Ribviews

Whether they’re straight out of the kitchen or have been sitting under a heat lamp for a minute, here is a sample of releases Ribbers decided to taste. Like other zines, we have rated them, but with our own complicated culinary system – from one rib (lowest) to five ribs (bestest).

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

Jerry Lee Surber Hey Guitar (TEJAS Records). 5 ribs-smokin’.
Jerry Lee Surber holds his head up high as he sings his heart out on his latest release, Hey Guitar. The singer/songwriter has a lot to share with the world after a near death experience, which left him in a coma for five weeks in January and February 2000. He found his way back, fully recovered and is stronger than ever as indicated by his latest compilation of Texas storied songs, which are dripping with sweat and tears.
The album begins with the raucous, “Educated Redneck, a nod to Surber’s ever-present sense-of-humor. What follows is a palette of different sounds and emotions from the ironically upbeat, “Please Let Go Of My Heart” to the radio-friendly “Don’t Have To Love Me Back,” the soulful, harmonica-heavy “Down in Mexico,” the fiery, wide-ranging, “Showdown (at the Lonestar Saloon)” and the cheerful ode to his only daughter Shawn Michelle entitled, “Mornin’ Light.” Surber made his bones in the band Texas during the 70s’ and has proved he can stand on his own as a songwriter. There’s a message behind his music, and it’s time the rest of the world heard it. Will Jordan

Sebadoh III (Domino). 5 ribs - the freed pig.
All the raw, indie-folk elements bleed through on Sebadoh’s III. This remastered, re-released album has 41 tracks recorded around the time of III’s sessions. Sebadoh made their bones in the late 80s’/ early 90s’ with lo-fi basement tapes of gritty, independent folk grunge, picking up a cult following along the way. III is a classic from its era and translates well today. Will Jordan

Cordion: Motifs (Beatservice). Could use a bit more seasoning: 3-½ ribs.
Oslo duo Christopher Johansen and Tommy Jansen pull from several bags of tricks - most notably totally unnecessary beats and clicks but otherwise all-organic - to avoid the "stiff as Norwegian wood" schtick. Drawing inspiration from Euro film tracks, Cordion comes across like a (very) poor man's Radiohead on cuts like "Relish Words Softly Spoken" and "Zeigeist" with nice little eerie noise loops, even taking a Jeff Buckley/Chris Martin turn with "Unfold" and prominent strings on "Confession of Age." A simple but seemingly well-thought-out sophomore effort. David Thornton

The Game Doctor’s Advocate (Geffen). 4 ½ ribs-smokin’.
He may have parted ways with former mentors 50 Cent and Dr. Dre, but The Game’s follow-up to 2005's multi-platinum The Documentary proves he can stand on his own. Though the new album at times sounds like a rehash of The Documentary, at least he’s stayed true to his original themes of gangbanging on the West Side. It starts out slammin’ with a militant intro, “Lookin’ At You” and smokin’ tracks follow. Other highlights include: “Compton,” “One Night,” “California Vacation” (feat. Snoop). Pop this one in and bang it loud. Will Jordan

Desmond Decker In Memoriam: 1941-2006 (MVD Audio). 5 ribs - Island flavor.
No reggae collection is complete without Desmond Decker and there is no better representation of his soul-stylings than In Memoriam: 1941-2006. Recorded at Roll Over Studios in London on January 2004, this is Desmond Decker’s last ever recording. It features 20 sweet, upbeat reggae songs from the popular, “Israelites” to “Hippopotamus,” “007 (Shanty Town)” and “Problems.” Get it while it’s still hot. Will Jordan

Jade: Banned in America (ARG). Shave the fat: 3 ribs.
This highly attractive Asian Ofra Haza/Shakira (CD jacket sports no less than 10 pics of her) who doesn't write any of her own material opens with an Evanescence edge on "Kiss Me," takes a Q from Stacey on the downright freaky "Three Blind Mice" and shows some genuine pop-radio potential on "My Love is Black." Many of the remaining tracks, however, tend toward sound-samey and, even worse, ordinary filler - a classic case of a great voice singing the usual relationship dreck, but at least she rocks occasionally. Check out www.jade.music.com for an interesting explanation of the album's title. David Thornton

KT Tunstall Eye To The Telescope (Virgin). 4 ½ ribs - chevreux flambe.
After repeated television exposure with her single, “Black Horse and the Cherry Tree,” KT Tunstall is gonna be hard to stop. The catchy song rocks and so does most of Eye To The Telescope. The Scottish singer/songwriter’s new album has already reached Gold status in the US and platinum in the UK and is smoking award ceremonies in both places. From opening “Other Side Of The World” to coda “Through The Dark,” there is obvious evidence of Tunstall’s true talent and dedication as a stand-out songwriter. Will Jordan

Rachel Sage: The Blistering Sun (Mpress). Savor every morsel: 4 ribs.
Admittedly, the pedigree was off putting: another super-sensitive singing/songwriting girl from the East Village; prestigious ballet school and Stanford drama degree; ad-jingle author; and the coup de grace, Lilith Fair! Sage, however, dispels the trepidation right from the start with the Ricky Lee Jonesy swing of "Alright, OK," the brilliant polka-tinged story-song "93 Maidens," the soulful "Violet or Blue" and the jazzy "Lonely Streets." Predictably, things get a little too Tori Amos by track 10, but that's not necessarily a bad thing. The lasting impression is that Sage actually sings, unlike the usual folkie yelp, and a stellar lineup of backing musicians doesn't hurt either. It ain't rock 'n' roll, but Sage is a pro and it really shows. David Thornton

Aloha Some Echoes (Polyvinyl). 4 ribs - say goodbye to taste buds.
A deliberate need to be distinct drives the force behind Aloha. The album peaks and crashes with every song and moves like a Flaming Lips soundtrack. Tony Cavallario’s haunting vocals have been slowly stirred in with his own shaky guitars and keyboards as well as Matthew Gengler’s thumping bass playing, Cale Parks thundering drumming and TJ Lipple’s percussive hypnotics. Buckle up for this ride. It gets pretty odd. Will Jordan

Railroad Earth: Elko (Sci Fidelity). Potbellied and otherwise: 4 ribs.
Eschewing the bluegrass and jam band labels, this six-piece Americana outfit echoes somewhere between the Jayhawks and Waterboys on this two-hour, two-disc live set. No doubt about it, the band's talents are immense (singer Todd Sheaffer wrote or co-wrote everything here), not escaping the notice of the likes of Phil Lesh. First-side highlights include the stunningly beautiful "Bird In a House" and the nearly 16-minute "Head." On side two, "Mighty River" makes you wonder if musicianship can be too good. Also listen out for the mind-blowing fiddle on the 15-minute "Warhead Boogie," and look for Railroad Earth at a hippie stronghold near you. David Thornton

Otto Von Schirach Maxipad Detention (Ipecac). 4 ribs - serve warm with swollen whale abdomen.
There’s no way to even begin trying to categorize Otto’s latest machine-gun peppering electronic explosion. This Gabber Bass Drums/Breakcore Gabber Jungle/Gore Grind creepy mix is an 18-song journey into the distorted mind of the half Cuban/ half German DJ. Each track was handpicked and sequenced by Mike Patton, owner of Ipecac Records, which is obvious if anyone’s familiar with Patton’s unique taste on past endorsements. Will Jordan

Matchbox Romance: Voices (Epitaph). More Damon's than Famous Dave's: 3 ribs.
Cleverly concealed in a matchbox cover, this follow-up from the Poughkeepsie four-piece is much more akin to My Chemical Romance than Matchbox 20. That the record starts with a bang on the two opening tracks and doesn't really revive until six numbers later illustrates the problem with CDs, whereas on LPs you usually got at least one or two good songs on the first of the flip sides and didn't have to bother with the rest. Though more literate and accomplished than most of their West Coast counterparts, this is pretty standard issue - albeit mopey - punk-pop. The fact that they're Epitaph's biggest rock act is probably due to accommodating fans with low ticket prices on tours like Take Action! and Warp. David Thornton

Virgin Passages Mandalay (Fire). 3 ½ ribs - dark meat.
Drifting listlessly through unchartered territories, Virgin passages make rainy day music with dark, lurking clouds looming over each track. This Staffordshire trio creates hypnotic folk music that never lightens after appropriately titled, opening track, “Hate Hate Hate.” Album highlights or low lights in this case include: title track, “Mandalay” as well as “Part Weatherman” and “Like Dogs.” Save this for the darkest of days. Will Jordan

Hot Karl: The Great Escape (Headless Heroes). Jump these bones: 4-1/2 ribs.
On the heels of the success of Orthodox Jewish rapper Matisyahu comes this highly impressive debut of "suburban dork rap" from Calabasas, Calif.'s Jensen-Gerard Karp, aka Hot Karl. Virtually every song here registers, from the opening "duet" with MC Serch, "Let's Talk," to the closing funky dis on club culture, "The Afterparty." In between are such gems as the fabulous female backing vocals on "Suburban Superstar," '80s/early '90s pop culture cross references in "Kerk Gybson" and "Back/Forth," the hilarious "Butterface" about girls with great bodies but less-than-optimum looks, and the good grooves on "I've Heard" - all interspersed with some pretty silly "skits." The only drawback is that Karl raps in an (inevitable?) Eminem voice, but nonetheless it's obvious he spent a lot of time on these mad rhymes. A bonus is the funny stories and "fun facts" about each song in the liner notes. David Thornton

Omni Batterie(Natural High). 4 ½ ribs-fresh meat.
Omni takes a fresh new approach with his boundless flows on Batterie. Conceived and recorded in Australia, Batterie reflects the many places the emcee has passed through on his exploits to spread his west coast flava. With help from Australian crew Hilltop Hoods and West coast vet Aceyalone, Omni gets the push he needs to kick out a fresh new jam. From opening Batterie to coda Boost, this album smacks of flava. Will Jordan

The Sounds: Dying to Say This to You (New Line). Getcha some: 4 ribs.
Tragically hip Swedish fivesome - it's amazing their moniker hasn't been used before - records 10 primitively cool post-punk numbers (not counting the rocking reprise of "Night After Night") at Oakland's Studio 880 (Green Day's "American Idiot") with a little help from their well-heeled, like-minded friends: Jeff Saltzman (The Killers) producing and Adam Schlesinger (Fountains of Wayne) and James Iha (Smashing Pumpkins, Perfect Circle) adding extra production work. Fans of ultra-'80s keyboards ("Queen of Apology," Tony the Beat"), even down-and-dirty dance grooves (the half male-sung "Don't Want to Hurt You"), will find endless delight spinning this disc. David Thornton

The Disco Biscuits Rocket 3 (Diamond Riggs). 4 ribs-takes like chicken.
Taken from a live recording of the band’s 2004 New Years Eve show in NYC, Rocket 3 is a must-have for Bisco fans. The three original tracks on this release were originally considered for release on the April 2006 Live album The Wind at Four to Fly, but never made the cut, due to the length of the songs. Despite the lack of radio-friendly tracks, diehards will salivate over these live versions of “Magellan,” “Frog Legs,” “Crickets,” and bonus track “Hope.” Will Jordan

The Vestals: Songs About Girls ... and other mysteries (Warming House). Patience with these coals: 3-1/2 ribs.
Brothers Ben and Jeremy Gordon - no, not ice cream (well, Ben was once fired from Dairy Queen - whip up a maelstrom of sweet melodies on their sophomore effort. Sharing seven songs apiece, the head-to-head sibling "rivalry" rears its head most beautifully on back-to-back tracks 3/4, 7/8 and 12/11 (Jeremy listed first), with the aforementioned coming out on top on the first two and Ben on the latter. Contrary to comparisons with other brother combos, as well as Ben Folds, these Minnestoans recall Red Kross' Jeffrey and Steven McDonald ("Third Eye" era) more than anyone else. David Thornton

Micha P. Hinson: Micha P. Hinson and the Opera Circuit (Jade Tree). It would behoove you to buy this: 5 ribs.
This Abilenian alto by way of Memphis and now, of all things, a Manchurian (due to his association with Earlies member John-Mark Lapham, whose father once played with Buddy Holly, whom Hinson bears a slight resemblance to) feeds a sordid past of drug addiction, prison and fundamentalist upbringing into his brand of music called everything from Southern gothic and cosmic country noir to Leonard Cohen-style troubadourism. Highlights from this second effort range from the Polyphonic Spree-minus-the-chorus sounds of "Jackeyed" to the absolutely gorgeous "She Don't Own Me" (most likely about his infamous Vogue model turned stripper ex-girlfriend) and the amazingly touching closing trilogy - if these epics don't well up some emotion within you, there must be something wrong, and the sense is that Hinson, like Elliott Smith, wants to leave a glorious impression before it's too late. David Thornton

Ween Shinola Vol. 1 (MVD Audio). 5 ribs-tastes good on the bun.
It’s no secret that we at Rib are the enormous fans of Ween and we know we’re biased, but this album just freakin’ rocks. We’ve had this one for a while, but it’s now available for US distribution. Originally released by Ween's own Chocodog label, Shinola Vol. 1 is the first in a series of rarities collections by the Pennsylvania duo. From the opening distorted, lo-fi creepy exclamation, “Tastes Good on th' Bun” to the melodically upbeat “Boys Club,” the wonderfully dreamy “Did You See Me?” and the ever-funky “Monique the Freak,” this compilation is a must-have for any avid Weener. Dean Ween says it best: “Shinola is a collection of odds, ends, and leftovers from around our studio and contains killer new mixes of a lot of songs that have been floating around the web in really crappy fidelity for a long time. I don't mind telling you that it’s a really great record. Also, this is the first installment in a series. There will be more of these to come in the future. The record was produced and mixed by Andrew Weiss and Ween and it’s an ugly one. You really wanna pick this up, I’m not shitting you. This record has been a long time in coming.” Dare we elaborate? Will Jordan

Ladyfinger (NE): Heavy Hands (Saddle Creek). All ears ... of corn, that is: 3-1/2 ribs.
This Omaha quartet, thus the NE over legal wrangling (i.e., Dinosaur Jr./Charlatans U.K.; nothing to do with Luscious Jackson song), rocks in that uniquely passionate Midwestern way on their debut, rattling off like Jesus Lizard but without punk, metal or emo inflections - just heavy-handed drumming with low and loosely tuned guitar licks. Nothing too distinguishing here, but Ladyfinger really shines on the shorter numbers - everything under three minutes really registers, not to mention a knack for clever song titles ("Diet Smoke"). David Thornton

Various Artists: U.S. vs. U.K. Punk (Sanctuary). Tastes like old leather: 3 ribs.
In celebration of punk's 30th anniversary comes this "battle of the anarchists." Boasting four live tracks - including the opener, a demo of the Sex Pistols' "Anarchy in the U.K." without the "get pissed, destroy" ending - this CD pits eight British bands on the first side against eight American acts on the other. Perhaps following one after another would have been a better measure, but what does become evident is the Britons' penchant for pop (the Undertones' "Teenage Kicks," Generation X's "One Hundred Punks"), which perhaps is what made punk so much more of a sensation there after America's Ramones (represented here with "Beat on the Brat"), ironically, first unleashed the genre on the world. The U.S. side, by contrast, is a decidedly rockier affair, as evidenced by the Stonesy raunch of the New York Dolls' wretched but very fitting live version of "Personality Crisis" as well as offerings by Iggy Pop (great sample lyric: "I'm chairman of the bored"), Black Flag and Suicidal Tendencies - the confusion of the latter two's inclusion all the more puzzling being West Coast and from the '80s. David Thornton

Earmint Another Early Evening (EV). 4 ½ ribs-fresh, minty fresh.
His production skills have garnered him underground praise in Chi-City, and with the release of his debut, Another Early Evening, Earmint should grab new listeners. His skills compare to RJD2 and his collabs are no less impressive. Laboring over vintage synths, an $8 guitar and ancient Studio Vision Pro software the DJ created undeniably funky beats that drove folks to the sounds. Each track is representative of Earmint’s diverse flavor as well as embodying each lyricist’s style from Psalm One on “The Flashy Slang” to Diverse on “The Bluesinger” and Longshot on “Watch Me Climb.” Step into Earmint’s world and you may not want to leave. Will Jordan

