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398:"Amid the post-punk, indie-rock and the phoenix-like rise of grunge, there was a thread of late-80s pop that focused on melody and craft. The dB’s, Game Theory and Bongos were more cerebral than their power-pop counterparts but no less fetching to listen to. And standing tall artistically, if not in record sales, was San Francisco’s Sneetches. At twenty-two tracks, clocking in at seventy-seven minutes, this is a good buy for those just meeting the band, but also those who collected everything along the way."
401:"Although these tracks were originally recorded in the ‘80s and ‘90s, they don't sound dated in the least; rather, it's song after song of smart, well-constructed, hooky guitar pop that should have attracted a much larger audience. Tracks such as “...and I'm Thinking” and “I Don't Expect Her For You (Look at That Girl)” still burn with a melodic intensity while also sounding polished (but never slick) – and they're the rule and not the exception."
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may not be my dream roster of
Sneetches songs, but first-person perspective aside it's a representative assemblage of what made these Bay-era popmeisters tick. The few previously unreleased sections are predominantly culled from live performances, but a concluding acoustic demo of "How Does It Feel"
316:.. "This is a nearly flawless introduction, a perfect addition for anyone who’s worn out their Big Star and Left Banke records. The Sneetches may have never topped the charts, but their quiescent charms continue to resonate." Vinyl District reviewed as follows: "I would submit that
392:"this is a special collection of songs, and while it might not contain everyone’s favorites, what it does offer is a look at a band who deserved far more appreciation than they received. Absolutely essential for all Sneetches fans!" (Elizabeth Klisiewicz] - The Big Take Over"
382:"While they may have been an underground sensation, Omnivore Recordings collected the best songs from The Sneetches for their first ever career compilation titled "Form Of Play: A Retrospective."" (JP' Music Blog)
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exemplifies the smart guitar-based pop of a bygone era without succumbing to retread, an appealing trait during their ’80s-’90s existence and even more so now."
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The
Sneetches stood out amongst the contemporary grunge, industrial and hardcore scenes in the 1980s. Remaining obscure until their breakup during the peak of
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followed on Alias in 1990, the band then moving on to the Bus Stop label for three singles between 1991 and 1993, later compiled on the
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as "a masterful album highly recommended to all fans of the style". Levy switched to guitar with the recruitment of former
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The initial line-up was Mike Levy (vocals, bass) and Matt Carges (guitar) adding
English drummer Daniel Swan, formerly of
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155:, United States, in 1985, who released several albums before splitting up in the mid-1990s. The band was described by
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395:"Whether you're late on this band or were right on time you'll dig this either way as great songs are great songs."
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699:"JP's Music Blog: CD Review: Omnivore Recordings Collects The Best Of The Sneetches For New "Retrospective""
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channeling Big Star says volumes about where the
Sneetches were emanating from." (Willfully Obscure).
724:"Wilfully Obscure: The Sneetches - Form of Play: A Retrospective (2017, Omnivore) - A brief overview"
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described The
Sneetches as "one of the best classic guitar pop bands in the late '80s/early '90s."
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as "one of the most tasteful, consistently tuneful pop bands on the
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label, and debuted in 1987 with "Only For a Moment", followed by the mini-album
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in the United States, who issued the band's debut full-length album,
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264:, in 1994, before splitting up. A posthumous mini-set,
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by 1986. The band showed influences from the likes of
35:The Sneetches in 1989 - Daniel Swan, Matt Carges,
682:Former Sneetches `Fireflies` album shines brightly
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582:"Retro Action #19: Power Pop and Punk Reissues"
520:"She May Call You Up Tonight" (1993) Jelly Bean
875:"THE SNEETCHES / HELOISE By Glenn Scheuleter"
357:. Consider transferring direct quotations to
252:In 1993, the band recorded a mini-album with
511:"She Does Everything For Me" (1991) Bus Stop
16:American indie pop/power pop band, 1985–1995
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279:The Sneetches - Oakland, California in 1988
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613:Strong, Martin C. (2003) "Sneetches", in
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204:by The Sneetches. They signed to the
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885:from the original on 2021-12-15
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416:Light Out! With The Sneetches
639:Sometimes That's All We Have
422:Sometimes That's All We Have
226:Sometimes That's All We Have
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615:The Great Indie Discography
306:A 2017 retrospective album
299:2017 retrospective release
216:. They were then signed by
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45:Background information
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539:"Heloise" (1990)
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854:the original
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832:. Retrieved
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481:Obscureyears
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471:(1991) Alias
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463:Compilations
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437:(1990) Alias
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353:Please help
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326:Form of Play
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324:Reviews for
318:Form of Play
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301:Form of Play
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254:Chris Wilson
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186:The Cortinas
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118:Past members
80:Years active
686:The Lantern
475:Think Again
405:Discography
247:Think Again
190:The Zombies
126:Daniel Swan
124:Matt Carges
917:Categories
889:2017-06-17
860:2017-09-02
850:"Goldmine"
834:2017-05-27
809:2017-05-27
784:2017-05-09
780:. May 2017
757:2017-05-08
733:2017-05-08
708:2017-05-08
661:Starfucker
591:2017-07-27
544:References
526:EP (1993)
456:Starfucker
363:Wikisource
266:Starfucker
153:California
58:California
37:Alec Palao
563:Sneetches
469:1985-1991
371:June 2017
359:Wikiquote
346:contains
285:Fireflies
241:in 1988.
236:Sting-ray
163:All Music
145:power pop
141:indie pop
122:Mike Levy
84:1985–1995
73:power pop
69:Indie pop
883:Archived
668:Allmusic
646:Allmusic
426:Creation
231:Allmusic
102:Bus Stop
94:Creation
879:YouTube
528:Elefant
500:Singles
492:(2017)
485:Rev-Ola
451:spinART
449:(1994)
424:(1989)
256:of The
208:-based
202:covered
180:History
170:Britpop
106:spinART
777:Dagger
663:Review
641:Review
621:
410:Albums
206:London
89:Labels
65:Genres
50:Origin
430:Alias
98:Alias
619:ISBN
435:Slow
243:Slow
196:and
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