REVIEWS

Showcase Magazine, Chicago, August 1997 review, entire text:

Whitehouse Records never ceases to amaze me. In my opinion they are one of the few indie labels that can consistently churn out innovative bands who continue to push the envelope in modern day music that can truly be called alternative. The Good stand out as being one of the best "unknown" bands in Chicago and will hold the title of "King Of The Hill" for quite some time.

I had the opportunity to preview a song, "Tinky McVieux," from these guys on a Whitehouse Records compilation a few months back, and instantly fell in love with it (in fact, it's on this album). [In the April '97 issue of this publication, Bruno called "Tinky McVieux" a "wonderful blend of alternative power-pop and psychedelic acid-rock mixing together in a sonic array of colorful sound."] So what makes The Good so... good? For one thing, they're not afraid to be original. The songwriting alone is intelligent, thought provoking, and at times, downright good humored. This band has a strong knack for utilizing so many different sounds, styles, feelings, and emotions in their music it'll make your head spin.

This is an area where so many bands fall flat on their faces. By trying to incorporate different modes on one CD, they spread themselves too thin and can never master a specific sound or achieve that goal of being different. The Good, however, put that old adage of "jack of all trades and master of none" to rest. Milky White is a garish collection of dazzling melodies, haunting minstrelsy, and true musicianship.

The folk-like, wispy guitar work on "Harry & The Mushroom" works nicely against the soulful vocals. And despite the title evoking images of a strung out hippie on an acid trip, the song is really about President Truman and the infamous atomic bomb that was dropped on Hiroshima. "Ten Years After," a song that suggests people get off their butts and actually work to make changes instead of crying about it, starts out dark and foreboding but soon segues into pop-filled, vibrant choruses. "Blue Rubber Bands" features a markedly well done acappella intro and a drug-like groove that flows throughout the song. Orchestral accompaniments seem to be the rage these days with rock bands, and The Good spare no expense including one on "Building On Graves," a great song with a big sound.