Gerry Mitchell & Little Sparta: Scalpel Slice. Words get in the way of some pretty good grub: 2-1/2 ribs.
As collaborations go, things either go swimmingly or sink like the Stone Roses. In this case - a first between the Scottish poet and a multinational ensemble with Scottish heritage (including the Mekons' Susie Honeyman on violin) - Mitchell's often indecipherable Pogues brogue hinders the lush Highlands accompaniment, made all the worse with the lack of a lyric sheet. Case in point: Though a little long-winded, the instrumental "Ruins" is by far the most beautiful track. As for the closer, "Even the Saints": Come again. David Thornton

[Daryl]/Black Tie Dynasty: Bloody Basin EP (Idol). Hardly hearty combo platter: 2-1/2 ribs.
Dallas label pairs a couple bands from its roster for the fifth in its split-single/EP series. The opening collaborative title track is nothing great, but BTD and [Daryl] do admirable jobs individually on the blissed-out "Signs" and Ned's Atomic Dustbin cover "Happy," respectively, before vocalists Cory Watson and Dylan Silvers share duties on the mondo bizarro "Gloria." Makes you wonder if this is mutual admiration or record company motivation. David Thornton

Murder Was The Case, Snoop Dogg Tha Doggfather (Koch). 5 ribs-serve with gin ‘n’ juice.
Snopp Dogg was first sighted on Dr. Dre’s debut album Chronic, puffin’ blunts and spittin’ his buzzed, sleepy-eyed-style and rose to superganstardom over night. Murder Was The Case ranks alongside classics The Chronic and Doggstyle as “one of Death Row’s finest” and includes hits, “What Would You Do” and “Natural Born Killas” as well as DVD footage. Tha Doggfather is another classic with the hits, “Snoop Bounce,” “Vapors” and “Snoop’s Upside Ya Head.” Both of these releases are must-haves in any Death Row collection and if you missed ‘em the first time, don’t make the same mistake twice. Will Jordan

Sponge: The Man (Idol). Slow-cook for best flavor: 3 ribs.
Detroit quintet kicks its fifth album off on a high note with the frantically fuzzy title track before dropping the ball on subsequent hard rockers that strive to emulate Alice in Chains (right down to the "angry chair" lyric in "Fame & Glory") but come off more like one of those faceless, testosterone-Fueled bands so prevalent at the moment. Another case in point is "Higher (Part Two)," co-written by Gun and Roses' Gilby Clarke and sounding like one of those generic wannabes on his ridiculous reality show. Vocalist/songwriter Vin Dombroski does show an impressive range with a good case of Mike Ness and even Lou Reed on "Back Against the Wall" and "All the Drugs in the World," respectively, and the fact that "Unlucky" has yet to become a hit is a rock-radio crime. David Thornton

Big Bill Broonzy Amsterdam Live Concerts 1953 (MRCD). 5 ribs-smothered with hot sauce.
Taking the blues out of Mississippi was hard enough back in the day, but to take ‘em overseas, was downright revolutionary. Big Bill Broonzy was known for taking risks and telling stories. Amsterdam embraced his southern charm and easy-going way and gave him a new podium to sing his songs. Amsterdam Live Concerts is a two-disk collection that features the long awaited recording s of two shows from February 1953. There are 25 songs and in-between story-telling, plus photographs and extensive liner notes about Broonzy’s legacy. Will Jordan

The Eames Era: Double Dutch (C Student). Too much molasses in the marinade: 2-1/2 ribs.
Named after husband-and-wife design duo Charles and Ray Eames, these Baton Rouge-based bubblegum popsters turn in a couple of good performances (the coy and fun "Listen for the Sun" and "Year of the Waitress") on their otherwise incessantly jumpy and underwhelming first full-length effort. Better than - or maybe equal to - Ezra, but that's not saying a whole helluva lot. David Thornton

Dan The Automator Presents 2K7 (Decon). 4 ribs-tastes like chewy leather, yet strangely delicious.
The lineup for the new soudtrack for NBA’s 2K7 video game reads like a roster of underground hip-hop allstars. From Lupe Fiasco & Evidence (“Catch Me”) to Mos Def (“Here Comes The Champ”) to Charlie 2na (“Anchor Man”) this compilation represents a whole different breed of MCs that many times go overlooked by such mainstream sponsors as the NBA. Kudos to The Automator for staying true to his roots and holding it down for some of his favorite artists by lifting them up on this one. Once again The Automator’s beats go uncontested, making it much easier to ball along to each track. Will Jordan

Black Wire (Giant Pecker). Grab a hold of this big fatty: 4 ribs.
These three emaciated English boys, who also employ a drum machine in favor of a degenerate drummer, come with a lot of questionable baggage for a debut - from meeting while trying to lift a Suicide disc to the Kaiser Chiefs writing "I Predict a Riot" after seeing a Black Wire show. Sandwhiched between the cool dub and minimalism of the first two tracks to the downright danceable last pair, Jesus and Mary Chain meets the Clash on everything from ska to reverbed rockabilly. David Thornton

Westbound Train Transitions (Hellcat). 4 ribs-“good enough” to be downright tasty.
Boston septet Westbound Train have proven themselves many times over in live settings, and with Transitions plan on convincing the world of their abilities as a powerful ska oufit. They’ve shared the stage with like-minded ska heavy hitters such as The Skatalites, The Mighty Mighty Bosstones and The Toasters and follow in similar footprints. From opening track “Transition 1” to coda “Travel On,” Transitions echoes the true Westbound Sound—“a bridge between ‘60s staples like reggae, soul and blues with modern touches of jazz and country.” However described this band is discombobulatingly talented. Will Jordan

Dirty on Purpose: Hallelujah Sirens (North Street). Just as good as Dreamland: 5 ribs.
Some of the grandest things come in the dinkiest of packages. Within a thin plastic cartridge with a sticker on it is mood music of the first order, one ethereal gem after another of soft female vocals (mostly by Brooklyn-based singer/songwriter Jaymay) overlying loud yet - despite their name - clean washes of otherworldy soundscapes that reach a supersonic shoegazing peak on the second half of "Always Looking," and the emergence of a male voice marriages the Yo La Tengo-like twee-pop to even better effect on most of the remaining cuts. David Thornton

Peeping Tom (Ipecac). Right off the rotisserie with an apple in its mouth - 5 ribs
Peeping Tom is the latest brainchild of Mike Patton – the mad musical genius notorious for his work in Faith No More and Mr. Bungle. Patton’s love for musical freedom led to the formation of Ipecac Records – an independent label featuring an impressive roster of progressive artists. Pushing boundaries is Patton’s forte, and Peeping Tom is no exception to the rule.
Unfortunately, Patton receives as much criticism as praise. A number of die-hard “fans” are disappointed with this album. The rumor mill, which has been spinning for years due to several delays in the release of this recording, presented Peeping Tom as pop. There are a number of elements that make Peeping Tom an easier listen than Patton’s other projects; but the portrayal of the album as popular music, in the current sense of the term, is far from accurate. The underlying weirdness beneath the catchy hooks and danceable (yes, danceable) beats manages to retain Patton’s fingerprint while maintaining a perfect balance between great music and experimentation.
Peeping Tom features a number of spectacular artists including Norah Jones, Massive Attack, Dan the Automator, and Kool Keith. Each artist lends a special signature to their respective tracks while miraculously maintaining seamless transitions and a sense of cohesiveness. One track flows into the next, and the album as a whole feels very solid. Your Neighborhood Spaceman, featuring Jel and Odd Nosdam, is the album’s strongest track and features spacey effects behind sublime drum loops and cool jazzy melodies. The chorus hits hard with a pounding, fat bass effect. The vibe continues with Kill the DJ, featuring Massive Attack. Patton’s chums from across the ocean really contribute to the track, and the groove is remarkable. Bottom feeder frequencies continue on Doesone’s How You Feelin? It is hard to recall the last time Patton made a danceable track, and the idea is even laughable to many; however, if there was a track to make you shake, this would be it.
Peeping Tom is listenable, danceable, and weird at the same time. Patton has come close to nailing this formula before, most notably with General Patton and the X-Ecutioners and Dan the Automator’s Lovage, but this album represents the culmination of previous experimentation and the ultimate fruition of Patton’s forays into other forms of music. Peeping Tom receives Rib Magazine’s highest possible recommendation. Shane Newsome

Raised Fist: Sound of the Republic (Burning Heart). Crunchy: 3 ribs.
The fourth release by Sweden's Raised Fist, and their first in four years, opens full throttle with "You Ignore Them All" before relief sets in on the next and best cut, "Perfectly Broken," that the rest of the record isn't as insanely intense. Other outings, employing the skills of ex-Dark Funeral drummer Matte Modin, range from a Tool/Helmet hybrid on 'Sunlight" to even 311 on the title track and industrial on the last number, the four-minute "Time Will Let You Go, All Alone, I Break" (which, naturally, being the longest song, are the extent of its lyrics). The most striking thing about lyrical content, though, is how the band injects itself into no less than five songs with lines like "we will go out on tour and make all the people go insane whether they like it or not" and "I have to put all this in rhymes on a CD you're still going to buy." Other hints of self-importance include turning down a slot at Ozzfest and singer Alle Hagman's Thai boxing six days a week to maintain his "aggressive energy." David Thornton

World Party Dumbing Up (Seaview). 5 ribs-aged to perfection
When Karl Wallinger’s ship of fools came crashing down after riding the high seas during the stormy mid-80s and tumultuous ‘90s, he anchored his vessel and took some time out to charter a new course. The UK singer returns to the helm of the familiar vessel with a partial UK release of Dumbing Up. Now remastered and repackaged with two new tracks, new graphics and a DVD of World party action Dumbing Up is getting Wallinger a fresh start while holding on to his musical roots. Songs like “What Does It Mean Now,” “See The Light” and “Till I Got You” echo old World Party sounds with a new world attitude. Will Jordan

Richard Butler (Koch). Extra juicy: 4 ribs.
Stating "an artist can say as much with a whisper as a scream," the Psychedelic Furs frontman strikes out on his own for the first time, and there's something to be said for nearly three decades of experience. The opening track, "Good Days, Bad Days," succinctly sets the mature and meloncholy tone by reflecting on his recent divorce and the loss of his father, followed by "California," which is not about the state itself but more about acceptance of his current state of being. Several other songs couple softly psychedelic atmospherics with Butler's out-front and distinctly different vocals about his usual theme of looking at the big picture - the sun and stars, tides and plate tectonics, heaven and love (remember Love Spit Love?) - to great effect on the grandly gorgeous "Nothing's Wrong" and "Maybe Something." But perhaps Butler's greatest gift is his ability to sum up life's shortcomings without the slightest hint of bitterness. David Thornton

Toubab Krewe (Upstream). 5 ribs-worldly flavor.
Fusing together West African rhythms and American rock and roll, Toubab Krewe brings a new philosophy to modern day music making. The Ashville, NC quintet traveled across the globe to research rhythm and sound and it’s obvious by their self-titled CD they took the listen to heart. The release has a natural vibration that reverberates through each track from opening “Devil Woman” to coda “Bamana Niya.” These boys deserve listeners. Once you hear them, it’s hard to put down. Will Jordan

Burning in December. Cut rate: 2 ribs.
Two guys and a drum machine mix Ozzy-like vocals with turns of Genesis ("Wake Up"), Aldo Nova ("No Way Out") and Queensryche ("Next to You") on this horribly dated debut. Not to say it's all bad - the longest and most cliched cuts actually turn out to be their best: "Sweet Surprise, "Against the Grain" and "Judgment Day," all of which stretch over six minutes. But all this comes off like something "American Idol" rockers Bo Bice or Chris Daughtry would put out. Best anthem attempt: "Can You Feel It?" Most Yngwie Malsteen hair metal moment: "Midnight Hunter," featuring the cheesiest keyboard opening ever (and the ending is pretty comical, too). David Thornton

The Streets The Hardest Way To Make An Easy Living (Vice/Atlantic). 4 ribs-skin and bones.
It’s seems like just the other day when Mike Skinner first stumbled onto the mainstream airwaves. Now he’s bitching about it with his latest, The Hardest Way To Make An Easy Living. Out of the three, this is Skinner’s most serious so far, though it seems a bit overboard. Whining about “I don’t know how much money I have,” Skinner is basically crying about “being so fucking bored,” as if he has already forgotten the UK slum of Birmingham, he was desperately intent on clawing his way out of. There is a sense of humor underneath The Streets’ new release, and it’s filled with good production, plenty of catchy beats and decent hooks, but it’s sometimes it’s hard to get the joke. Will Jordan

From First to Last: Heroine (Epitaph). Cooks quickly but chaos too controlled: 3-1/2 ribs.
Combining the networking savvy of Myspace.com with the vocal theatrics of 18-year-old singer Sonny Moore and the talents of bassist-on-loan Wes Borland and producer Ross Robinson (Slipknot, Korn, Deftones), these former Floridians are currently playing the Warp Tour in support of their sophomore release. Opening with the unrelenting "Mothersound" and closing with the awesome title track, what lies between is a Mars Volta-like maelstrom interspersed with the industrial
elements of "Aftermath" and "The Levy" (programmed by Nine Inch Nails knob twiddler Atticus Ross), the staccato stratospherics of "The Crows Are Coming For Us" and the click-track-collage balladry of "Waves Goodbye." David Thornton

Oh No & Galt MacDermot Exodus Into Unheard Rhyming (Stones Throw). 4 1/2 ribs-smells like burning hair, but tastes like Westside ribs.
Oh No was born into a life of music. His father Otis Jackson (70s’ soul singer) uncle Jon Faddis (jazz trumpeter) and brother Madlib (iconic hip-hop maestro) all paved the way for Oh No’s break out. Besides Madlib, Oh No has made more beats for Stones Throw Records than any other DJ. Exclusively utilizing samples from the original R&B funk master Galt MacDermot (composer of famed musical HAIR), Oh No reinvents old school beats and rhythms with his own Cali-based twist. When looking to unite a force to lyrically drive the rhythms into an amalgam of hip hop greatness, he released his long-reaching tentacles and came back with a formidable cast. The finished product is some smooth soul slayings, reminiscent of early Native Tongue styling. Tracks like “Get Yours,” featuring Blackmoon’s Buckshot, “Smile A Little Bit” with De La Soul’s Posdnous, “Know Better” with Wordsworth and “Keep It Lit,” featuring MED & Wildchild make Exodus Into Unheard Rhyming an instant hip hop classic. Will Jordan

Cavalier King: The Sun Revolutions (Rubric). So elegant it's almost inedible: 5 ribs.
Chris Taylor - who wrote, produced and performed everything except drums and keyboards on this astonishing debut disc in his tiny Brooklyn apartment, not to mention painting all its artwork - uses the alter ego Cavalier King to flawlessly execute these comic-book-type tales ranging in influence from The Smiths and The Strokes on opening and closing cuts "Renegade" and "Victory," respectively, to Jeff Buckley on his namesake number. It's hard to pick highlights from such an excellent album, but "The Unprotected" (which recalls another one-man band, The New Radicals) and "Champagne & Cocaine" are absolute standouts, and the anthemic title track (and its reprise), "Angels of Mars" and "The War Is On" ain't too bad either. Taylor's ability to make even lesser songs like "The Finest Hour" engaging speaks volumes of his talent. David Thornton

