Daniel Arizona – www.splendidezine.com 5/10/2002 - Taggart's press release likens their sound to bands like the Pixies, the Kinks, and the Replacements, which may be overdoing it just a tad -- a Mount Rushmore-sized tad. Missing is the unfettered originality of Black Francis, the clever cheekiness of Ray Davies, and the Mats' unerring sense of what makes rock and roll rock. What can be detected, at least from a vocal standpoint, is the legacy of Kurt Cobain's raspy, affected country twang. Such songs as "Heavy Pedal" and "Deferent" rock with heaven-storming rage, yet next to "Territorial Pissings" and "Planet of Sound", they seem tame. Even when Taggart tries to mix angst and melody ("Weekend Politics"), the result is disappointing. Despite the self-aggrandizing (a necessary evil of every band in the star chamber of musical opinion-mongering), Parts of My Bicycle... is not without its charms. The straight pop approach in which Taggart periodically indulges also happens to bring their most engaging moments. The country styling of "Chelsea", the classic rock chorus of "Finders" and the longing of "California" often hit the right nerve; the band shines accordingly.

The main problem with Parts is that it sounds rushed. For example, "Empty Introduction" has a lilting, bouncy beginning that really captures the listener and keeps him guessing, but the song falls victim to a less than satisfactory back nine. The band's stiffness becomes increasingly apparent when the "The Final Chapter", a loosely-played, all-too-short pop tune, ends the album on a positive note but makes you wonder "what if?" Perhaps it's time for Taggart to turn down the distortion and the clanging cymbals and start listening to each other.

EAS – Privy Magazine, February 2003 - Should musicians stick to one defined genre on the same album? Especially when debuting, a band must succumb to a labeling of style and sound if its members want to sell records. That's not to say that you can't open a song on the upbeat and carry over into the bridge with a slower, softer mood, like in the first half of Taggart's debut album. That transition actually works for the Philadelphia-based indie-punk band, which sounds like a cross between Weezer and the Lemonheads.

In tracks 1-7, Taggart's musicianship really shines. The tunes are catchy—with a mixture of brighter buzzing guitars and more mellow acoustic guitars drifting in and out. The singer sometimes mumbles or screeches, but is complemented nicely at other times with a chorus of Ah's sung by other band members. And they often sing about love, like in my favorite of the tunes, Bufferless.

But, it's in the second half of the album (tracks 8-13), in which the band metamorphoses into a heavier hardcore punk sound, not nearly as succinct and tasteful as the first half. The first set of songs would make a great accompaniment for a road trip, and would rate higher if it was part of its own separate CD.

George Makovic - Rock Beat International, Issue No. 23, Spring 2003 - When Taggart's Parts of My Bicycle Are Made of Chrome (to be henceforth referred to as "Parts") arrived via Rock Beat International's secret underground rock railroad, something about the band's name seemed familiar. After batting down the cobwebs, I recalled they participated in a generally awful Replacements tribute album a year or so ago (and reviewed by yours truly). Although not groundbreaking or essential in any way, their cover of "Don't Ask Why" was enthustiastically bashed out. In other words, they didn't embarass themselves. Nor do they on this, their debut.

The accompanying dossier states Taggart will "rock in the vein of the Pixies and Superchunk" while proffering lyrics and melody like "the Kinks and Replacements." To this writer's ears, they got it 25% right. The band's overall sound is quite reminiscent of Superchunk, particularly in the massive two guitar wall of sound and nasally singing of...apparently everyone. No one in Taggart appears to have a last name (Taggart???). But rest assured, Steve plays bass, Pete mans a guitar as does Becker. Ward plays drums. They all offer up "vocals" as well. And the vocals suit the band's sound just fine (but perhaps could be brought up further in the mix). In fact at times the vocals suggest The Moberlys. The first couple of listens reminded me of any of a legion of bands that scrapped for attention in the wake of the Replacements final days. That list would include (early) Goo Goo Dolls, the Junk Monkeys and even a truly lame band fronted by yours truly. Taggart serves up a good two-fisted bash and thank you sirs for that.

Then again, after a few more listens down the line you start to hear where they want to be. "Bufferless" has a moody crunchy sound and melancholy backing vocals that really would have sounded great on a Replacements record. "Empty Introduction" has quivery electric piano and an angular guitar riff that recalls Tom Verlaine. The guitar solo on "Rotten Life" shows they know rock&roll and art school punk. So yeah, they've got aspirations. Meanwhile though, the Superchunk riffage dominates. You gotta love a band with a backbone and any band would love to have their first outing be as solid as Parts. Watch out though, they've got something up their sleeve and it's probably gonna hit around record #3.