Finally, it’s time to cover some Presidents worth respecting! Armed with modified guitars and basses that ditched excessive strings, and led by Seattle smile-inducer Chris Ballew, the Presidents proved that grunge could be fun and, dare we say, even played with a grin (and yet nobody at the time thought to coin the term “gringe” or “funge”?! Grunbelievable…) The Presidents hit that almighty musical sweet spot between cool and goofy that rarely descends into novelty (sorry, Dr. Demento, you can’t quite have these guys) And today we’re ranking their studio albums from worst to best. Hail to these chiefs, and only to these chiefs!
6. Freaked Out and Small (2000)
“What’s with all those extra strings clattering around on this one?” you may ask yourself while listening to “Freaked Out and Small”…well, good ears on you, my friend! This is indeed the only Presidents album played with actual guitars and basses (the excess of success had clearly gotten to these fellows!) This means that, good or not, for that reason, we must put it squarely last. C;mon, we just made a huge deal about their modified guitars in the intro paragraph, we you expect us to automatically betray our own writing like that? Shame on you! Sure is a nice looking poodle on the cover, though! That can’t be said for a lot of records, even the harshest critics (us) must admit!
Play It Again: “Jupiter”
Skip It: “Jazz Guy”
5. Kudos to You! (2014)
For a quote-unquote “one-hit wonder” band, these fellas sure did crank out the good time rock ‘n roll straight on to the end of their run. In their final(?) full length, PotUSA takes the listener on a sonic ride that would be toward the top of this list if the rest of their output didn’t rule that much harder. If you’re down to clown around with these boys, then you’re in for a good time no matter what. On “Rooftops In Spain”, the band sounds like Dwayne’s group Scäb on Home Movies, and on pseudo science-tinged “Flea vs. Mite” gives the impression that they’re auditioning to be the understudies for They Might Be Giants, if the Johns ever came down with the flu.
Play It Again: “Rooftops In Spain”
Skip It: “Crappy Ghost”
4. These Are the Good Times People (2008)
Even though this is the first album without their classic lineup, this album lives up to its title for the most part. “These Are the Good Times” shows the band not letting the constraints of their reliable set-up not get in the way of great songwriting, and they play around with their set sound with new instruments invited to their tea party, like the addition of bold brass on “Sharpen Up Those Fangs” and breezy acoustic guitar on “Bad Times.” The Prezzes here are more akin to a looser, more party-ready version of Fountains of Wayne, and hey, they didn’t even have to write anything about being attracted to their classmate’s mother. On top of everything else, this one has “Loose Balloon,” one of the prettiest things these goofs have ever written.
Play It Again: So Lo So Hi”
Skip It: “Flame is Love”
3. Love Everybody (2004)
PotUSA’s final album with their classic lineup including original “guitbass” player Dave Dederer (an 11-year term, not too shabby for a president!) “Love Everybody” oscillates seamlessly between tongue-in-cheek goofy stuff that would have those Ween boys green with jealousy, and more mainstream pop-punk that sounds like they’re trying to give Blink a run for their money. The Dennis-The-Menace-core “Poke and Destroy” especially dredges up the joy of being an elementary school boy, and is best listened to with a slingshot in your back pocket. This album is notable for some pretty amazing keyboard work that not only calls to mind their ’60s garage rock influences, but the best of Beck or the Beastie Boys.
Play It Again: “Some Postman”
Skip It: “Munky River”
2. Self-Titled (1995)
It’s got “Lump.” It’s got “Peaches.” It’s even got a damn MC5 cover… folks, we’re in good hands here on PotUSA’s debut album. We imagine it certainly slapped a smile or two onto the youth of the country’s sullen grunge-drunk faces. And for that, we salute them a million times over. A whole record full of playful, driving rock that never crosses the line into straight up comedy, enforced by the fact that Weird Al had his way with “Lump” via “Gump.” He wouldn’t parody an already funny song, he’s too smart for that! The man’s got a degree in architecture, for god’s sake!
Play It Again: “Dune Buggy”
Skip It: “Body”
1. II (1996)
The answer to the question “Did they suffer a post-Lump slump?” is a resounding hell no. The Presidents barrel into their sophomore album with a cordial greeting in “Ladies and Gentleman Pt. 1” and then light a stick of dynamite that keeps blasting off until signing off with the exact same song at the end. Pretty baller move, and they pull it off quite convincingly! Songs like “Mach 5” and “Volcano” can’t help but worm their way into your subconscious – a pretty simple thing for a band who’s got so many songs about critters and crawlers, I suppose, but nevertheless: II is #1 in our book!
Play It Again: “Bug City”
Skip It: “L.I.P”

In what has somehow become a footnote in rock history, the organizers of the free concert at Altamont did the whole thing over the next night as a sort of make-good. The Angels promised to be on their best behavior so long as they were once again paid in unlimited beer, terms that Mick Jagger inexplicably agreed to.
Yes, it’s confounding, but during the reaction shots of The Stones watching the first cut of the documentary Hells Angels are off camera, waiting in the wings in case the shit goes down. By the time the group hears the threatening post-Altamont phone call in which Sonny Barger calls Mick Jagger an idiot and justifies murder over a kicked motorcycle even Mick must have been thinking “Should I have hired these guys again?”
It’s understandable that in Mick Jagger’s elite world, even something as simple as a child’s birthday requires some level of security. All the same, it is truly baffling that Mick went with Hells Angels on this one. It’s even more baffling that once again, Mick opted to pay the Angels in beer.