Shooter Jennings Electric Rodeo (Universal South). 4 ½ ribs-best chased with Early Times.
Barrels loaded, whiskey poured and easy women ready, Shooter Jennings brings the honky-tonk back to country with his latest, Electric Rodeo. Carrying on his father’s tradition of outlaw living, the tattooed heir croons with drunken authority and a deeply soaked southern blues. The album open with the raucously rockin’ title track, “Electric Rodeo,” then has ups and downs as manic as a bi-polar condition until it ends with the mournful coda “It Ain’t Easy.” Daddy Waylon would be proud. Will Jordan

The Robocop Kraus: They Think They Are ... (Epitaph). Aged to almost perfection: 4-1/2 ribs.
This Nuremberg-based outfit rides the crest of new wave and post-punk's best traits for its fourth effort - what has to be the absolute apex of those genres' long-running resurgence. The first and last pairs of tracks alone are worth the sticker price, but just about every other song registers here as well. David Thornton

Tha Dogg Pound Cali Iz Active (Koch). 4 ribs-straight gangstafried.
Ten years ago, when Tha Dogg Pound first crip-walked out of California hoods with gangstafried lyrics and bangin’ beats they helped the west coast conquer the globe with Snoop Dog behind the helm. Snoop, Kurupt and Daz return with more fly, geographically loyal, gangsta grooves with their latest, Cali Iz Active. The release features 16 thugged-out, anthemic tracks and a slough of guest appearances from Ice Cube to Diddy, David Banner and Paul Wall. Chuuch! Will Jordan

Spitfire: Self-Help (Goodfellow). One very course meal: 3 ribs.
Virginia's Spitfire makes its return to the metalcore scene as a five-piece unit after almost four years out of the fold. The band's fast-and-slow, stop-and-go dynamics make for an interesting listen, but what really would be impressive is some musical variety - which they do manage to pull off on the Ministry-like "Dear John" and My Bloody Valentine-ish wall of sound at the beginning of album closer "OHM Driver." However, Jon Spencer's (no, not that one) constant throat shredding tends to wear thin as fast as the guitars. David Thornton

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Panoramic Rhythm Through The Unobstructed View (Rhythmic Union). 3 ½ ribs-Caribbean–style.
Panoramic is a palette of cultural colors. Rich in calypso, Afro-Cuban, Brazilian and East Indian rhythms, the Caribbean group creates laid back island sounds that help drift the day away. Trinidadian Liam Teague is thought of one of the best pannists of his day. Mix together the talents of Robert Chappell (piano, marimba, vibes, tabla), Orlando Cotto (congas), Doug Stone (saxophones), Phil Beale (drum kit) and Joshua Ramos (bass) and you’ve got the most talented island house band. Will Jordan

Time Again: The Stories Are True (Hellcat). Rough around the edges but still excellent: 4 ribs.
This no-frills SoCal punk rock quintet rips through 13 songs in a mere 27 minutes on their full-length debut. Mostly mohawked and tatted like their biggest supporter, Rancid's Tim Armstrong (kudos are also given to The Offsping's Dexter Holland), songs range from the refreshing regretlessness of "Say Again" to the ska-inflected closing cut, "Streetwalker." Other highlights include 'Life on the Run" and "Deadly Nights," all resulting in a good dose of derivative yet fun debauchery - minus "Criminals," but it's less than a minute long anyway. David Thornton

Bettye LaVette I’ve Got My Own Hell To Raise (Anti-). 4 ribs-dripping with flavor.
Bettye LaVette’s heart is in her hands on I’ve Got My Own Hell To Raise. Her vocals ooze with emotion and the sound has no barriers. It sinks and swells with a gasping breath, stepping in and out of soul, country, jazz, blues, gospel and R&B. The release has a timeless appeal, though an obvious early 60s’ roots. Sit back and listen to LaVette croon in this 2005 recording session as she first did in 1962 Detroit. Will Jordan

Sworn Enemy: The Beginning of the End. (Abacus). Tough but tasty nonetheless: 3-1/2 ribs.
Straight-up romping, stomping chew-you-up-and-spit-you-out, kick-ass old-school Metallica/Pantera speed metal of chugging precision, but things never get too complicated for some serious headbanging. David Thornton

Flair (Storage B. Records)
"Yes, we're from Nashville! No, we're not country!" Flair states on their Myspace Web page. This becomes immediately evident on the tough Benatar shards of "Hurting Me" that open Flair's half-hour debut CD. Sandwiched between the first side's hard-rocking bookends are a couple of jangle-pop gems, beginning with the scrumptious Sundays-isms of the album's "Stand"-out track, before becoming a mostly acoustic affair on the flip side. Vocalist Andrea Davis' Delta blues-soaked roots first become evident on the record's only live cut, "Heaven Sent," before her pristine pipes really come to the fore and get to soar on the last two numbers. Like their name implies, this band has the talent to carry them forward. Catch them now at a bar, ballpark, fraternity party or summer festival before they hit the big time. David Thornton

Cast King of Old Sand Mountain, Alabama Saw Mill Man (Locust Music). 4 1/2 ribs-best served with a cheap bottle of red wine.
When Matt Downer climbed the Sand Mountains in 1998 in search of stripped down, traditional country saw mill music, he discovered a handful of fellas who were still picking the old school way. The one name that kept coming up throughout was Cast King, a 93-year-old fiddler whose voice resonates with bone-jarring saw mill work, cheap wine, outlaw ways and hard times. Downer not only recorded the weathered, hard-lived singer, but also sat down with King on the guitar. The result is some of the most honest, refreshingly under-produced country music released. Will Jordan

Tre Hardson SlimKid Tre’s Café (Flying Baboon). 4 ½ ribs-tastes great, less filling.
Tre Hardson aka Slimkid was first introduced to the music scene in the late ‘80s with the jazz-nasty, comedy quartet, The Pharcyde. He took his solo efforts on the road in 2000 and has been behind the mic since. His latest release, SlimKid Tre’s Café is more of the same from Slim, illustrating his important contribution to Pharcyde’s unique sound. Funny-ass songs like “Knockin’,” the catchy, smoothness on “When You Love Someone,” the conscious-inspiring “Stepping Stones,” and the slowed down, “You’re Mine” all remind of the old days when Slim was at the helm of the Bizarre Ride brothas. With the new release, Slim should be able to rise above his old definition and reinforce his own identity as a true lyricist. Will Jordan

Madlib Beat Conducta Vol 1-2 Movie Scenes (Stones Throw). 3 ½ ribs-Mad flava.
Madlib returns with another onslaught of hip hop instrumentals on his latest release Beat Conducta. Mining “library records” made for TV and film in the funky 1960’s and 1970’s, Madlib has created 35 tracks of nostalgia. The album can be stripped down to individual tracks or played in its entirety as a complete sonic landscape of an era that’s encapsulated in the music. Will Jordan

Gnarls Barkley St. Elsewhere (Downtown). 5 ribs – ummm ummm good!
Cee-Lo and Dangermouse join together like the Wonder Twins to create Gnarls Barkley, an amalgamation of 70s’ and 80s’ sounding riffs with soulful crooning and futuristic bombs dropping throughout. On St. Elsewhere, Cee-Lo, takes on a new but familiar form, as a cool drink of Courvoisier poured into a gaudy, platinum-encrusted chalice. The buzz that emanates from his emotional high-pitched singing mesmerizes and ensnares each listener with a wave of smooth yet deadly grooves rippling through each track. Dangermouse takes the form of an enormous rat with lightning reflexes he uses to create discombobulating beats and rhythms that confuse. The result is dynamic as the duo kicks out uncontrollably danceable tracks such as “Crazy, “Smiley Faces,” “Feng Shui” and a much-overdue remix of Violent Femmes’ “Gone Daddy Gone.” Will Jordan

Thievery Corporation Versions (ESL). 5 ribs- old taste-new flavor
Recreating familiar sounds with their own undeniably unique twist of urbane vibrations, Thievery Corporation’s latest release, Versions, epitomizes the duo’s capabilities as booty-shake-making machinists. From an ill interpretation of Herb Albert’s “Lemon Tree” to a haunting version of The Doors’ “Strange Days” to the dizzying mid-eastern sounds emitted in Transglobal Underground’s “Khalghi Stomp” Versions doesn’t let up until the record stops spinning. Rising above the smog-filled clouds that hover over their hometown of Washington D.C., Thievery Corporation aka Garza and Hilton are redefining old sounds while somehow holding tight to the song’s original charm. Will Jordan

Marley's Ghost: Spooked (Sage Arts). Rolls off the tongue: 3-1/2 ribs.
"O Brother," here we go again. Riding the resurgence of Americana that has yet to smooth out since that movie's 2000 release, this eclectic quartet - named after "A Christmas Carol" character Jacob, not reggae's Bob - celebrates its 20th year with this 13-song collection recorded on a farm in Washington state and produced by Van Dyke Parks of Beach Boys fame. After a cover of Dylan's "The Wicked Messenger," the record really hits its mark on the straight-up country "High Walls" and Junior Brown soundalike "Last Words," minus the guit-steel of course. The next number, "Palms of Victory," features the group's renowned four-part gospel harmonies interlaced with organ provided by Parks. Track 8 is an instrumental that sounds like it rolled down from the hills of Eire, followed by the yodeling of "Cowboy Lullaby," where the only hint of the album's title comes into play, and the closing a cappella sea chanty is preceded by the jazzy swing of "There's Religion in Rhythm." David Thornton

Jessi Colter: Out of the Ashes (Shout! Factory). Succulent: 4-1/2 ribs.
Undoubtedly spurred by the emergence of son Shooter Jennings, with whom Colter collaborates on "The Passion of the Christ"-inspired closer (and even giving a shout-out to Ben Harper in the liner notes), the 59-year-old original "lady outlaw" breaks a 20-year silence with this Don Was-produced outing. The opening hymn introduces the recurrent theme of Colter as the "sparrow" before Was' influence comes to the fore on the hard-driving blues of "You Can Pick 'Em" and "Velvet and Steel," which are reminiscent of his earlier work with Bonnie Raitt. Other echoes of stellar female stylists include fellow Arizonan Stevie Nicks ("The Phoenix Rises" and "The Canyon," not necessarily in voice but scope), Patsy Cline ("You Took Me By Surprise") and even Lucinda Williams on the unbelievably uplifting but all too short "Out of the Rain," where Colter shares vocals with Tony Joe White and, thanks to studio trickery, late husband Waylon Jennings. Though the album slows considerably - albeit gorgeously - after a serviceable redux of Dylan's "Rainy Day Women #12 and 35," this gallant comeback represents everything that can be right about country music. David Thornton

Thunderbirds Are Now!: Justamustache (Frenchkiss). Avant grilled: 3-1/2 ribs.
Firing off with the uncategorizable "Better Safe Than Safari" and "Eat This City," this Detroit quintet - led by brothers Ryan and Scott Allen, who often sound like girls whereas Red Kross' McDonalds just look like it - rattles off eight more keyboard-driven gems that contain elements ranging from the Chemical Brothers ("198090") to "Kiss Me, Kiss Me, Kiss Me"-era Cure on the awesome "Enough About Me, Let's Talk About Me." Other highlights include the catchy but lyrically odd
"From: Skulls" and the final cut, "Cobra Feet," where guitars finally get top billing (but it's still hard to believe they were Tool wannabes four short years ago). A disposable, sometimes tinny-sounding minor record but often a hella lotta fun to boot. David Thornton

The Gris Gris: For the Season (Birdman). Extra tangy: 4 ribs.
Taking its name from voodoo talismans, this super-psychedelic Oakland outfit (pronounced gree-gree) begins its second release with a flawless first half - a six-song suite that starts off with a seeming homage to Iron Butterfly's "In-A-Gadda-Da-Vida" ("Ecks Em Eye") and delves into some Radiohead/Cramps riffs by track 3 before the Airplane takes off and briefly orbits on tracks 4 and 5 then glides to a crash landing on live favorite "Year Zero." The next number, "The Non-Stop Tape," fittingly sounding like something out of "Texas Chainsaw Massacre" given the record was recorded in the middle of nowhere there, is followed by acid guitar and melacholy on "Medication #4" and "Skin Mass Cat," respectively, before single "Pick Up Your Raygun" gives a 21st century coating to "Paint It Black" and the title track winds things down for seven
and a half minutes. Sounding as if it were recorded in a far-off room throughout makes "For the Season" a great (very) late-night listen. David Thornton

Everchanging Nomad: Hero Today, Gone Tomorrow (Turner). Very well done: 5 ribs.
When launching a whole new genre of music ("future pop"), it doesn't hurt to have the master of three of the five songs nominated for Oscars in 2004, Gavin Lurssen, behind the boards. Portland, Ore., natives Damon Lynn and Vance Crofoot wisely eschew grunge for their stunning debut, favoring instead a clean wash of guitars and keyboards with highly resonant vocals. Following the opener, described as "sort of like a Sunday school lesson for atheists," is first single "You Know," which, like tracks 4 and 7, incorporates a sound akin to The Smiths/Morrisey's best material. Other beautiful cuts include "Antilove," "Just Friends," the remarkably lush "Atmosphere" and lyrically brilliant "Handmedowns." The anti-religious rhetoric here could be a turnoff for many, but the music is great - and so are the meanings behind the message if you're willing to listen. David Thornton

Wilson Gil & The Willful Sinners: American Banned (Tinnitus). Tastes like propane: 3 ribs.
Ripping off the Ramones right from the start on first single "My Town" and Neil Young later on "Most Loved," these San Francisco rebel rockers combine their influences to offer up a healthy dose of punk, grunge and country for their second album. Gil, whose day job involves caddying corpses for his mortuary service, isn't much of a singer but some of the song titles here attest to his talent for telling a good story ("Six Before Seven," "Bitches and Stitches," "Can't We All Just Get a Song" and "Twinkies and Speed") about drinkin', druggin', fightin' and fuckin', as well as a wicked pen ("California bad vibrations" on "Bad Reputation"; a tale of addiction and male prostitution on "Stripped"; and double suicide on the seven-minute-plus swan song, "Top Story"). The problem lies in that there just isn't enough background raunch befitting a band like this. For that, Horton Heat revs much harder. David Thornton

Jo Potter: 8 Circles (ROAR). Please pass the trans fat: 2-1/2 ribs.
Seeing "indie singer/songwriter" came with a lot of trepidation, which was immediately vanquished upon hearing the rocking opening number, "Walk Away" ... but that was short-lived. Of the following 15 songs, 14 are basically about the same thing - Potter's personal relationships. The lone exception, "Together," however, is embarrassingly cliched (sample lyric: "We all may look different but inside we're the same"). Not to say that the record is completely uninteresting: "I Am Missing You" is a nice touch, "Burn" is as convincingly horny as anything Melissa Etheridge has ever put out and track 15 is "More" of a good thing, but the South Floridian's inflection often wanders into Brooke Hogan kind of unoriginality. Other common pratfalls are repetition - tracks 12 and 13, "Stay" (who'd thought Lisa Loeb would be better at anything!) and "I Hate When You Go" are obviously an extension of the same theme - and contradiction (bonus track "You Won't See Me Cry" is a kiss-off to ex-boyfriend CD is named after). Potter's voice is marginally good and the writing is pretty up to par, it's just that the "confessional" tag results in some pretty faceless pop music (worst offender: "Round and Round"). David Thornton

And 1 Streetball Mixtape (Ubisoft). 3 ½ ribs - virtual taste.
What would streetball be without the hip hop? Recognizing its importance in the sport, videogame maker Ubisoft has released the And 1 Streetball Mixtape. The compilation, mixed by oldschool DJ Green Lantern, features tracks by Kool G. Rap, Clipse, Bun B and Smitty. Each track, like the court has its own flava, from east coast to west, north to south. Every summer And 1 hosts the And 1 MixTape Tour, pitting players from each city against each other and raising the bar for the most innovative streetball moves invented. Will Jordan

