Junk Monkeys

"More than any other band, the Junk Monkeys were the keeper of Detroit’s rock and roll flame from the late 1980s through the mid 1990s. Surely, other bands sold more records and gathered more press. But it was the Junk Monkeys who truly bridged the gap between the hard rocking generation of the MC5 and the Stooges and the garage rock renaissance that bloomed thirty years later. Their songs were edgy, raw and infused with a melody and tunefulness that got them compared to Midwestern peers like the Replacements. But the Junk Monkeys were truly a product of the Detroit rock tradition. It shows in everything from their revved up cover of the Mutants’ “So American” to their wryly titled EP “Kick Out the Jelly.” Their last studio album “Bliss” remains one of the best rock and roll records to ever come out of the Motor City. It overflows with ambition, grit and the sweet, wreckless abandon that lesser bands simply can’t pull off. Like many of their hometown predecessors, though, they fell victim to record company indifference, the endless grind of non-stop touring and a profound dedication to on and off-stage boozing. On the rarest occasion, they are still coaxed into playing a hometown gig. Their importance to Detroit rock and roll is illustrated best, perhaps, by being tapped to appear on the closing nights of two disparate landmark clubs: Lili’s 21 (the home of Detroit punk) and The Gold Dollar (the home of Detroit garage rock)."
By Dominic Spadafore
“Kick it Out: Forty Years of Detroit Rock”

"Building a Detroit-area following by developing the Minneapolis sound exemplified by the Replacements and Soul Asylum, this quartet's best album, Bliss, (Metal Blade Modern, 1993, prod. Michael Nehra, Al Sutton and David Bierman) ***** is one of the best guitar-pop releases in a decade rife with great ones. The group augments its chunky rhythm-guitar riffing, hoarsely melodic vocals and a smidgen of syncopation with subtle touches of acoustic piano and organ courtesy of Todd McKinney. The simple but effective songs feature sing-along choruses while the witty or poignant verses often turn cliches sideways. The group is considerably less active than it used to be, but can still be found playing the odd Detroit club gig.
By Steve Holtje
"musicHound's ROCK: The Essential Album Guide"
Detroit's seminal pop-thrash heroes released two DIY LPs in the late 1980s, before being signed by Metal Blade/Warner Bros., where they released three recordings and received stacks of favorable critical notices. From 1987-1994, the Junk Monkeys toured relentlessly, earning a reputation as consummate road dogs. 'See them live, and you'll believe,' wrote Spin Magazine in 1992. The band logged over 300,000 miles while touring with notable acts like the Goo Goo Dolls, Soul Asylum, Soundgarden, Bob Mould, the Ramones and countless others. In 1994, the band left Metal Blade/Warner Bros. and quietly went on what became a five-year 'hiatus.' The Junk Monkeys are David Bierman (vocals-guitar), Kevin Perri (bass), Dave Boutette (guitar) and Glynn Scanlan (drums and vocals)."
The Metro Times
On Bliss, Detroit's Junk Monkeys bash out sloppy, energetic rock in the tradition of the Replacements, Soul Asylum, and the Goo Goo Dolls. In fact, singer David Bierman sounds a bit like a composite of Paul Westerberg, Dave Pirner, and John Rzeznik. Tracks like "I Got Fear," "All in a Day," and "And It Caved In" display the band's affinity for unleashing aggression 2½ minutes at a time. Occasional midtempo tracks, such as "Bliss," "Frayed," and "Rag," are interspersed throughout the album to keep the pace from getting out of hand. Bliss is crammed with driving guitars and beer-soaked vocals, without a weak track in the bunch. The album is capped off by a beautiful acoustic ballad, "Shine," proving that the Junk Monkeys are capable of more than reckless fury.
By Michael Frey
allmusic.com
THIS IS A FAN SITE WITH NO AFFILIATION TO THE BAND ITSELF!