After the tragic demise of the Minutemen due to the late 1985 death of D. Boon, surviving members Mike Watt and George Hurley were enticed to return to making music by Minutemen fan Ed Crawford (known as Ed fROMOHIO). Watt, still in the grieving stage, had considered putting up his bass for good without his best friend in life around any longer but thankfully Crawford encouraged the man to return to making music. As perhaps a testament to the inspiration even the memory of Boon provided, the debut fIREHOSE record is one of the best albums of the 80s.

Blending a mix between punk energy, jazz, folk and funk, Ragin' Full-On is not the blistering inferno the cover art suggests nor a replay of Minutemen's music. While elements of Watt and Hurley's previous band are obviously present, the new chemistry of the band is abundant and provides a clear focus for their music. Crawford in no way attempted to mimic D. Boon on either guitar or lead vocals, instead bringing to the table his own folk influenced style with squeaky clean high pitched vocals to boot. The result is an interplay between three highly skilled musicians that is inspiring, exciting, breezy and incredible. As with Double Nickels on the Dime, the guitar, bass and drums all inhabit their own separate spaces, often doing different things from one another, yet still somehow interlocking into creating a cohesive song. There is a sense of improvised moments here, yet the focus is still intact throughout. But the most enjoyable aspect of the album is the sense one gets that the three musicians are enjoying making music for the pure sake of creating something special. Nothing sounds forced and everything sounds like the men had the best time of their lives writing and recording the album.

If this album was meant as a tribute to D. Boon's life, you cannot ask for a more touching and perfect badge of honor. Ragin' Full-On is simply wonderful and enjoyable. Crawford, although not always the perfect fit for Watt and Hurley as time would show, should be given a medal for encouraging Watt to continue giving the world his music.

Review by John Chedsey

Review date: 01/2001

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A lot of people have noted that while they could appreciate Mike Watt and George Hurley post-Minutemen band, fIREHOSE, it was somewhat difficult to really get into the band's music and specifically, Ed Crawford's trip. While the debut Ragin' Full On was absolutely a kick in the pants, subsequent efforts always seemed to find this band not quite reaching their potential.

Flyin' the Flannel, which found the band on Columbia Records, immediately reversed that trend. While still firmly planted in the fIREHOSE sound, the album came out blazing and full of unrestrained excitement and some of the best songs the band had put together since the debut. The music retained much of the similar feel of earlier albums, offered some neo-jazz passages, and of course the absolutely stellar rhythm section of Watt and Hurley. But most importantly, the songs here are memorable and lasting. From the mission statement of "Down With the Bass" to the contemplative "Losers, Boozers and Heroes" (co-written with longtime cover artist Raymond Pettibon), Flyin' the Flannel rarely lets up and only a couple of the sixteen songs are a bit of a bummer. Crawford sounds more comfortable with his folksy wail and vocals, which does allow for a better musical chemistry. While it can still be argued that Watt and Hurley came barrelling out of the demise of the Minutemen and simply bowled Crawford over, Flyin' the Flannel proved that he had a significant role in the band's sound.

Of the highlights, the title track, "O'er the Town of Pedro", "Up Finnegan's Ladder", "Toolin'", "Can't Believe" and "Too Long" are some of the better moments. Throughout the entire album, the trio shows precisely how impressive their talent is and that alone should impress most folks. Flyin' the Flannel, though a major label debut (though untainted entirely), is certainly one of the strongest fIREHOSE statements.

Review by John Chedsey

Review date: 08/2000

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Coming out of nowhere, this seven song live EP has to be one of the more interesting things fIREHOSE released in their time. Considering five of the seven songs are covers, Live Totem Pole already is an oddball. Then you realize exactly who the trio is covering: Butthole Surfers, Wire (which makes sense since Mike Watt has cited them time and time again as a huge influence on the development of the Minutemen, his original band), Blue Oyster Cult, Superchunk and of all bands, Public Enemy. And each songs comes off convincingly. "The Red and the Black"of course appeared here and there on old Minutemen records, but the fiery treatment here makes it the best version of them all. Wire's "Mannequin" is given a very honest and strong take, but then again Wire had an uncanny ability to write stirring guitar riffs in their Pink Flag days. The Public Enemy track, "Sophisticated Bitch", suffers a bit because Ed Crawford's high voice doesn't quite gel with the song at all. "Slack Motherfucker" also has a bit of an uncomfortable edge with Ed's voice. Overall, this EP is nothing more than just a little nod to bands that fIREHOSE admired and a fun little treat for the fans.

Review by John Chedsey

Review date: 11/1999

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By the tail end of fIREHOSE's career, you could tell they were lacking spirited music and Mr. Machinery Operator was an indication of it. Songs like "Blaze", "Rocket Sled/Fuel Tank" and "Hell-hole" were still somewhat interesting for the trio, but a lot of it comes across as three guys playing on autopilot. The energy level was very similar to what you might expect a bar band to display and for this group, that wasn't acceptable. The difference Flyin' the Flannel and this one in terms of overall sonic power was immense. Watt broke up the trio sometime after this album's release.

Review by John Chedsey

Review date: 03/1999

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