Public Enemy featuring Paris Rebirth Of A Nation (Guerilla Funk) 4 ribs.
Public Enemy is undoubtedly one of the most influencial groups in hip-hop. Minus Flava’s sellout appearances on VH1(at least he’s always been consistently bizarre), PE members have always stayed true to their original sound and stuck to their guns musically and philosophically. Chuck D remains one of the most profoundly outspoken MCs. His partnership with Paris, takes the music to the next level. After a lengthy hiatus for all included, it’s nice to hear some new tunes from the bunch. Every song is like a trip back in time with a new spin. Will Jordan

Dean Martin Cha Cha De Amor, Happy In Love, Dino-Like Never Before (EMI) 4 ½ ribs-vintage flava-best served with a stiff drink.
For diehard Rat Pack fans the wait is over—reissue label Collectors Choice Music will release the nine albums Dean Martin recorded for Capitol Records between 1953 and 1962. In addition, the label will also release compilations of various non-LP singles that Capitol released in the mid-‘60s. Cha Cha De Amor (1962) is an Afro-Cuban-Latin collection produced by Nelson Riddle filled with swooning south-of-the-border swing. Happy in Love (1966) and Dino—Like Never Before (1967) are released together and are a collection of Martin’s singles. The beloved boozing crooner had an extensive relationship with Capitol, but for fans, those songs have never sounded clearer. Will Jordan

The Love Drunks (Alive) 4 ½ ribs-still buzzing from this one.
If you cross-bred John Spencer Blues Explosion with the Stooges and tossed in Jerry Lee Lewis, you’d have The Love Drunks. Belching out of the Atlanta underground rock scene, The Love Drunks hammer out a sound that has waves of rockabilly, blues and garage-punk played the old-school way with Rickenbacker guitar riffs, upright bass thumps, swing-worthy drums and the moans and screams of an equally talented lyricist. Combined the group has an old time sound with a new school approach. Play this one loud. Will Jordan

Substance Abuse Overproof (Threshold) 4 ribs-finger lickin’ good.
After collaborations with MF Doom, Souls of Mischief, Aceyalone and the like, Substance Abuse is finally dropping their own full-length debut. Filled with old-school samples, new-school beats and fluid lyricising, Overproof showcases the perfect collaboration of the group’s members (Eso, Tre and Subz) as they echo an underground LA sentiment that was birthed by like-minded Alkaholiks, Del and Souls of Mischief. Highlights include: “Night On The Town” with Kool Keith, “No Guarantees” and “Profitless Thoughts” with MF Doom. Other guests on the album are: Rasco, Motion Man and Saafir. Will Jordan

Project Polaroid (Threshold) 4 ½ ribs-mystery meat-tastes like people.
For those who don’t know, Project Polaroid is basically the new Kool Keith album. However, don’t discount his partner-in-crime TomC3, the genius behind the beats. When the two come together, they form something of a maniacal pair—Kool Keith’s out-there lyrics spoken emphatically over TomC3’s futuristic soundscapes. Each track on Project Polaroid comes together to form a complete Lo-fi classic with elusions to a sci-fi soundtrack from the opening intro to coda “Photo Shop.” Will Jordan

Sleater-Kinney The Woods (Sub Pop). Raw like sushi: 4-1/2 ribs.
This being their seventh album, and first for seminal Seattle label Sub Pop, you just knew these three grrrls named after an interstate exit were just itching to try something new. Judging from the press photo, the fear was they'd left Kill Rock Stars behind to literally clean up their act - but what an un-Phair assessment! As the album title suggests, this is a decidedly dark and cathartic yet very alive affair, mostly ditching the vocal interplay between Corin Tucker and Carrie Brownstein in favor of "guitarmonies." After powerful opening number "The Fox," featuring Tucker's distinctive wail – quite simply one of rock music's most powerful instruments - things get right to the point on "Wilderness" before soaring on the oh-so un-alternative Hendrix solo stylings of "What's Mine is Yours," which are also amazingly employed on the obvious concert-closer, the 11-minute "Let's Call it Love," which for not one moment gets old and where drummer Janet Weiss really goes to town. Other highlights include "Jumpers" (which would've been a stronger single than the Elastica effectations of "Entertain") and the gorgeous "Modern Girl." David Thornton

Steve Lehman Demian as Posthuman (PI Recordings)
Saxophonist and composer Steve Lehman expands and sometimes subverts the traditional jazz vision on his latest release. He openly embraces electronics in several pieces, even utilizing synthesized textures and special effects on such numbers as “Damage Mobility,” “Cognition – Drew Hill,” “Community” and “Cognition – Ernest Jeffries.” Though most pieces are short (less than five minutes average) Lehman manages to include ample room for piercing, taut solos without neglecting either ensemble cohesion or rhythmic vitality. Much of the bottom end fire comes from electric bassist Meshell Ndegeocello and/or drummer Tyshawn Sorey, whose efforts both individually and collectively keep the backgrounds and accompaniment challenging and fluid. Lehman’s playing can be breezy, edgy or blues-based, and he also occasionally provides additional lines on sopranino, but the star second soloist is pianist Vijay Iyer. Though only featured on the opening and closing songs, his thoughtful exchanges nicely augment the scratches, swoops and other effects of Jahi Lake on turntable and through various devices. This isn’t straight-ahead mainstream, not completely outside material, but an expertly played combination of both styles, enhanced by a touch of vintage jazz-rock sensibility. Ron Wynn

Deadboy & The Elephantmen We Are Night Sky (Fat Possum). 4 ½ ribs (rare meat)
For a band that claims to be “already dead,” Deadboy & The Elephantmen’s sound is very much alive. Though primarily a duo, Dax Riggs (guitar/vocals) and Tessie Brunet (drums/vocals) call on others when needed. The songs featured on We Are Night Sky are a personal outpouring of emotional ramblings, written and recorded by Dax in his current headquarters in Houma, Louisiana, with the exception of tracks 1, 4, 6, & 12, which were recorded at Fat Possum's studio in Water Valley, Mississippi, and 3 & 7, recorded at two studios in Houma. The songs vary from primitive rock to sparse acoustic but Dax's powerful voice (think Lou Reed) and often dark/eerie themes backed by Tessie's soft vocal harmonies allow a smooth consistency to We Are Night Sky. Will Jordan

Numbers on Napkins Waiting for Tomorrow (Bad Stain). Utterly tasteless: 1-1/2 ribs.
If this is any indication of the Phoenix punk scene, things definitely aren't rising! Produced by the "legendary" Aaron Carey, whose credits include the thoroughly un-punk Stevie Nicks and Sheryl Crow, this is a horribly recorded, energy-drained concoction of mercifully short Sum 41/Bad Charlotte shit with a lyric sheet - cumplete with typos - that reads like 10 teen wet dreams ranging from funny ("You know she never drags her teeth when she's suckin' on my meat") and kind of amusing ("It's hard to get hard when you're starin' at the lard," sung in a hick accent) to downright ridiculous ("I watched my rummer overdose on cocaine - he was detergent, now he's suds"). Though this is a debut, these guys have been around awhile and should know better and maybe should re-enroll in the School of Rock. David Thornton

Michael Attias Renku (Playscape)
Soprano, alto and baritone saxophonist Michael Attias heads a pianoless trio that takes a drastically different stylistic turn than either the combos of Sonny Rollins or Gerry Mulligan. While those groups each operated without chording instruments, they let the other rhythm section members fill in that space and also handle those duties. The Attias unit often has all three players complimenting each other, but seldom features the kind of unison melodic exposition or interplay that’s usually heard in this setting. There are some pieces like “Ciao Monkey,” where Attias’ baritone, alto or soprano are the musical focus, with Attias’ demonstrating great facility in both upper and lower registers, and also able to deliver crisp, striking lines and solos on other cuts like “Work,” “Dark Net” or “The Crunch.” On “Work,” bassist John Hebert and drummer Satoshi Takeishi operate more like the prototype supporting tandem, with Hebert dispensing fat, full and jutting lines and Takeishi overlaying crackling drum and cymbal statements on top of the arrangements. However, on other numbers like “Renku” or “Hotel new #1,” Hebert may be moving one way and Takeishi heading the other, or they may merge their efforts and let Attias establish a different direction. Rank is never predictable or typical improvisational fare, but it’s frequently inventive and consistently delightful. Ron Wynn

Four Zone My Turn (Spytech). 3 ½ ribs - funktafried.
Four Zone has his own La-bred flava, though strays from the typically familiar geographical stigmas. Bent more on head nodding hooks than C-walkin’ beats, Four Zone’s debut, My Turn, is a reflection of a rapper who grew up on the west coast “listening to A-ha while reciting NWA lyrics in his head.” In addition to being a lyricist, Four Zone is a hell of a beatboxer, whose skills have taken him from a gig on Entertainment Tonight to alongside the likes of Rahzel, Biz Markie and Doug E. Fresh in a hip hop documentary. My Turn features club lovin’ tracks such as “Bounce” and “Lap Dance” and offers production by DJ Cheapshot and Vin Skully of Styles of Beyond fame. Will Jordan

Lamb of God Killadelphia (Epic). Cheaper by the pound, pound, pound: 2-1/2 ribs.
This way-long live set, basically 75 minutes of the same thunderous thing recorded over two sold-out shows at Philly's Trocadero and accompanied by a gold-selling DVD, boasts 16 songs from the ferocious Richmond five-piece's entire catalog. Though coming with a warning label, you can hardly decipher a fucking word ... except that one, when singer RandyBlythe urges the crowd to "make some noise" about a million times in his between-song banter. Featuring Chris Adler's turn-on-a-dime, jaw-dropping drumming and likened to Pantera and Slipknot, though not nearly as muscular or inventive, respectively, these "current supreme rulers of American heavy metal" rip out the hard riffage and surgical precision in "Terror & Hubris in the House of Frank Pollard," "Omerta" and the vitriolic, venemous two minutes of standout cut "Bloodletting." Other moments of note include the vocal shredding on "Pariah," a scary call to the mosh pit on the otherwise lame "Subtle Arts of Murder & Persuasion" and the first 50 seconds of "Vigil" which, besides the opening salvo, contains the only (relatively) mellow moment here, but the band would have done better by leaving the last four tracks off the disc. David Thornton

Cypress Hill Greatest Hits From The Bong (Columbia)
Cypress Hill has managed to retain sizable audience following and interest over the last few years despite not being nearly as publicized or spotlighted on radio as during the early ‘90s. Then their mix of defiance, posturing, rebellion and paranoia proved inviting, fueled by the high-pitched verbal style of B-Real and the deeper, more menacing answering rhymes, taunts and comments of Sen Dog. This 12-cut disc does contains the most important bits from the group’s lineup, among them “Insane In The Brain” and “How I Could Just Kill A Man.” “Insane” at least has some humor, while “How I Could Just Kill A Man” in unrelenting in its message of homicidal fury and anger. Other numbers such as “Throw Your Set In The Air,” “The Only Way” and “Latin Thugs” spotlight the additional elements that have made Cypress Hill successful, among them forays into metal, rock and Latin pop, though never fully deserting the hardcore frame that underlines their tunes. Still, it’s a bit surprising that the disc doesn’t contain more material, with only the bonus reprise of “Latin Thugs” done in faster, reggaeton mode, offering fans any extras for their dollars. While it would be a stretch to view them as groundbreakers or innovators, Cypress Hill did usher in a new, intriguing sound during their heyday, and this set offers most of their best singles. Ron Wynn

The Sha-Pels Night of Malta (Shed Records). 4 ribs - good ole Tennessee cookin’.
The jazz nastiness of the Chattanooga, Tenn. based Sha-pels is best described by the dizzying fortitude of each band member’s instrumentation. Whether it be told by Russ Cannon’s complex guitar strumming, Arettie Ford’s thundering bass thumping, Rich Howell’s ever-present saxophone blowing or the crashing and all encompassing drumming of Matt Chappell, each has a very distinct voice. Forget about trying to lump these guys into any one genre. The Sha-Pels sound is a blur of all things good, though sometimes can be disorienting and has doses of jazz, ska, surf, psychedelic rock and metal skattered throughout. From opening “Bizarre Sorceress” to coda “The Four Thursdays,” Night of Malta is a journey into the minds of each of these disturbingly honed musicians, but pack light, because you may just get lost along the way. Will Jordan

MxPx Panic (SideOneDummy). Thick and thin: 3 ribs.
"We were either going to slowly die or do something extraordinary, dig deeper than we ever have before," says Mike Herrera, vocalist/bassist and chief songwriter of this veteran skate-punk trio. And thus the title of the album, recorded in a mere 22 days in the group's own Bremerton, Wash., home studio. Following the short shots of "The Darkest Places" and "Young and Depressed," which are pure power popdespite their gloomy names, is the first single, "Heard That Song," with Socially Distorted vocals that probably play well on satellite radio. Tracks four through seven are good adolescent angst anthems, starting with the Offspring-ish "Cold Streets" and ending with the cutesy cowpunk of "Late Again," but the second half of the record is a mostly empty bag of tricks. David Thornton

Ludacris Ludacris Presents..Disturbing Tha Peace (Disturbing Tha Peace)
Although his cinematic profile has greatly increased over the past year thanks to acclaimed appearances in Crash and Hustle and Flow, Ludacris is not yet ready to follow the likes of Ice Cube, L.L. Cool J., Will Smith or Ice-T into rapping semi-retirement or hip-hop irrelevance. He’s sometime participant, other times assembler, mentor and inspirational figure on Disturbing The Peace, a collection of rap skits, rhyme collaborations and confrontations, plus some remixes and even a bit of vocal/romantic fervor from frequent Peace member Bobby Valentino, who teams with Smoke from the Field Mob and Lil’ Fate on “Table Dance.” Ludacris reigns on “Family Affair,” “That’s My SH*t” and “Georgia,” which has vocal hook/lick from Jamie Foxx filtering through the discourse between Ludacris and Field Mob. The loping, alternately comical, profane and prophetic commentaries from other contributors like Norfclk on “Put Ya Hands Up,” Playaz Circle on “You Ain’t Got Enough” and the tandem of Rich Boy and Gangsta Boo on the lyrically questionable “Break A NI**A Off,” are other noteworthy (or at least notable) entries. Ludacris and his cronies can be combative, charming, annoying, sometimes obnoxious or threatening, but eventually this CD offers a full picture of what’s happening both good and bad currently in Southern rap, Atlanta division. Ron Wynn

The Strokes First Impressions Of Earth (RCA). 4 ribs - ummm-comes with a juicebox.
More angst infused sweat and tear drippings from The Strokes with their latest, First Impressions Of Earth. It completely lives up to the anticipation. Since their inception, The Strokes have seemed bred for badass rock music making, creating enormous, emotive pop sounds, all the while holding firm to their roots. First Impressions Of Earth transcends the first two with an even heavier sound and more emotion than might should be revealed. Will Jordan

Steve Porter Porterhouse (Fade). The other white meat: 3 ribs.
Porter is a DJ who defies genre description, which should be more of a success with dance music – matter over mind - but is a real bitch for record reviewers. Porter, who hails from western Massachusetts and now calls New York home, drew upon a close network of talent from the Boston area for his first-ever mix compilation - an almost 75-minute, 26-song set culled from more than 300 he considered. Included in the mix are nine original tracks, four of which appear in extended versions on an EP of the same name: "Hulkinator," "Funk Theory" and "Fountainia," which all offer up nice splices of '80s keyboards and percussion, as well as the very housey "Junk in the Trunk." Regression may not always be a good thing, but this is actually a progression over last year's "Homegrown" debut. David Thornton

