with his disciple Dwight Yoakam, who helped bring Owens' Bakersfield sound back to the charts and, in doing so, clearly helped breathe life into the singer once again. After sitting through The Warner Bros. Recordings, it's easy to see why Owens embraced Yoakam, and why Yoakam's emergence sparked a comeback in old Buck. ~ Stephen Thomas Erlewine
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