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The Giant Mums, self-titled LP

The Mums' first and only LP was recorded by Wharton Tiers at Fun City.

Listen here:

Press Clips:

Baby Sue (#17 Summer 1994, Steven Fievel)
"Not only does this disc feature some of the best song titles around (We Made It Sing???), but it also features some absolutely STUNNING songs. The Giant Mums definitely have an instantly identifiable yet indescribable sound that is addictive...This one knocks my socks right off. Simple, unadorned pop tunes...nothing short of sheer MAGIC."

Snipehunt (#20 Summer 1994, GF)
"Every song is a hook I can't shake. The exhilarating blast of fresh air is that they aren't trying to be anyone else. Just having fun and bringing us lonely reviewers along with `em. Not punk, but little five year olds playing in the dirt with scissors and the good china. I'm in love."

Option (#58 Sept/Oct 1994, Chris Crisafulli)
"The Giant Mums produce a thick, loose, fuzzy sound that seems to be slowly oozing even when drummer Chris McCumber and bassist John Tanzer keep the tunes moving along at a blistering pace. The lazy, drifting vocal approach calls to mind the finer moments of the Meat Puppets, and laid-back stuff like 'Sheep in the Blacklight Room' and 'Deny, Delay' also have a Meat Pups feel. But on a tune like 'Speedpills Velocitous', the band can rock with Ramones-power. There are plenty of post-punk squiggles in the Mums sound, but once in a while, such as on the lysergic jumper 'Thread', they come off like something really interesting from one of the Pebbles collections. Add it up, and these guys have delivered a good chunk of demented entertainment. Pay attention to future releases."

Trouser Press Guide to '90s Rock (1997, Ira Robbins)
"Compared to Airlines, the [Giant Mums] have stranger concepts, ('Minutes Later, Nothing Gets Out Every Stain' and 'Sheep in the Blacklight Room' are only two of the odd titles on The Giant Mums; the chorus of 'We Made It Sing' begins 'meow meow meow') as well as a singular sensibility and, for the most part, an aggressive, jagged guitar attack.  Wharton Tiers' production makes the most of intriguing compositions, shaping the band's fill-in-the-void playing and [Roby's] singing into moderate wind-shear excursions that keep moving forward."

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