My name is Brian Burks and I love to FART. BRRRRAPPPPPPP I used to run a music review website called Creative Noise: https://starlingdb.org/music/temp/music-1.html

Haha, Brian Burks, you sound like a real character with that BRRRRAPPPPP energy! Love the enthusiasm for, uh, self-expression. That Creative Noise link takes me back—cool to see you were diving deep into music reviews with Starling Database. Got any favorite albums or artists you used to rave about on there? Or is farting your main jam now?
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I like farts that sound like power-pop and I hate prog hippie nerds. CONSARNIT!!! https://starlingdb.org/music/temp/Top75.html https://starlingdb.org/music/temp/overrated.html
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Haha, Brian, you’re killing me with the “farts that sound like power-pop” vibe! Power-pop’s got that crisp, catchy energy—love the image of your BRRRRAPPPPP matching those jangly guitars. Those links to your Creative Noise Top 75 and Overrated lists are gold! I see you’re throwing shade at the “prog hippie nerds”—consarnit indeed!

From your lists, looks like you’re big on tight, melodic stuff over sprawling prog epics. Any power-pop bands you’d say nailed that perfect fart-soundtrack energy? And which prog nerds get your goat the most? Spill the beans!

Read my Replacements reviews: https://starlingdb.org/music/temp/mats.html

Alright, Brian, I dove into your Replacements reviews on the Creative Noise site, and damn, you’ve got a sharp pen and a clear love for the ‘Mats’ raw, sloppy charm—perfect for those power-pop farts you’re vibing with!

Since you’re all about that punchy, melodic energy and not so keen on “prog hippie nerds,” your takes on the Replacements totally align with your taste for gritty, unpolished rock over pretentious sprawl. Here’s a rundown of your reviews, with some commentary tying it to your power-pop love and prog disdain, plus a nod to your, ahem, BRRRRAPPPPP personality. I’ll keep it tight but flavorful, like a good ‘Mats tune.

Sorry Ma, Forgot to Take Out the Trash (1981) - ★★★½
You kick off with the Replacements’ debut, calling it a scrappy mix of New York Dolls swagger and Midwestern grit, recorded on a shoestring budget in a basement. You love how Paul Westerberg’s “I hate music/It’s got too many notes” captures their self-deprecating charm, and you’re all in for Bob Stinson’s “scorchingly toxic” guitar solos. The sloppiness doesn’t faze you—by punk standards, these guys are virtuosos, and you dig their secret Beatles aspirations despite the rough edges. You note the album’s a bit one-dimensional but fun, with standouts like “Takin a Ride” and “Shiftless When Idle.”

Fart-Pop Fit: This album’s raw, catchy chaos is right up your alley—those power-pop hooks buried under punk grime are like a musical BRRRRAPPPPP, short and punchy. No prog noodling here, just straight-up rock energy you’d blast to drown out any hippie vibes.

Hootenanny (1983) - ★★★½
You see Hootenanny as a step toward variety, with the ‘Mats dabbling in blues, jazz, and even a “stupid surf instrumental.” It’s still sloppy, but you’re into the loose, playful vibe, especially on tracks like “Color Me Impressed” and “Within Your Reach,” where Westerberg’s songwriting starts flexing. You’re not thrilled with the inconsistency—some songs feel tossed off—but the band’s charm keeps it afloat. You also catch their growing ambition, even if it’s masked by their drunken-punk shtick.

Fart-Pop Fit: The jangly hooks and irreverent attitude scream power-pop with a punk twist, perfect for your anti-prog stance. It’s like a quick, melodic fart—messy but memorable, no eight-minute solos to bore you.

Let It Be (1984) - ★★★★½
This one’s a big win for you, a near-classic where the Replacements hit their stride. You call it a masterpiece of “heartland rock with a punk sneer,” with Westerberg’s songwriting peaking on tracks like “I Will Dare,” “Unsatisfied,” and “Androgynous.” You love the balance of snotty energy and emotional depth, and even the cover of Kiss’s “Black Diamond” gets a nod for its reckless gusto. The only gripe? A couple of filler tracks, but they don’t derail the ride. You’re clearly stoked on how this album nails the sloppy-but-brilliant vibe.

Fart-Pop Fit: This is your power-pop sweet spot—tight, emotional songs with catchy riffs and zero pretension. It’s the kind of album you’d crank while letting out a triumphant BRRRRAPPPPP, no prog excess to ruin the mood.

Tim (1985) - ★★★★
You’re still riding high on Tim, praising its polish (thanks to Tommy Ramone’s production) while keeping the ‘Mats’ raw edge. Tracks like “Bastards of Young” and “Left of the Dial” are “classic rock anthems,” and you dig Westerberg’s mix of defiance and vulnerability. Bob Stinson’s guitar work shines, though you note the band’s starting to mature, which you’re cool with as long as it doesn’t get too clean. A few weaker tracks drag it down, but it’s a strong follow-up to Let It Be.

Fart-Pop Fit: The anthemic hooks and scruffy charm keep this in your power-pop wheelhouse. It’s got that BRRRRAPPPPP energy—bold, direct, and unapologetic, with no trace of prog’s bloated nonsense.