Wendy Williams Brings The Heat, Vol. 1 (EMI)
Some fans enjoy the gossip “scoops” and frequently feisty interviews that are the calling card of broadcaster Wendy Williams. But Brings The Heat Vol. 1 thankfully doesn’t venture into that arena. Instead, this is a collection of recent rap, R&B and even pop reggae pieces spotlighting such current and/or rises stars as Amerie, Guerilla Black, N2U and M.O.P. Besides supplying a spicy introduction and closing work, Williams joins with Mario Winans on “Stand Up.” Still, the real musical fire comes from Amerie, whose sultry vocal is crisply contrasted by Nas on “Man Up!” Jaheim teams with Jadakiss on “Everything,” and Beenie Man displays the energy and slashing verbal facility of dancehall victors on “Good Woe.” Most these cuts are good, a few excellent, though neither Julez Santana or Marques Houston deliver particularly memorable performances. But the single most dominant number comes from Dwele on “Money Don’t Mean A Thing.” Tearing through the narrative with unexpected ferocity, he makes it seem he really believes the theme that finances should take a backseat to emotional fulfillment and inner peace. Whether he really buys the message or not, Dwele soars above
the crowd and emerges as most arresting artist featured on this otherwise solid anthology. Ron Wynn

The Mars Volta Scabdates (GSL/Universal). 5 ribs - ya need a bunch of napkins with this one.
Someone beam me back to earth. My brain is still buzzing after listening to Mars Volta’s live album, Scabdates. Scabdates features music recorded between May 2004 and May 2005 during the 2003-2005 tour in support of Frances the Mute and De-Loused in the Comatorium. Anyone who’s witnessed a Mars Volta gig can attest to the insanely operatic tendencies the band dispels on stage and thanks to the slick production and mixing of Omar A. Rodriguez-Lopez, the true madman behind the music, now the unprivileged others will get the idea of what they’ve missed. Will Jordan

Tarantula A.D. Atlantic EP (Kemado). Slightly skewered delight: 3-1/2 ribs.
The opening track - a cello piece reminiscent of "Pod"-era Breeders - really sets a mood, its obscure film score ambience overwhelming the occasional metal rave-up. The pianos of the following title track then eerily meld into the ghostly background vocals of "France Atlantic" before reaching a crescendo in the genre-packed tour de force, "La Casa Blanca." This band - forced to attach A.D. to its name for legal reasons - has a great sound, if only they could take it to the next level with actual songs. Adding to the timelessness of the music, however, is a vinyl-looking CD. David Thornton

Marita Brake The Celtic Rose (Bodyplanet). Drink it down with pints of pale ale: 4 ribs.
A concept album if there ever was one! Having never set foot on the Emerald Isle, this Illinoisan with a stellar musical resume and an eye for the movie soundtrack industry doesn't hold back her affinity for all things Irish in her first Celtic-inspired effort. Starting with the pretty piano tinkling and clean acoustic guitars and strings of the opening instrumental (which is reprised at the close of the record) and followed by two numbers which really show off Brake's resonant voice is another wordless wonder, "The Paisley Shawl." After the ethereal "Standing Stones" - like something you'd hear overhead while browsing through the bookstore at Great Smoky Mountains National Park - is another instrumental, the piano-only "Innisfree," followed by the haunting title track - and now you can shut off the CD player, unless the a cappella of "On Me Mother's Grave" might intrigue you. This ain't Sinead O'Connor or Dolores O'Riordan (thank God for small miracles), but the Irish imagery is authentic and well intact. David Thornton

The Chemistry (Razor & Tie). Reeks like old leftovers: 2 ribs.
The first impression: Like we need another Cali pop-punk band. The second: Man, this sounds a lot like Third Eye Blind. With guitarist Thomas Scriven saying (much less admitting) that a TEB show "totally changed my life," The Chemistry enlisted that group's guitarist, Kevin Cadogan, to man the boards at the famed recording studio The Plant in Sausalito for its debut. The result is obviously somebody else's vision (even the words "simple life" on "Deja Vous" pay pathetic tribute to Stephan Jenkins' "Semi-Charmed" ramblings; virtually every song sounding like a dead - i.e. lifeless - ringer for Cadogen's old outfit, especially on the aptly titled "The Same" as well as "She Takes You." Highlights of this thoroughly banal batch include "Jones" and "Still Alive," which would have wisely been put among the opening tracks, but all we get there are great guitar intros that quickly dissolve into the mopey and whiney holding-back blahs. Let's just hope this isn't the launching point of another 10-year soft-core cycle that TEB so unceremoniously heaped upon the "alternative" record industry. David Thornton

Turpentine Brothers We Don't Care About Your Good Times (Alive). Lean and mean: 4 ribs.
Nothing particularly original here, or well recorded for that matter (which just adds to the record's psycho-night-at-the-skating-rink overtones), but everything about this bare setup of guitar, organ and drums played through Leslie speakers "bigger than Oprah" is deliciously edgy and dirty swagger, best exemplified in "Somethin's Not Right" and the instrumental "Wrong Night" as well as the Curtis Mayfield cover "Fool For You," the "A Girl Like You" (Edwyn Collins) guitars of "One Man" and the title track's "soul" send-off. Give these Boston boys – and girl - a bigger budget and they're bound to go places. In the meantime, you'll likely catch them playing your town's seediest dive bar. David Thornton

Mark Gothard Poppy Fields & Pearls. Half baked: 2 ribs.
Deriving a title paying obvious homage to Tom Waits' "Heartattack and Vine," this L.A.six-string slinger brings a street performing vibe to his plaintive and reflective yet repetitive guitar grooves. Though possessing an appealing voice, especially on "Ode to Jack," "Whispered in Your Ear" and "One of the Angels," much of the writing is way off the mark (for example, "If Thomas Jefferson Were Here" will have you thinking, "He can't be serious!" And listening to "Something to Me" will have you wondering, "I thought the NEXT song was called "Sleep"!) The two bonus tracks, including the Tom Petty-ish "Blaze," are better but still far from great. As Simon Cowell would so callously say, "Don't quit yer day job" ... just yet. David Thornton

Sunspot Cynical. Well past expiration date: 1-1/2 ribs.
Straight from the Dairy State comes this festering pile of pure American cheese. Following the passionately putrid "The Breach" and Live-like "Way I Fall" is a Husker Don't stab at cool called "Turn This Off," which you would be wise to do though it IS the album's rockingest tune. "The Heidegger Paradox," an oh-so Loverboy toast to T.G.I. Fuckday, pretty well encapsulates Midwestern hedonism before the album's sophomoric lyrics (made even worse with liner-note guffaws) reach a low point on "Scott Bakula," which quite possibly could be the worst song EVER! The coda of this mercifully short set is called "The Happy Song," and that's exactly how you'll feel once it's all over - unless you're unfortunate enough to discover the bonus track. One has always heard that Madison is a great party town, but all the accolades this trio have received over the years make you hate to hear what else Wisconsin has to offer! David Thornton

NYCO Two. Processed to within an inch of its life: 2-1/2 ribs.
Leader Ted Atkatz, who took a yearlong sabbatical as principal percussionist for the Chicago Symphony Orchestra, overreaches his influences on this quartet's oddly titled debut effort. Cases in point: "Surrender" (John Mayer), "Soda Can" (Jeff Buckley), "Side of the Road" (Ben Folds) and "Jilli" (Coldplay). Things are actually funked up a bit for "Let Me In" and "Cash For Time," "2X21" is all of one minute of spacey coolness and the souful opener "English Song" is nice, but don't believe the hype. David Thornton

Victory at Sea All Your Things Are Gone (Gern Blandsten). Raked over the coals: 3-1/2 ribs.
You can't blame the dour mood here, after their Japanese violonist was deported and the drummer's house - which also served as the Boston band's practice space - was destroyed by fire, forcing the group to cancel its first tour in 12 years. Highlights among the 10 numbers belted out by chief songwriter/guitarist Mona Elliott in a most un-Mama Cass-like baritone include "Cecille" and the even more passionate "Bored Otherwise," the lyrical genius of "The Letter" and other such emotional gems as "Four Leaf Clover," "The Party" and "No Such Thing as Hearts," where Elliott really gets to rip. Interesting side note: Dave Norton is the first drummer to play on two consecutive Victory at Sea albums! David Thornton

Richie Hawtin DE9 - Transitions (Novamute). As original as Adam's rib but overly ambitious: 2 ribs.
Now is the time on "Sprockets" when we dance! This latest in a series is a mind-numbing, barely audible 21-song affair (28 on the "superior" DVD version) where one of electronica's most prolific artists uses the latest software to "strip apart, and then reassemble, his component tracks to make completely new pieces of music" that Hawtin has given his own names for. The whole thing, which could be likened to a 75-minute cell phone ring (though the last two tracks are fairly good), plays like a one-upmanship effort on Hawtin's part, and he even admits that it might piss other DJs off. One of geekdom's finest hours, but this wasn't made with listeners - much less dancers - in mind. David Thornton

Misstress Barbara Come With Me…(Uncivilized World). More comebacks than a McRib sandwich: 3 ribs.
As the album title suggests, this Montreal Sicilian invites all comers to "share a new groove" as she embarks on her 30s - even showing her face for the first time ever on the sleeve. After the opening shot, which exalts "this is too hot" a whole lot, the Queen of Techno - aka Barbara Brown when spinning house beats - takes us on a journey of mostly minimalist electro funk on standouts like the bomb-dropping "Don't You Want," the filthy beats of "He-Man," the tongue-in-cheek "I Love You" (which along with the overly repetitive "Eleven O Seven" is an original track) and "Pimp the Box," which gives new meaning to the term "arcade fire." For downshifting away from her usual hard drive and mixing things up a bit, "Miss Stress" pretty much passes the test. David Thornton

Lotek Hi-Fi Mixed Blessings. 3-1/2 ribs-Shake and bake.
Across the pond, urban music takes on more of a West Indian than hip-hop vibe and with the exception of "How It Go," that's mostly the case here. Opening with the jam dub rock of "Ram Dancehall" (featuring Earl J) and the straight-up reggae on the under-two-minute "Blessings," the record reaches a peak with "What You See" and "Slowburn" followed by Shlomo's lightning-fast raps on "Dazzle Interlude," the raga riddims of "Move Ya Thing" (featuring Roots Manuva and Sandra Melody), the rootsy "Sticks & Stones" and the bouncy "Showdown." (U.K. labelScore) David Thornton

Kaotik Poem Of A Stranger. 3 ribs-best eaten on Sunday.
Man who knew that a Southern Baptist white boy from Cookeville, Tenn. could flow like Kaotik? Though his rhymes are often blatantly religious and downright controversial, Poem Of A Stranger is nothing less than an honest portrayal of life lived in a small West Tennessee town. The album is proof that hip-hop transcends big city turmoil-infused youth, but has spilled over into all areas of the world. “Prologue” opens the album with a smooth and catchy hook that is hard to shake. Other tracks come close to the quality of the opening’s mantra, but sometimes get muddled in opinionated proselytizing. Will Jordan

Giacomo Fiore Tones From an Open Heart. Organically fed: 4 ribs.
As suggested by the title, these 10 tracks are instrumental interpretations of moods - mostly odes to loves lost and found. Barring the occasional bongo beat, tap of the tom-tom, body slap or rise and fall of a rain stick, this is ideal Sunday morning reflection music - with no frills to mess with your mind. Highlights of this independent release from the 22-year-old "Italian John Mayer", a transfer classical performance major at Nashville's Belmont University, include the exceptional "A Hundred Days/Dance of the Lilies," the happy-go-lucky yet tinge of sadness in "Dealing With Rejection" and the haunting, achingly beautiful "Genteel" with "Song Remains the Same" strings provided by his friend, Ashley. David Thornton

Genghis Tron Cloak of Love EP. Oink! 3 ribs.
Listening to these five songs recorded in five days,it becomes immediately apparent that Genghis Tron aims to cram as many genres into their debut as possible. After the opening scattershot of "Rock Candy" and "Arms'" ambience spliced with mayhem, "Blue Monday" meets Slayer on "Laser Bitch" and "Sing Disorder" closes things off with machine gun precision. The sense is that everything would be all right if they'd just stop freaking out, but maybe it's not much of a surprise that such clean-cut and (two-thirds) bespectacled college kids can spew out such venom. (Crucial Blast)David Thornton

The January Taxi Keep Quiet, They Might Hear Us (Vacant Cage). Like Marilyn Manson, a couple ribs short of a full rack: 3 ribs.
Adding a second guitarist, this Arizona ensemble leads things off with the obvious single, "The Ashtray Parade." The band's sound bears a striking resemblance to Failure, which wouldn't be such an unsuccessful predicament if this well-executed, expertly written mini-LP wasn't just plodding along without a spark. This is what happens when overreliance on radio-readiness becomes a hindrance. David Thornton

Frontiers: Behrouz & Yousef (Thirsty Ear). 4 ribs-a buffet of flavors.
The UK and US collide in a melodious mixture of dance tracks as Renaissance pit together San Francisco DJ Behrouz and Liverpool-bred Yousef in a double disk CD compilation Frontiers. In this global dance compilation, doors are kicked off their hinges as genres are blurred and all areas touched. From opening “Shine For Me” to coda “Perfect Traveler,” Frontiers is an unpredictable landscape of influences from around the world. Will Jordan

The Life and Times Suburban Hymns (DeSoto). Bone du jour: 4-1/2 ribs.
This Kansas City three-piece masters the moog sound on their first full-length release. After closely mimicking 1983-era U2 on "Coat of Arms," bassist Eric Abert's earlier work with Steve Albini becomes apparent on cuts 3-6, especially "Skateland." Then, just when you're Thurston for Moore guitars comes "Running Redlights," slowing things down again to "Shift Your Gaze," revving back up a bit for "Mea Culpa" and coming to a grindingly slow halt with "A Chorus of Crickets." The track list here plays like a concept album; just curious if they're an answer to The Verve's classic swan song? David Thornton

Zilla Egg (Zillamusic). 3 ½ ribs-best eaten raw.
They have no idea what they’re going to do when they get together, but when Zilla members step behind their instruments, it’s always a funky, eclectic sonic experience. From down-tempo to jungle, trip-hop and house-trance, each show is 100 percent organic, improvised and never the same. The Zilla three-man roster includes: Michael Travis (drums, percussion, keyboards and mallet Kat), who’s spent most of his musical career as percussionist for The String Cheese Incident; Jamie Janover (hammered dulcimer, mini-kit, percussion, sampler, electric kalimba and sitar) is an acclaimed hammered dulcimer wizard and Aaron Holstein (guitar, bass, sampler and keys), who’s also played with Boogie Shoes and Vibe Squad. Egg is a compilation of Zilla’s fantastically raw, yet technically honed sounds. Will Jordan

Nuclear Assault Third World Genocide (SPV). 1 ½ ribs--spoiled in the center.
This year marked the 20th anniversary of Nuclear Assault – a New York band renowned for their involvement in the early thrash scene. Unfortunately, the band never progressed and succumbed to the doldrums of half-baked has-beens. Third World Genocide is the band’s first studio album in over a decade. If this performance, which is anything but nuclear, is any indication, then the band should go back into hibernation. This album sounds straight out of 1985, you decide if that’s a good thing. Compared to most metal, this is corny lullaby fluff. Shane Newsome

Koufax Hard Times Are in Fashion (Doghouse). Way overdone: 3 ribs.
They Might Be Giants, James, XTC or, heaven forbid, Barenaked Ladies! Joining Koufax for its fourth release are the brothers Pope, Robert and Ryan, growing apart from The Get-Up Kids and distancing themselves from Emo like this Midwestern outfit did from that genre's seminal label, Vagrant Records. Laregly recorded in small-town Kansas, the quintet interprets singer Robert Suchan's brief expatriation experiment in Prague. Once the annoying bounce of the opening trilogy finally subsides (O is not a bell, it's a circle - shut up!), the ensuing mostly midtempo numbers make for a much better record. Though cleverly written throughout - especially the closer, "Colour Us Canadian" - "Hard Times" proves overly ambitious and a bit pretentious, and if for some reason you want to hear a HAPPY Robert Smith, you could just dust off "Friday I'm in Love." David Thornton