Inspired by the rising popularity of martial arts in the 1970s and the film “The Pink Panther,” Mick decided random attacks would help him keep his judo sharp. Unfortunately, he once again succumbed to his two worst habits—hiring an entire motorcycle club and paying them in beer. The Angels would get so drunk waiting for Mick to walk down the street that they would forget what they were hired to do and just jump him all at once.
When Mick Jagger was invited to become a knight of the realm he was honored, but also a little intimidated. The idea of entering the Queen’s palace knowing it was filled with her own personal army of men who never smiled frightened him. Then he remembered that he too had a personal army of men who never smiled— Hells Angels, whom he invited along.
It turns out that even as a cartoon Mick Jagger doesn’t feel safe without his boys. He agreed to appear in “The Simpsons” under one condition; that a separate team of animators drew Hells Angels just out of frame watching cartoon Mick’s back. The Angels demanded to oversee the animation process and wound up demanding that artists animate a scene of them stabbing Hans Moleman to death. They even made Dan Castellaneta voice the line “I’m not even in this episode!” in his Moleman voice.
Apparently, some PR rep thought it would be good for Mick to be spotted doing normal everyday stuff for one of those “Stars are just like us” segments. Unfortunately, stars are not just like us, and some of them (Mick) bring Hells Angels with them everywhere they go.
They stabbed Lorne, but apparently, that’s not an uncommon occurrence. He’s more machine than man now.
A few years ago Mick finally recognized Hells Angels as a toxic presence in his life. Fearing retribution for cutting them out of his life, and perhaps in a display of waning faculties, Mick turned to his go-to fixers for protection, Hells Angels. Interestingly the Angels did take the contract, and when Mick gave them a manila envelope containing a picture of Hells Angels several Angels stabbed themselves before anyone realized the mix up.
The title of this album is deeply misleading as there is no birth and very little violence to be found on this record, especially considering this was a return to Chelsea’s softer, singer songwriter roots. After the explosive “Hiss Spun” this album just feels like a step back from the celestial void, and the songwriting is most certainly more down to earth here then on previous albums, with the arrangements being much sparser. While this makes for a good artistic choice, this album still fails to deliver on its title, so it ranks at the bottom.
After writing an allegedly terrible album in the 2000s, Chelsea Wolfe re-entered the music scene with 2010s “The Grime and the Glow,” with stripped-back, folksy songs that have a strong, almost eye-poppingly apparent sense of melancholy. All of the ingredients to a kickass Chelsea offering are here, but without the heat and bite that gives her that “Wolfe” edge on later releases, but it’s a great relaunch of a music career, and a reminder that whatever stage of life you are in, that you too can start writing awesome music, maybe even tour behind it.
While it may sound like some dystopian plastic surgery procedure, “Apokalypsis” is actually the first Chelsea Wolfe album to embrace a full band sound. It’s great, sprawling and a work of art on its own, while lacking the atmospheric crush of later releases, it definitely tickles that folky Black Sabbath itch that roped in metalheads and heavy music fans everywhere with its uniquely feminine take on the celestial, often in contrast to the “Beer drinking and hell raising” audience outsiders typically associate with metal. Otherworldly, bold and daring, this album may have done more to get headbangers in touch with their feelings than hours and hours of therapy ever could.
Prior experimentation with industrial/electronic sounds on “Pain is Beauty” prompted Chelsea Wolfe to pursue this sound to its fullest, embracing the darkness not just within her soul, but within machines as well. Kicking things off with the intoxicating, domineering synths of “Carrion Flowers,” the rest of this album comes across just as menacingly, opening your eyes and soul and forcing the abyss to look into you, and it transports the listener on a celestial journey. This record bridged the gap towards the heavier direction Chelsea Wolf would tread down.
Is this the album where Chelsea Wolfe came into her own as a singer and songwriter? The technically correct answer is, yes, since this is the album where the experimentation with more nuanced and varied songwriting began. While previous releases relied more on folksy songwriting, rooted in this world, “Pain is Beauty” sought to expand outwards to the spiritual world, and thanks to co-conspirator Ben Chisolm, this album sounded more celestial than prior releases. Centering around the theme of idealistic love, with a good dose of “feral” energy, this was an album every 2010s Hipster/Goth would come to love in their own way.
After contacting some demons from the netherworld and transforming into a furry, menacing, but still distinctly human creature seen on the album cover, Chelsea Wolfe would then proceed to fully embrace the demonic on this album, strongly inspired by episodes of sleep paralysis she had experienced. This album was unprecedentedly bold, with guest appearances from both Troy Van Leeuen from Queens of the Stone age and living legend Aaron Turner, and the addition of former collaborator Jess Gowrie on drums (check out Ms. Piss for some filthy, noisy sounds from her and Chelsea), this album was a defining record of everything and everything heavy in the 2010s, and it’s just as timeless today if you want to get spun right round right round when you go round.
Whoever she keeps reaching out to, we want a direct line to them, because she definitely inspired one of the best Records of Chelsea’s illustrious career, just released this year is a textbook definition of artistic revitalization. Instantly addictive on first listen, this album gives the feeling that your high school D.A.R.E. counselor wishes was achievable with narcotics, but this album is just that good. Aided by all the usual players, and with the wisdom and experience of a pro, we just might be living in the golden age of Chelsea Wolfe, or we would be if time wasn’t an irrelevant construct.