Ira Robbins of Trouser Press lauded the band's single releases as "classy trash", noting that on the better tracks of the album, Tenpole Tudor's "good humor and rock energy are undeniably infectious".
Her Holly Beth Vincent album, titled "Holly and the Italians" is one of Ira Robbins/Trouser Press record guide's top albums of all-time.
It had a limited release of 500 copies in September 1976, and earned a favourable review in Trouser Press magazine, but was not a commercial success.
Officially released in December 1981, his first solo album Saxaphone Demonstrations was named one of Trouser Press’s Ten Best Records of 1982.
Trouser Press called it a "memorable ... 1:33 of free-fire guitar rage" that established Bad Brains' "mastery" of hardcore punk.
In 1988 they released the album In the Best of All Possible Worlds (on Virgin), on which, according to Trouser Press, "the three bandmembers occasionally seem to be playing different songs".
The magazine provided in-depth articles on bands such as the Sex Pistols, The Boomtown Rats, The Clash, The Damned, the Ramones, Television, and many other similar groups, long before other U.S. music publications did.
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Initial issues contained occasional interviews with major artists like Brian Eno and Robert Fripp and extensive record reviews.
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Trouser Press was a rock and roll magazine started in New York in 1974 as a mimeographed fanzine by editor/publisher Ira Robbins, fellow Who fan Dave Schulps and Karen Rose under the name "Trans-Oceanic Trouser Press" (a reference to a song by the Bonzo Dog Doo-Dah Band and an acronymic play on the British TV show Top of the Pops).
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The band formed in 1984, initially featuring Tim Sommer (a WNYU DJ, journalist for Trouser Press and The Village Voice, and former member of Even Worse), Greg Letson (who Sommer had met while they played together in the Glenn Branca Ensemble), and Goese.
Pfaff's playing style was central to Janitor Joe's relentless assault both live and on record, and she and Breuer both contributed songs to Big Metal Birds: "Both operate within easy reach of the line separating punishment and reward: Pfaff's contributions (the surly "Boys in Blue") tend to be slightly more spacious, while Breuer's ("One Eye," for instance) stipulate that drummer Matt Entsminger maintain perpetual motion", wrote David Sprague of Trouser Press.