Longshot Civil War Pt. 2 (EV Productions/ Risky Bizzness). 4 ribs-smacks of flava.
It’s no wonder why Longshot has been dubbed the hardest working emcee in Windy City. For his third release Civil War Pt. 2, the rapper doesn’t pull any punches and in fact drops his most ambitious work to date. Civil War Pt. 2 is a 30-track album with guest appearances from over 30 of Chicago’s best independent artists, providing an authentic survey of Chi-town’s underground hip hop scene. Longshot worked with every crew in the city and each track is regionally representative from Diverse and the Molemen producers Panik and PNS on the Northside, Thaione Davis and Rubberoom’s Lumba from the Southside, Psalm One and Earmint from the Westside and everyone in between. Longshot began the Civil War concept in 2004 with Pt. 1, a mixtape with the goal of bringing together all of Chicago’s independent emcees and producers. With Pt. 2 he pulls it off, hopefully catapulting Chicago’s underground hip hop scene into the mainstream. The release also features a DVD of studio sessions, interviews, live performance snippets and more. Will Jordan

The 101 Green Street (Limekiln). Chew on this: 4 ribs.
As evidenced by the album title and a song named "Wolf," this amped-up albeit jangly power trio is obviously paying tribute to early and mid-period R.E.M. - not what you'd expect from the mean streets of New York. A trip down Green Street offers a great overview of '80s alternative rock, starting with Husker Du and Connells knock-offs, getting oh-so(Matthew) Sweet on "Wife" and then downright Church-y with the pristine picking and ringing at the close of "Verve." Following the Sonic Youthful soundscape of "Generals," the R.E.M. references really surface by taking a literal "Left On" for some "Bus Fare" before ending the Ride with even some shoegazing on "Regret." David Thornton

Kilo of Black Bondage Fear The Windows (Ronda). 3 ribs-a bit tough…all dark meat.
Fear The Windows paints a somber, urban landscape with each haunting track. Black Sifichi, Aka_bondage and Somekilos come together as Kilo of Black Bondage on Fear The Windows and evoke a constant paranoia with the release of experimental electronic sounds filled with ominous, politically macabre spoken word, eerie effects, a whining trumpet and dizzying hypnotic beats. The mind must be completely wide open for this one. Will Jordan

I Am Ghost We Are Always Searching (Epitaph). 1 rib--Unsuitable for human consumption.
Record labels, constantly in search of money, will do anything to earn a quick buck. Unfortunately, that means that true music lovers are bombarded with so-called copycat bands. The record labels figure, for instance, that if Evanescence is popular then any band that sounds like Evanescence is sure to draw a fast dollar. Scouts rush out to find the generic duplicates and add a little salt and seasoning to spice up the appeal.
I Am Ghost, a band of naïve youngsters out of Southern California, is a perfect example of the typical copycat band. You guessed it. They sound like Evanescence. In other words, they sound like a platoon of slimy turds on their march towards Shit Mountain. This is a bad thing. Simply put, I Am Ghost is a steaming dog pile with a thick coating of glitter and cheap-smelling perfume.
The band displays a certain level of musical talent. The drummer, in particular, is quite good. Performance wise, everything is intact. Unfortunately, the material itself is beyond awful. I was immediately repulsed. Save your $15 and turn on the radio. You will hear the same crap everywhere. This is basically third-generation nu-metal at the height of suckitude. If you have any taste at all, avoid this album like the plague. Shane Newsome

Love in the Fascist Brothel The Plot to Blow Up the Eiffel Tower. Something to sink your teeth into: 3-1/2 ribs.
Burning through at a mere 24 minutes without a break, this San Diego Quartet pretty much junks the jazz/punk hybrid for very Zappa-like versatility on its third release. The collage of cacophony begins innocently enough with the Kentucky Derby call of "Reichstag Rock" before descending into a cascade of distorted decandence on "Drake the Fake" and "Angry, Young and Rich," which employs a weird piano that drifts into pounding propulsion and shrieks. On the last line of the record, singer Brandon Welchez belts out, "We made it out by the spit in our throats." Thankfully, it sounds like he also blew his nose (unlike Billie Joe Armstrong and a long line of others), so originality is more assured. And don't miss the highly political queer-core artwork, a complement to their homoerotic live show. David Thornton

Greek Smell My Talent (Akhenation). Big boasts served with stale toast: 2-1/2 ribs.
Jimmy Greek - part of the five-man Jam Faction that comes off more like a third-rate G12 – arrives straight outta Dirty Jersey for his third effort. Touted as being akin to a constant stream of consciousness (now that would be a LITTLE more impressive!), that other Jimmy the Greek's ignorant comments set to music may be more entertaining than this 16-song set of frat-boy rap. From the opening "Intro," Greek keeps writing checks that his mouth can't cash. "Karaoke Shutdown," for instance, is a good idea but falls flat for its lack of a vicious attack. And speaking of attacks, the woefully out-of-date dis on Marky Mark ("Mark Wahlberg's Chest") is just one of many laughable stabs at way too old-school and mainstream celebrities. A glancing listen could make Greek pass for a more intelligent Eminem, but he's infinitely less satirical and lyrical. Though the slow grooves (provided by emcee Kavorkian, who instead of pulling the strings should have pulled the plug) and background vocals are good, Greek ultimately lacks the skills to pay the bills. David Thornton

Vaux Beyond Virtue, Beyond Vice (Lava). 3 ½ ribs-finger lickin’ good.
Vaux come out swinging with their debut release Beyond Virtue, Beyond Vice on Lava Records. The six-man band has grown incredibly since their indie label EP introduction. The sound is now vastly big and lyrically has a depth that drops leagues below where it was before. “Are You With Me” grabs the listener by both ears, dragging them along to the ever-present mantra that is the song title. Singer Quentin Smith’s lyrics are infused with emotions that leave sleeves drenched. With songs like the tear-jerking balladesque “The Last Report From…” the powerfully epic “Need To Get By” and the rhythmically catchy punk track “Burn The Bandwagon,” Vaux have carved a solid niche for themselves in the alt-rock world. Will Jordan

Oh Astro Hello World (Illegal Art). 2-1/2 very spare ribs.
No, your CD player is not fucked up. Created from cut-ups of customized software, Oh Astro is a new audio project by cybernonymous artist and former music journalist Jane Dowe. Inspired by the "culture jamming" and copyright infringement activities of media molesters Negativland, Dowe is best known for using 2,500 segments from the song "Jackass" on 1998's "Deconstructing Beck" compilation. Though accurately described as "pop music from another planet" and sounding like a fast-paced game of video table tennis, these clicks, beats and background noise are not meant for mass consumption; it's not even certain if acidheads would appreciate it. So, kudos for the concept but zilch for listenability, though track 2 does contain a glimmer of soul and and the five-minute closer - with accompaniment by husband Hank Hofler - has moments of sounding like an actual song. This release, though, begs one big question: Where does Dowe glean her "song" titles from? David Thornton

V:28 Soul Saviour (Vendlus). Worth licking your chops over: 4 ribs.
Taking a cue from Revolting Cocks, this second of three planned releases from a trio of black-metal/industrial "all-stars" ranges from the Fields of the Nephilim and Celtic (that's pronunced with a K, by the way) Frost isms of "Unleash the Energy" to the techno beats and 'boards of "Infected by Life." Other highlights following the thunderous assault of the album's finest track, "The Purifying Flames," are the menacing yet glowing "Psalm 69" guitars of "deConstructor," and the final cut, "Dead Men's Choir," which provides a nice break from the blitzkrieg. David Thornton

Ellay Khule Califormula (Decon/Project Blowed). 3 ribs-Westside flava.
He has contended in the hip-hop ring for years under the alter ego Rifleman, but finally unmasks his true identity as Ellay Khule. Rumored to have overthrown Eminem in an early rap battle, Khule grabs the mic with authority, spitting west coast-themed flow with rapid-fired ferocity. Califormula is an album years in the making and is in the same vein as label mates Busdriver and Aceyalone. Will Jordan

Nada Surf The Weight Is A Gift (Barsuk). 3 ribs-needs a little more warming.
Nada Surf has been around for ten years and perpetuates their longevity with their latest release, The Weight Is A Gift. The NYC trio, comprised of Matthew Caws, Daniel Lorca and Ira Elliot, were basically discovered by Ric Ocasek, who produced their debut LP, High/Low. When the full length Let Go dropped in 2003, Nada Surf were blasted across TV waves through MTV and the world tuned in. The Weight Is A Gift picks up where Let Go left off with dreamy, rainy day tunes such as “Do It Again,” “Your Legs Grow” and “Comes A Time.” Will Jordan

Pitbull Money Is Still A Major Issue (TVT). 3 ribs-has a tangy flavor yet spicy punch.
Still chomping at the bit, Pitbull once again proves his bark is as big as his bite with the follow-up release Money Is Still A Major Issue. While Pitbull has become a common name in Crunktifried rap, he also remains one of the biggest contenders in the Reggaeton movement with his bilingual lyrics and Caribbean style. The new release features 13 rare and remixed tracks and is a companion to his gold debut album, M.I.A.M.I., which released last year and featured the hit singles, “Culo” and “Toma.” Will Jordan

Tha Alkaholiks Firewater (Waxploitation/Koch). 4 ½ ribs-still smacks of flava.
Firewater, the fifth and final album by The Alkaholiks will precede the rap group’s “farewell tour.” The Liks (Tash, E-Swift and J-Ro) have decided to retire after the tour, but go out with a familiar “bang.” From opening “The Flute Song” to coda “Hangover” Firewater was produced and recorded in the same vein as other Liks’ albums, which include X.O. Experience, 21 & Over, Coast II Coast and Likwidation. Will Jordan

North Mississippi Allstars Electric Blue Watermelon (ATO). 4 ½ ribs-soul food
chopped and screwed.

Screwed and Chopped EP
North Mississippi Allstars drummer Cody Dickinson has become obsessed with the screwed and chopped movement, which has been oozing out of the Houston, Texas rap scene. Electric Blue Watermelon was released on Sept. 6, 2005 and Cody was anxious to get the new record back into the studio to give the tracks a remix treatment. Dickinson put a handful of songs in the hands of DJ Jimmy D “the Michael Jordan” of the chopped and screwed movemnt, which drastically slows down the tempo and applies various techniques such as skipping beats, scratching and stop-time as well as sending portions of the music through stand-alone effects to make a “chopped-up” version of the original. Will Jordan

Clubplanet Party Mix (Rhino). 4 ribs—a whole tasty party sampler.
Mixed by Crooklyn Clan
Rhino Records and Clubplanet join hands to keep the party pumping with their house party mix, featuring pop, soul, R&B, funk and rock music remixed by DJ Riz and Sizzahandz aka Crooklyn Clan. This release features 25 tracks from Run DMC’s “Walk This Way” to House of Pain’s “Jump Around” to Ram Jam’s “Black Betty” and Soft Cell’s “Tainted Love.” There’s literally something for everyone and will keep any party rocking until the wee hours of the a.m. Will Jordan

The Suicide Girls Black Heart Retrospective (Epitaph).
The Suicide Girls are the real thing. Dyed blue hair, piercings, tattoos, horn-rimmed glasses—these ladies aren’t the air brushed, bleach-blond beauties typical of burlesque. Capitalizing on the reality that women are just as pretty when depicted in their natural or unnaturally surreal surroundings, these girls may strip, but their intelligence and honesty remains intact. In addition to a DVD documentary, which chronicles a burlesque tour, that takes place across two continents, Epitaph released a compilation CD, Black Heart Retrospective, a macabre mix featuring everyone from Ministry to Bauhaus and The Cult. Will Jordan

ti Inquisition Revolution ... I Think It's Called Inspiration (A-F). Gritty - better have some toothpicks handy: 3-1/2 ribs.

Originally released in 1995, right about the time Green Day and the Offspring were garnering gold, proximity to D.C.'s Bad Brains and Fugazi had obviously rubbed off on these Richmond punk rockers, who eventually went on to separately form Strike Anywhere, Ann Beretta and River City High. Except for a "Highway 69" harmonica on "Hotel X (Idle Kids Part Two)," this searing, snarling and snotty set never lets up for a second. David Thornton

Sarah Blasko The Overture & The Underscore (Low Altitude). Sucks like marrow: 2 ribs.

Taking a big bite out of Fiona's apple and falling off the Natalie Imbruglia bandwagon about eight years too late, this Aussie chanteuse belts out 11 lilting songs on her first LP. Blasko, who honed her haunting chops by singing in church choirs, and bandmate Robert Cranny play everything but drums and percussion on the album as well as share songwriting and production input. The sparse and melancholic music contains just enough textured effects in the vein of P.J. Harvey's "To Bring You My Love" to arouse interest, but Blasko's register is often off and the overwhelming sense is that - however beautifully executed – this has all been done before and maybe she should stick to EPs for now, as the disc rapidly loses steam after seven tracks. David Thornton

Ray Charles Genius & Friends (Atlantic/Rhino)

The enormous success of the film Ray, coupled with the unexpected commercial success of Genius Loves Company in 2004 and his subsequent passing, has rekindled interest in Charles’ music. Guitarist John Scofield pays homage to both Charles’ musical versatility and artistry with this tribute release, while Genius & Friends gathers various duets that Charles had recorded in 1997 and 1998 with collaborators just as diverse as those on Genius Loves Company.
Scofield’s an ideal soloist to explore Charles work, since he has a similarly broad musical approach. He covers the landmark R&B and country numbers, while enlisting some amazing singers to handle the vocal duties. Dr. John, John Mayer, Mavis Staples, Aaron Neville and Warren Haynes are among those who appear on such songs as “What’d I Say,” “Night Time Is The Right Time,” “I Can’t Stop Loving You” and “You Don’t Know Me,” with Neville particularly dashing on “You Don’t Know Me” while Staples and Dr. John are consistently first-rate. The instrumental collaborators include longtime Charles musical companion David “Fathead” Newman, who adds soulful tenor licks to “What’d I Say” and” Hit The Road Jack.” Another key figure is keyboardist Larry Goldings. Whether chiming in on Hammond B-3, piano, Wurlitzer or even vibes, Goldings sustains the energy developed by Scofield and often extends it, while bassist Willie Weeks and drummer Steve Jordan oversee the rhythmic foundations. Able to supply frenetic accompaniment or flamboyant lead phrases, John Scofield and company don’t just recite Ray Charles’ tunes, they reinvigorate them.
Charles was generally in fine form on the 14 pieces comprising Genius & Friends. He could always adapt to anyone’s tendencies or style, and thus could easily accommodate booming, soulful singers (Angie Stone, Ruben Studdard, Gladys Knight, Patti Labelle), laid-back stylists (Willie Nelson), fish-out-of-water types (Chris Isaak, Idina Menzel, Laura Pausini) and longtime fans struggling to find a comfort zone with their idol (George Michael, Alicia Keys, Leela James, John Legend). Listening to Charles making adjustments during choruses, subtly shifting lyric emphasis mid-song or smartly changing his own approach without ever affecting a song’s mood and pace, Genius & Friends is a lesson in partnership and compromise without sacrificing style or integrity. It’s also one last addition to a glitteing, incomparable legacy. Ron Wynn

The Long Winters Ultimatum EP (Barsuk). Need to brush up on technique: 2-1/2 ribs

This short set leaves behind the pop-rock numbers for which the band is known and immediately takes off on an ill-fated space shuttle flight with "The Commander Thinks Aloud," but it's mostly a sharp descent from there. Listening to a live version of "Ultimatum," which closes the disc, makes one realize how bad a record is if it's an EP and you still can't wait for it to end, not to mention that it's not exactly a selling point for their stage act. It's obvious this EP exists just to tide fans over for next year's full-length release - and let's just hope this was an experiment. David Thornton

Stubbs The Zombie: The Soundtrack (Shout! Factory). Variety is the spice of life: 4 ribs.

