Washington Post

"After its 1995 Columbia album, it seemed that Mother May I could be added to the casualty list. But following a long period of convalescence, the local trio is back with 33 1/3, an album of poised power-pop. Although the disc would do credit to any multinational entertainment corporation, it's been released by a small Baltimore label....sharp,lively and tuneful."

Rootstown Music
Belgium

"There are some potential hits on there. Why does nobody know this group?
Strange thing is that no major label cared to re - sign this group, and maybe the record won't be able to get out of anonimity. Or maybe the group has chosen to work that way, 'cause their first encounter (accident?) with a major left them in the cold (Columbia Records / "Splitsville"). The group was dumped after 1 CD, even with good reviews and press. Maybe that's the reason they want to try it on a smaller scale. Take your chance and go for it, you won't be disappointed."

by Jon Jolles
Uno Mas

"Mother May I play an infectious, extremely radio friendly brand of guitar based rock/pop in the vein of say Gin Blossoms or Counting Crows or Third Eye Blind or Matchbox 20 or Live or a dozen or so other bands that are currently embraced by both "Modern Rock" and "AOR" stations around the country. The thing is, with 33 1/3 Mother May I proves that despite their questioning name they don’t need to ask to be invited into the aforementioned bands’ lofty place of radio residence, because they’re actually better than any of them; they’re better than Ezra if you know what I mean.

Like The Replacements, Soul Asylum, etc. Mother May I have a certain affinity and understanding of "rock", not "modern rock" mind you, but of rock before alternative took over the world. They have more in common with Cheap Trick than with Smashing Pumpkins, yet both are part of the equation. Check out the title track and album opener "33 1/3" and you’ll know just what I mean. (Side Note: for years I had hopes of someone doing a really kick-ass cover of Cheap Trick’s "Dream Police"; I tried unsuccessfully to convince J. Robbins to do it with Jawbox- could Mother May I be the ones?) Throughout the thirteen tracks the hooks are familiar, up front, and plentiful. "Wax Wings" and "A Lot of Nerve" along with the title track make up a pretty impressive 1-2-3 punch to open up the album, any of which sound like they could break if given the chance, though Oasisesque ballad "Angels" doesn’t quite reach the heights of the previous tracks. "Map of the Stars" sounds almost tailor made for Hole and better than anything I’ve heard from them; you can practically hear Love singing it. "Down Here on the Ground" is text book power pop at a break-neck pace while "Reinvent the Wheel" sounds like a lost track from the aforementioned Mats’. Unlike "Angels", the Oasis meets Lenny Kravitz meets George Harrison grind of "Save You" makes it the most effective of all "ballad" attempts on the record. "Loveless" is of the slightly gloomy mid-tempo variety that Wilco has been churning out as of late. The bonus tracks include another holiday chestnut begging to be included in the modern rock holiday stocking of Christmas music; "Xmas" is cut from the same cloth as Blink 182’s "I Won’t Be Home for Christmas", complete with sleigh bells and the touching Yuletide lyrics "I hate the malls, I hate the traffic, don’t wanna buy it, don’t wanna wrap it..." and "Half My Time" brings to mind the head bobbing ecstasy Sugar used to provide.

There’s nothing new or ground breaking on 33 1/3 , it won’t change your life, but that’s not really the point. Would I run right out and buy this record? Maybe, maybe not. But one thing’s for sure; if I heard any number of songs from the record on the radio, I wouldn’t flip the dial. And that is the point. This is a record that is begging to be played. Now all we can do is wait and see if radio is smart enough to give 33 1/3 a spin. "