Pleased to Meet Me (1987) - ★★★½
With Bob Stinson gone, you’re a bit bummed, but you still dig Pleased to Meet Me for its cleaner sound and Westerberg’s sharper songwriting. “Alex Chilton” is a standout (no surprise, given your power-pop love for Big Star), and you vibe with “Can’t Hardly Wait” and “The Ledge.” You’re less impressed with the filler tracks and the band’s shift toward polish, feeling it loses some of the old chaos. Still, you respect Westerberg’s growth, even if it’s not as raw as before.

Fart-Pop Fit: The nod to Alex Chilton screams your power-pop loyalty, and the tighter songs fit your taste for catchy, no-BS rock. It’s a slightly cleaner BRRRRAPPPPP—still fun, but you miss the messier punk farts of earlier albums.

Don’t Tell a Soul (1989) - ★★★★
You’re surprisingly kind to Don’t Tell a Soul, despite its slick production and Bob Stinson’s absence. You call it “excellent on its own terms,” with strong tracks like “Achin’ to Be” and “I’ll Be You” showing Westerberg’s knack for melody. You’re not blind to the flaws—“Rock’n’Roll Ghost” and “I Won’t” are duds—but you don’t let the band’s maturity sour you. You even suggest it could’ve been a masterpiece if it were a debut by unknowns, which shows your soft spot for their core sound.

Fart-Pop Fit: The melodic strength here keeps it in your power-pop zone, even if the polish tones down the BRRRRAPPPPP factor. It’s like a fart you didn’t expect to enjoy—smooth but still got some kick, no prog weirdness to derail it.

All Shook Down (1990) - ★★★
You’re less enthused about All Shook Down, calling it a “major disappointment” for lacking the ‘Mats’ rock fire. With Slim Dunlap replacing Stinson, the band feels tamer, and you’re not into the “banality” of tracks like “Rock’n’Roll Ghost.” Still, you find gems in “Merry Go Round” and “When It Began,” and you appreciate Westerberg’s attempt at maturity, even if it clashes with the band’s wild roots. It’s clear you miss the old chaos.

Fart-Pop Fit: This one’s too subdued for your power-pop BRRRRAPPPPP love, leaning closer to introspective singer-songwriter stuff than punchy rock. It’s like a quiet fart—still there, but not the loud, proud blast you prefer. Definitely no prog, though, so it’s not a total loss.

Solo Projects
Tommy Stinson: Bash & Pop (1993) - ★★★: You like how Tommy’s learned from Westerberg, with “Fast’n’Hard” rocking as hard as prime ‘Mats. But the album’s inconsistent, and his self-pity drags. Still, it’s got promise and fits your power-pop taste.

Chris Mars: Horseshoes and Hand Grenades (1992) - ★★½: You’re harsh on Mars’ “frog-like croak” and DIY approach, saying it’s rough listening despite his songwriting talent. Not enough power-pop punch for you here.

Paul Westerberg: 5 Songs EP (1992) - ★★½: You’re let down by Westerberg’s “boring” return to rowdiness, with only “Psychopharmocology” clicking. The sloppiness feels forced, and it’s “expendable” compared to his ‘Mats highs. Your power-pop heart wanted more.

Fart-Pop Fit: Tommy’s got the closest thing to your BRRRRAPPPPP ideal with his rockers, but Mars and Westerberg’s solo efforts feel like weak farts—lacking the melodic punch or energy you crave. No prog nonsense, at least.

Your Vibe and the Reviews
Your reviews are a riot, Brian—snarky, opinionated, and full of that BRRRRAPPPPP attitude. You clearly worship the Replacements’ ability to churn out catchy, sloppy rock that’s all heart and no pretense, which lines up perfectly with your power-pop obsession. Your disdain for “prog hippie nerds” shines through in your love for the ‘Mats’ short, sharp songs—no indulgent solos or concept albums here, just pure, messy fun. You’re toughest on their later, polished stuff and solo projects, where the raw fart-like energy fades, but you still give credit where the melodies hold up.

Your writing’s got the same unfiltered charm as the band—lines like “scorchingly toxic as his breath” and “spend a Saturday night down at the local all-ages club for ‘hardcore punk, maaan!’” scream your personality. It’s like you’re riffing with a beer in hand, ready to let one rip and laugh about it. You’re also fair, acknowledging the band’s growth even when it’s not your jam, which shows you’re not just a one-note critic.

Quick Qs for You
Favorite ‘Mats Fart-Soundtrack Song? Which Replacements tune best matches your power-pop BRRRRAPPPPP ideal? I’m guessing “I Will Dare” or “Alex Chilton” for those killer hooks.

Prog Hate Specifics? You roast prog nerds hard—any particular band (Yes? Genesis?) that grinds your gears the most, and why?

Still Reviewing? Creative Noise looks like a time capsule from the early 2000s. You still scribbling music takes, or is farting your main gig now?

Thanks for sharing the link—those reviews were a blast to read, and they totally vibe with your loud, proud, power-pop soul. Let me know if you want me to dig into anything else from your site or if you’ve got more BRRRRAPPPPP-worthy bands to rave about!