This musical accompaniment to a recently released video game opens with a stale version of "Lollipop" by Brooklyn indie popster Ben Kweller but quickly redeems itself with The Ravonettes' "My Boyfriend's Back" and an eerie rendition of "Earth Angel" by Death Cab for Cutie which even usurps the original. Also included is "Strangers in the Night," quite possibly Cake's best song ever. The disc hits a lull with offerings from The Dandy Warhols and Oranger (OK, maybe there's not much material to work with), but finishes strong starting with The Flaming Lips' sublime treatment of "If I Only Had A Brain," with Wayne Coyne in what hardly could be deemed as scary voice. Maybe Coyne is paying Lip service to Bonnaroo fans who, in 2003, were promised a showing of "The Wizard of Oz" set to the tunes of "Dark Side of the Moon" and were denied - but then that may have been too much for a fragile mind to take. This disc would make a great stocking stuffer for grandfolks open to a hip spin on some of their '50s favorites; it got my mom's stamp of approval. David Thornton

Beastie Boys Solid Gold Hits (Capitol). 5 ribs-a full slab.

The B Boys have been dropping science since the very beginnings of hip hop. As a matter of fact, they popularized the phrase, “Dropping Sceince.” In celebration of their 24th anniversary, Capitol Records finally decided to lionize Michael “Mike D” Diamond, Adam “Adrock” Horovitz and Adam “MCA” Yauch—known collectively as Beastie Boys. While there’s no way to ever put together a single album with every Beastie Boy hit (there’s just too damn many). Capitol was able to capture 15 bombing tracks, which covers each chapter of the NYC trio’s storied career. Solid Gold has a taste of everything Beastie--from the old days (“Brass Monkey,” “No Sleep ‘Til Brooklyn” and “Fight For Your Right”) to west coast detours “Shake Your Rump, “So What’cha Want” and “Sabotage,” to last year’s return To The 5 Boroughs’ and everything in between (“Ch-Check It Out,” “An Open Letter To NYC” and “Triple Trouble”). Will Jordan

Black Tie Dynasty This Stays Between Us EP (Idol).i Lays on sonic textures really thick: 4 ribs.

Need a Fixx for guitars that soar like Seagulls? Well, this little Texas band that could has the Cure. From the skippy off-beats of opener "Crime Scene" to the ectoplastic, Cocteau-esque keyboards and guitars of "Ghost of a Secretary," these six little gems have you covered. David Thornton

Chris Botti To Love Again: The Duets (Columbia)

The time is fast approaching for a moratorium on pre-rock collections and duet discs, because the market’s glutted with plenty of each type. But don’t let that caveat dissuade you from getting one of the better recent entries in both genres, as magnificent trumpeter Chris Botti delivers an enchanting and sophisticated collection spotlighting vintage show tunes, ballads and standards. His unaccompanied playing is so rich, technically flawless in all registers and striking that it’s almost a shame the label didn’t just let him cut an instrumental set. His melodic expositions and solos on “Embraceable You,” “What’s New,” “To Love Again” and “I’ll Be Seeing You” retain your interest, no matter how many different versions of these songs you’ve heard. By contrast, the vocal numbers are less consistent, mainly because some of these folks are either grossly overexposed (Sting) or doing their best on songs that just don’t fit their profile (Jill Scott on “Good Morning Heartache” and Steven Tyler on “Smile” are exhibits A and B here).
Michael Buble’ emerges as the most memorable interpreter, mainly because “Let There Be Love” is a prototype piece for his Sinatra-tinged delivery. Paula Cole and Gladys Knight do commendable jobs on “My One and Only Love” and “Lover Man,” respectively, but it’s still another case of outstanding non-jazz singers determined to reaffirm their artistic credentials. They succeed, yet there’s no doubt that the finest performances here come from the trumpet of Chris Botti. Ron Wynn

The Cloud Room (Gigantic). Saucy, lip-smackin' satisfaction: 4-1/2 ribs.

Twenty-eight pages of press just can't be wrong! Segueing from the indie smash "Hey Now Now" to the chewy bass lines of "Waterfall" and Mark E. Smith vocal inflections on their ode to power failure, "Blackout!", these bright lights of New York's New Wave have managed to create a sophisticated synth masterpiece that's not overly arty - so well, in fact, the first six perfect pop confections flew off the booty-shakin' charts at an impromptu "American Bandstand" session at my sister's house over the Thanksgiving holidays. Named after a Prohibition-era speakeasy that used to sit atop the Chrysler Building, the band is fronted by J., a California transplant who was screwed out of a job working for cult film director Hal Hartley but decided to stay on in the Big Apple to front a band that combines the sounds of Pulp, New Order, Roxy Music, The Postal Service and Modest Mouse with a fashion sensibility akin to a poor man's Spandau Ballet - a rare triumph of style over substance. David Thornton

Hopewell: Hopewell and the Birds of Appetite (Tee Pee). Meaty disc comes with all the fixins: 5 ribs.

Hopewell hardly succumbs to the sophomore jinx, with what at first appear to be sloppy compositions unfolding into lush intricacy - from the Nirvana chords on the opening "Trumpet for a Lung" to droopy yet sunny organs two tracks later on "Praise Twice." Singer Jason Russo, who's spent time in the revolving door of the legendary Mercury Rev, gives a downright nasaly Shannon Hoon/Perry Farrell delivery on "Sugar in the Honey," which is followed by the positively druggy/dreamy "Synthetic Symphony" and the instrumental title track. These low-key, psychedelic dirges resonate like the Rolls-Royce of garage rock. David Thornton

RSL Every Preston Guild (Players). 3 ½ ribs-dripping with salsa.

The UK-based three-man production outfit that is RSL throw down some serious jazz-nasty rhythms. Though the Jazz-Latin vibe runs throughout their release, Every Preston Guild , the album’s mood is tough to nail down. True to the Latin/Jazz tradition (they travel with a nine-piece band), many of the songs begin sleepily and then peak with dizzying percussive beats (“Every Preston Guild,” “Star”) and some continue the sweet, mellow movements (“Inside Looking Out,” “Cae La Lluvia”). A couple of tracks come right out with less orchestration and more straight forward dance pulse (“Wesley Music”). Will Jordan

Beth Wood Marigolds (ASCAP). Sweet and tender but lacks bite: 3 ribs.

"To me, 'Marigolds' is about hope, joy and rebirth. Even the sadder songs have a glimmer of hope that is always present in my writing. I just don't have it in me to paint a depressing picture and leave it that way without a tiny ray of light." And herein lies the
problem - overly innocuous fodder for the Lilith Fair set, baring a striking resemblence to Paula Cole in not just looks alone. Don't get me wrong, the playing and singing are impeccably gorgeous - even when things get so Sheryl Crow on "Skeleton Tree" - but even beauty wanes after a long 13 songs. Check into Victoria Williams for a more vivid picture. David Thornton

Coleman Hawkins/Eric Dolphy/Jackie McLean/Kenny Burrell Prestige Profiles (Concord/Prestige)

These are four titles in a new series from Concord/Prestige that repackages last year’s Best of samplers into updated sets with bonus discs presenting related material both from the spotlight performer and others. Coleman Hawkins was one of the inventors of the modern tenor sax vocabulary. Though not quite the swaggering giant by the time he arrived at Prestige, these tracks cover some ‘60s sessions and show that Hawkins could still summon the array of slurs, smears, blues influences and swing maneuvers from his heyday. Other than the large band version of “Since I Fell For You” that matches Hawkins with fellow saxophonists Pepper Adams and Jerome Richardson, these are mainly small combo sets with the robust Hawkins tenor setting the agenda and then various rhythm section comrades coming in behind and around him. The bonus disc leads off with a great tenor battle type tune, “Fourmost,” as Hawkins matches wits with Eddie “Lockjaw” Davis, Buddy Tate and Arnett Cobb. Though not the most essential stuff in the Hawkins arsenal, these are nicely played, enjoyable tracks.
Alto saxophonist, bass clarinetist and flutist Eric Dolphy was perhaps Prestige’s most visionary and imaginative player. His leaping flurries and constantly edgy playing ruffled some feathers in the jazz world among more conservative types that felt he was moving too far away from basic musical values. These songs include his gorgeous, soaring flute work on “Miss Ann,” rampaging low-register bass clarinet playing on “G.W.” and “On Green Dolphin Street” and his continually dazzling alto sax work. Some of these pieces also had the rather unusual piano/bass/cello/drums configuration behind Dolphy, with Ron Carter moving from his customary bass to cello and George Duvivier handling the bass duties. Sadly, there’s no bonus material here, but the 10 featured cuts provide more than an ample sampling of Dolphy’s greatness.
Jackie McLean also forged an alternative territory on alto sax, though he still maintained a link to the classic bop sound. But he was far hotter than many of the West Coast types, and would eventually explore the avant-garde and beyond during the ‘60s. Here he’s doing predominantly blues and mainstream material, though his fiery duet with fellow alto saxophonist
John Jenkins on the cut “Alto Madness” served as their nod to the Coltrane/Rollins piece “Tenor Madness.” McLean touches on familiar pieces “Embraceable You” and “Sentimental Journey,” but also delves into more adventurous territory on the cuts “Mirage,” “Strange Blues” and “Lights Out.” The bonus disc profiles various McLean contemporaries, among them Gigi
Gryce, James Moody, Sonny Stitt, Phil Woods and the grossly neglected Sonny Criss.
Guitarist Kenny Burrell is equally at home doing relaxed, bluesy numbers, participating in hard-edged jam sessions, or doing elegant solos backed by an orchestra. The eight tunes here range from a masterful extended work “All Day Long” to softer, lush interpretations of “It’s A Wonderful World,” “I’ll Close My Eyes” and “I Never Knew.” Burrell has never played
any excessive or unnecessary notes, managing to sound both smooth and passionate, energetic and sophisticated. The bonus disc blends soul jazz, blues and swing, with contributions from Tal Farlow, George Benson, Jimmy Raney and Pat Martino among others.
This series also has selections from luminaries such as Miles Davis and John Coltrane. It’s certainly not the type of comprehensive set designed for longtime listeners, but the Profiles series can be a good introduction for those either still learning about jazz or anxious to find out its roots and history. Ron Wynn

The Deadly Snakes Porcella (In The Red). Messy but stacked with flava: 4 ribs.

Called by "Vice Magazine" as the "best rock 'n' roll outfit playing in Canada, period," this record has the feel of going to a friend's house for a jam session, but the band insists its music derives far more from The Kinks, Nick Cave and others than garage rock, though shades of Morphine and Goober & the Peas rang through after repeated listens. In fact, this magnum opus was created in a log cabin in the wilds of Ontario before the band set off on tour with The Hives in 2004. Beginning with track No. 5, "Gore Veil," the disc just gets better and better - ranging from the '60s gospel of "So Young & Cruel" and very Elvis Costello-y "Oh Lord, My Heart!" to the far-off late-night AM radio ambience of "I Heard Your Voice" and the stunning closer, "A Bird in the Hand is Worthless," which is also the tentative title of a 20-song, double-LP vinyl release set for January. David Thornton

Sam Champion: Slow Rewind (Razor & Tie). Nice and tangy but could use more marinatin': 3 ribs.

This New York-based band, not a person, mixes fuzzy Crazy Horse feedback and grungy solos with pretty, jangly and plaintive songs reminiscent of The Silos. The group is basically a showcase for singer/songwriter/guitarist Noah Chernin, whose memorable lines include "I am aggressively lazy" and "You plagiarize your funny friends" on the opening title track and Alex Chilton- and low-lonesome David Lowery-like vocalizations on songs like "Company Town" and "You Can't See the Stars In This Town," respectively. David Thornton

Maximo Park A Certain Trigger (Warp). Thin, dry and falling off the bone: 3 ribs.

Something about this debut disc from these Newcastle Englanders reeks of reaching for the "Franz" prize but coming off more like Haircut 100 or a much less punky male version of The Go-Gos. You'd think such minimal, bouncy and very early '80s synth pop would be nothing short of infectious and deliciously derivative, but the album suffers from a strange lack of hooks and its intentionally tinny production (even the label admits these songs were primarily written for the stage, and Tripwire's Chip Adams called their live show at last spring's South By Southwest music festival in Austin "fucking brilliant"). There are highlights, however, including the unexpected scratchy guitar on "Signal and Sign"; a "Why Can't I Have You" interlude on "Postcard of a Painting"; the catchy "Going Missing"; the pull-no-punches Wonder Stuff-iness of "Now I'm All Over the Shop" and its "surrender song" follow-up, "Acrobat"; and the short, sweet and hopeful closer, "Kiss You Better." David Thornton

Finna Protect Me From What I Want. 4 ribs-tastes like chicken.

Finna make upbeat, catchy R & B pop music with a twist of rock and a dash of jazz. Their release, Protect Me From What I Want features the original four members (L.A. Lopez, Moe Raw, Jason Ehleben and Todd Newland) but also seven additional musicians creating extensive instrumentation and an overall “big” sound. The Finna collective come out swinging with opening track, “Blocking The Son” peaks with “Remember” cries out with “Together” and slows down with “Pete Rose.” Will Jordan

Odetta Gonna Let It Shine (M.C.)

Odetta Gordon’s blended Delta and country blues with folk, children’s songs and spirituals since the ‘60s, constantly blurring idiomatic lines and displaying a strong, confident and dynamic voice on everything that she sings. This concert disc has a holiday theme, and begins with her ringing versions of “This Little Light of Mine,” “Rise Up Shepherd” and “Mary Had A
Baby.” While she maintains the Christmas tone throughout, her voice gets more demonstrative and expressive through the program, particularly during the “Freedom Trilogy,” which simultaneously celebrates the occasion and the spirit of liberation and escape from oppression that’s characterized the Civil Rights Movement. She finally makes one departure from the thematic norm, zipping into a poignant and explosive version of “Midnight Special.” The disc concludes with a wonderful bonus cut that matches Odetta and the Holmes Brothers on “This Little Light of Mine.” While her beginning rendition was warm and congenial, this version has more fire and vocal fuel, with the Holmes Brothers supplying great harmonies and Odetta turning up the intensity. Here’s a seasonal disc that’s much more than just another recycling of carols and shopworn holiday numbers. Ron Wynn

Gravity Propulsion System Get Destroy (Ascetic). Could rub you the wrong way or become mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmman acquired taste: 3 ribs

The name threw me, expecting a surfy, quirky sci-fi movie rave-up more in line with Man or Astro-Man? (well, there ARE some obscure audio film clips thrown in here and there) than some Skinny Puppy without the industrial plodding, unrepentantly noisy early Sonic Youth, Sebadoh filler and Jesus Lizard-like shit you hear on your local college station at 3 a.m. - but that's just the first two numbers. Two-thirds of this Oklahoma City outfit works by day at Hoffman Bikes, which serves as their practice space by night. Track 3 provides a nice refrain from "singing," and No. 6 actually does move like their name suggests. The saving grace is that these "songs" aren't as long as you might imagine, and the cover art of urinals sums up the sound pretty well - they're pissed like an Amphetamine Reptile! David Thornton

Steve Porter Homegrown EP (FDS). Sample platter not fit for paper plate: 2 ribs.

New England DJ spins out what is termed "progressive house," but these 14 uninterrupted "songs" sound more like the longest Thompson Twins intro ever. Though kudos go out for the impressive execution of the mix, "Homegrown" is an apt title - you won't be dancing to this concoction with a New Agey Orinoco Ono flow; this one's better suited for the sack. David Thornton

Penuckle The Sun Beckons (Basement). 4 ribs-on fire!

Lean the seat way back, turn the bass up and set the car to cruise control. Penuckle’s laid-back flow on his debut release, The Sun Beckons drips with flava the way west coast used to. Opening “Welcome” introduces the smoothness of the mix with bass-heavy “Study Music” and the like to follow. Penuckle has come a long way from hustling his stylings out of the trunk of his car and rapping in talent shows. With The Sun Beckons, the rest of the world will be introduced to his infectious flow. Will Jordan

Watershed The Fifth of July (Idol). Jerked like chicken: 3-1/2 ribs.

