Genre: Alternative Rock, Hip-Hop
Label Number: GED 25185;425 185-2
© 1996 Republic Records
AllMusic Review by Stephen Thomas Erlewine
Originally released on the independent label Republic, the Bloodhound Gang's second album, One Fierce Beer Coaster, was picked up by DGC about two months after its release, allegedly because it had great word-of-mouth. And, listening to the single, "Fire Water Burn," it's possible to hear why -- the group's smarmy, smirky alternative funk-metal, complete with junk culture references and "ironic" musical allusions, fits into the one-hit wonder cycle that dominated modern rock during the mid-'90s. One Fierce Beer Coaster captures the group's sound better than their Columbia debut, but the group has neither the dexterity nor the grit to pull off their hip-hop and rock fusions; they awkwardly stumble through their frat-party alternative rock. But what really sinks the album is the revolting, sophomoric humor that passes for lyrics. The liner notes might dismiss any complaints as indication that you don't get the joke, but it's hard to be comfortable with an album that believes smutty puns about oral sex ("Kiss Me Where It Smells Funny") and fart jokes (just about every track on the album) are what punk and alternative rock were all about.
© 1996 Republic Records
AllMusic Review by Stephen Thomas Erlewine
Originally released on the independent label Republic, the Bloodhound Gang's second album, One Fierce Beer Coaster, was picked up by DGC about two months after its release, allegedly because it had great word-of-mouth. And, listening to the single, "Fire Water Burn," it's possible to hear why -- the group's smarmy, smirky alternative funk-metal, complete with junk culture references and "ironic" musical allusions, fits into the one-hit wonder cycle that dominated modern rock during the mid-'90s. One Fierce Beer Coaster captures the group's sound better than their Columbia debut, but the group has neither the dexterity nor the grit to pull off their hip-hop and rock fusions; they awkwardly stumble through their frat-party alternative rock. But what really sinks the album is the revolting, sophomoric humor that passes for lyrics. The liner notes might dismiss any complaints as indication that you don't get the joke, but it's hard to be comfortable with an album that believes smutty puns about oral sex ("Kiss Me Where It Smells Funny") and fart jokes (just about every track on the album) are what punk and alternative rock were all about.
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