Columbus-Ohio's Watershed cranks out the pure power pop for its first release in three years. Paying homage to other Midwestern rawk acts like Cheap Trick, Soul Asylum and early Goo Goo Dolls, the cliched and slightly anthemic party-life lyrics work well for this 10-year-old bar band. The disc starts strong with the single "Obvious" and picks up steam again with "Small Doses" before taking a hard turn with "Laundromat." What's amazing is that you can pull off this kind of music without the slightest hint of metal or country ... well, until the first half of track 9 - "New Depression." The album ends with a nice change of pace with the Wilco-tinged sorrow of "Going Through the Motions," which is answered on a positive note with "The Best Is Yet to Come." Not a great record, but pretty damn good at what it is - nothing more, nothing less. David Thornton

Bob Marley & The Wailers Africa Unite: The Singles Collection (Universal-Island). 5 ribs

Bob Marley died too young. When complications due to cancer finally took him, he was topping charts all over the world, leaving his fans begging for more. Something no one was able to give for many years, until now. On Africa Unite, Island Records, Tuff Gong and Universal joined forces to release 17 vintage tracks including the previously unheard, “Slogans,” the first new official Marley track released in more than a decade. It is believed Marley recorded the song in a Miami bedroom in 1979, according to Universal. The tapes were kept at Marley’s mother’s house and last year the reggae legend’s sons Stephen and Ziggy revisited the acoustic demo. In 2005, Stephen overdubbed the tracks with other instruments including guitar by Eric Clapton. The Marley brothers produced “Slogans” specifically for this release. Other highlights include a remix of “Africa Unite,” featuring Will I Am of the Black Eyed Peas and “Get Up, Stand Up Vs. Jamrock,” a “mash-up” of Bob’s classic and “Welcome To Jamrock” the 2005 hit by youngest son Damian. Will Jordan

Frontiers: Behrouz & Yousef (Thirsty Ear). 4 ribs-a buffet of flavors.

The UK and US collide in a melodious mixture of dance tracks as Renaissance pit together San Francisco DJ Behrouz and Liverpool-bred Yousef in a double disk CD compilation Frontiers. In this global dance compilation, doors are kicked off their hinges as genres are blurred and all areas touched. From opening “Shine For Me” to coda “Perfect Traveler,” Frontiers is an unpredictable landscape of influences from around the world. Will Jordan

A John Waters Christmas (Newline). 3 1/2 ribs-chase it down with plenty of egg nog.

Ahh the holidays. And who better to share them with than the wonderfully twisted John Waters himself There’s nothing that says Christmas like a compilation of the most bizarre Christmas tracks ever heard. Waters has them all on one disk, including Tiny Tim’s eerie rendition of “Rudolph The Red-Nosed Reindeer,” the creepy “Happy Birthday Jesus” read by Little Cindy, the hilarious “Here Comes Fatty Claus” by Rudolph and the Gang or the catchy “Fat Daddy (Is Santa Claus). And nothing is more nostalgia evoking than Alvin and The Chipmunk’s “Sleigh Ride.” Will Jordan

Pat Boone Ready To Rock, Glory Train: The Lost Sessions, American Glory, Latin Love, We Are Family, Hopeless Romantic (Gold Label/Oak)

Celebrating 50 years in the biz, Pat Boone is hoping to accomplish something unprecedented in the music world. He wants to hit six different Billboard charts at the same time. With releases as varied as Latin love songs, R&B groovers, an ode to NASCAR and a tribute to Rev. Billy Graham, that features U2’s Bono, Boone’s all over the place with his new recordings. Ready To Rock’s “NASCAR Time” is already playing on Jumbotrons at races. American Glory is picking up attention with its patriotic songs. Glory Train: The Lost Sessions has a slough of contributors backing Boone. We Are Family is a twist on Frank Sinatra’s Duets concept. He covers Michael Jackson’s “She’s Out Of My Life” on Hopeless Romantic and Latin Love is the first release on the new Latin division of Boone’s Gold label. If that’s not enough, Boone’s also releasing a disk of Celtic tunes recorded for his summer 2005 tour. For someone who’s been in the business since 1955, he hasn’t shown one bit of slowing down. Will Jordan

Fat Lip Theloneliest Punk (Delicious Vinyl). 4 rib-smacks of flava.

Fatlip, former lead MC of the innovative rap Cali quartet The Pharcyde, finally returns to the mic after a lengthy hiatus. After he split with The Pharcyde in the mid-1990s Fatlip struggled to get his solo career jumpstarted, something he flows about on the track “Writer’s Block” on the new release as well as discusses in a bonus DVD, documented by filmmaker Spike Jonze. Theloneliest Punk is a culmination of everything Fatlip has always spit about, whether it’s unadulterated honesty as when he details his post-Pharcyde life on “First Heat” or allows a glimpse into his personal life on “The Story Of Us,” but it’s also festive and funny like on “Today’s Your Day ( WhachagoneDu?) and “Joe’s Turkey.” Kudos to Michael “Mike Floss” Ross, owner of Delicious Vinyl, for never giving up on one of the most underestimated lyricists of all time. Will Jordan

Gang Of Four Return The Gift (V2). 3 ½ ribs-takes like chicken

It only takes a brief listen to a handful of bands who are currently making an impact on airwaves across the world (Franz Ferdinand, Bloc Party, Futureheads) before one senses something oddly familiar. That’s because they all have Gang Of Four’s imprint on all of their sounds.
Gang of Four slammed through the late ‘70s and early ‘80s with “cerebral, angular rock music” chiseling out their own little niche in the ever-growing pile of uncategorical rock music. Formed by Jon King (vocals), Andy Gill (guitar), Dave Allen (bass) and Hugo Burnham (drums), Gang of Four set out to kick down doors of conventional sounds. The result was a new sound that was “before their time,” but was hailed by musicians everywhere. The band reformed earlier this year for a series of UK and US dates and revisited their back catalogue with Return The Gift. Will Jordan

One Self Children Of Possibility (Ninja Tune). 4 1/2 ribs-so much flava ya gotta sop it up with a biscuit.

DJ Vadim has been on the who’s who of underground hip hop list for many a moon as an independent instrumentalist, but decided to link forces with a couple of unique voices on Children of Possibility. Swedish/Brazilian soulstress Yarah Bravo mixes her sinewy singings with the relaxed lyricisms of Blu Rum 13 to create funktifried, kicked-back vibes while holding steady to conscious themes inherent throughout. The entire releas es early ‘90s pioneers Native Tongues or Digable Planets with complicated rhythms and time-sensitive words of 2005. Will Jordan

Three Hallucienda (System Recordings). 4 ribs-spicy-need plenty of napkins

It’s impossible to listen to NY-bred DJ/producer Three’s first official release without knodding your head and shaking your ass throughout. Hallucienda is in Three’s own words, “like a night out.” The compilation forces the listener into a swirling nostalgia, reminiscent of early morning parties and late night cruises. Hallucienda includes enhanced CD access to a second downloadable bonus mix of Limited and Hallucination Recordings catalogue releases, also mixed by Three. Will Jordan

The Decherd Boys Volume 1 (Moondog). 4 ribs-finger lickin’ good

Despite tribulations and lengthy hiatuses, The Decherd Boys have regrouped and are dropping sounds like bombs on listeners anxious for raw, real, unpredictable rocking tunes. Andrew Janeway’s vocals have tremendous range from melodious, soulful harmonizing on “Get It” to thunderous belching on “Free Willy” and “Vidmantis Horkus” to playful Les Claypoolesque ranting on “Second Inch” and “Chuck Norris.” Volume I of the Decherd Boys self-titled release slices through the speakers with the anthemic, catchy track “Get It.” The hilarious, haunting “Chuck Norris” follows, changing the mood. The sounds continue to morph throughout the release until it rains a fiery, tongue-in-cheek, droned-out coda “Hail Satan.” The Decherd Boys are Russ Cannon on drums, Chris Ross on bass and Janeway on guitar and vocals. Keep your ears out. They’re even better live. Will Jordan

Blessing The Hogs The Twelve Gauge Solution (Goodfellow). 2 ribs-too much pork, not mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmenough meat

Like a shotgun blast to the face, Blessing the Hogs come out of San Francisco armed to the teeth with merciless sonic weaponry. Tracks like “Pretard” and “Chemical Equalizer” hit like balls of lead slamming the eardrums with frenzied mayhem. Also included are two covers (Quicksand’s “Fazer” and Melvins’ “Hogleg.” In addition to the music, there is an enhanced feature for the computer containing the video game Metal Man, the music video for “Let’s Play Doctor” and more. Will Jordan

Raging Speedhorn How The Great Have Fallen (SPV). 2 ½ ribs-leaves a harsh aftertaste

Belching flames with every screech Raging Speedhorn are hellbent on destruction with their latest, How The Great Have Fallen. On their third studio album, Raging Speedhorn combines elements from both previous releases for more of their familiar grimy sound.
Sludge through tracks such as “A Different Shade Of Shit,” “Slay The Coward” and “Don’t Let The Bastards Grind You Down.” If that’s not enough abuse, UK limited edition release includes 2 bonus tracks and a bonus DVD with live footage and the videos for Thumper and FTVM. Will Jordan

Sound Directions The Funky Side Of Life (Stones Throw). 4 ribs-sop that flava up with a mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmtbiscuit

Smooth grooves emanate like theme music from ‘70s cop shows on Madlib’s latest brainchild, Sound Directions. For his second full-length album of 2005, the producer enlisted arranger Todd Simon and session players to help recreate ‘60s and ‘70s session music. Tunes like the late Saint Louis saxophonist Oliver Sain and legendary jazzer and soundtrack composer J.J. Johnson get the breakbeat treatment, while mellow organs and guitar solos lace the newest version of Billy Brooks’ classic “Forty Days” tune. Will Jordan

Throwdown Vendetta (Trustkill). 3 ribs-a little charred

Throwdown spits fiery, hostility-driven, guttural rock sounds with unforgiving vengeance on their debut, Vendetta. Hailing from Orange County, CA, Throwdown are anything but stereotypical Cali boys. A darkness in the shape of a mosh pit begins churning at opening, “We Will Rise” and doesn’t cease spinning until the appropriately titled coda, “This Is Where It Ends.” Will Jordan

Paleo Misery, Missouri (self-released record). 4 ribs-smacks of flava.

Dreamy, listless emotional outpourings come floating out of the speakers with every track on Misery, Missouri. Captured with a single palfrey microphone during a two-week stay at a horse ranch in the Ozarks, Dave Strackany aka Paleo has created a lo-fi epic with minimal elements so as not to distract from the poetic verse. Each song drips with cathartic release from opening “Houdini” to coda “19 Ninety-Two.” More info can be found at Paleo's site - www.paleo.ws.By Will Jordan

Carly Simon Moonlight Serenade (Columbia)

Carly Simon reunites with longtime producer Richard Perry on her fourth collection of pre-rock pop and jazz-tinged material, and it’s mostly well played and nicely sung. Her renditions of “I’ve Got You Under My Skin,” “Moonglow,” “In The Still Of the Night” and “The More I See You” show that Simon has the requisite understanding of dynamics, pacing and flow, and aren’t overwhelmed or bothered by orchestration or tempo changes. Lee R. Thornburg adds a supple, charming flueglhorn solo on “All The Things You Are,” and Tom Evans’ sax lines provide some instrumental bite and fiber to her rendition of “I Only Have Eyes For You.” Perhaps the only missing ingredient here is a bit more fire, some edge in her readings. If anything, Simon recreates and delivers this material a bit too smoothly and carefully, revealing she certainly understands the origins and intent of the work, but doesn’t inject any fresh or distinctive ingredients into her interpretations. Still, her versions of these standards have more stylistic credibility than some other rock and pop performers who’ve delved into standards as an afterthought. By Ron Wynn

Funkservice International Life and Flowers (B & B). 2 ½ ribs-served shaken or stirred.

Like a soundtrack to a steamy James Bond film set in an exotic European setting, Funkservice International’s Life and Flowers is a mellow, sultry sonic adventure. Composer, arranger, lyricist and all around mastermind of Funkservice International, Adil Fadi, explores a wide range of cultural avenues as he navigates through his virtual world of electronic soundscapes. Kajsa Karlsson’s sexy lyricisms are hypnotically familiar (think Macy Gray) and tracks such as “Oh It’s You” “Aquablanca,” and “Bossa Nouveau” are definite late-night head-bobbers. By Will Jordan

Artie Shaw The Essential Artie Shaw (Sony/Legacy)

Artie Shaw was a maverick soloist and bandleader, a fantastic player whose imagination on the instrument proved far greater than his patience for the restrictions of mass popularity. Shaw had little interest in creating short, rhythmically simple pieces that could be plugged into the swing craze, and instead saw himself as a creative figure who wanted to craft complex works and look toward future developments. Still, he was such a great player and his band so skilled at delivering commercial properties that he emerged a star in spite of his preferences and personality. This two-disc reissue covers classic Shaw numbers from the late ‘30s and early ‘40s, among them both small combo and large orchestra pieces such as “Special Delivery Stomp,” “Scuttlebutt,” “Deep Purple,” “Blues In The Night” and his most famous work “Begin The Beguine.” Shaw’s rich, frenetic and increasingly sophisticated clarinet work stood alongside that of his rival Benny Goodman as perhaps the finest on his instrument of the era. These are the compositions and performances that became his signature numbers, and still rank among the most beloved and requested tunes ever issued during the Swing era. m t By Ron Wynn

Grand Buffet Five Years of Fireworks (Fighting). 4 ribs-goes down better with Grape Drink. 4

Grand Buffet lift “nerd rap” to new heights with the release of Five Years of Fireworks. These Pittsburg, PA-bred fellas make Biz Markie look like a freakin’ rock star on the accompanying DVD as they gyrate on fire escapes, air-guitar with rakes and pour drinks on other nerds. They do these nonsensicals while belting out annoyingly, yet at times admittedly catchy rhymes about “Benjamin Franklin,” “Candy Bars” and “Things That Go Hump In The Night.” By Will Jordan

Fieldwork Simulated Progress (PI recordings)

Fieldwork isn’t exactly your prototype jazz trio. The crew includes the exciting pianist Vijay Iyer, a fiery and often surprising alto/sopranino saxophonist Steve Lehman and a sterling percussionist Elliot Humberto Kavee. The 11 pieces featured on Simulated Progress are just as unusual. These are predominantly unison works, not quite free pieces, but far from the standard opening melody/solos/conclusion jazz structure. Instead, they’re flowing numbers, with roles easily switched from lead to accompaniment, and no single player emerging as the featured instrumentalist for any extensive stretch. They’re also mostly short works, with “Transgression” and “Media Studies” being the longest numbers and neither of those being as long as six minutes. Yet these three still demonstrate their proficiency through crisp and quick musical responses and interaction during transition passages and shifting song sections. If you’re looking for pieces with set time signatures and thick, steady rhythms, Fieldwork’s tunes won’t be persuasive or appealing. But anyone that enjoys thoughtful, unpredictable
and keenly played music will find Simulated Progress quite rewarding. By Ron Wynn

Death By Stereo Death For Life (Epitaph). 2 ½ ribs-hope ya like ‘em rare, cause this one’s mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmdripping.

Like a shot to the stomach, Death By Stereo’s latest, Death For Life, leaves listeners buckled over in their wake. Vocalist Efrem Schulz belches indiscernible lyrics over rich harmonies to the rapid-fire guitar riffs, thunderous bass and pummeling drums, emitted by this slamming five piece. While most are in the same furious vein of brutality eminent on “Binge/Purge” “Entombed We Collide” and “Middle Fingers,” the boys prove to have ballad making skills as well as depicted on “Forever And A Day” and “Don’t Piss On My Neck And Tell Me It’s Raining.” By Will Jordan

The Afro-Latin Jazz Orchestra with Arturo O’Farrill Noche Inolvidable (An Unforgettable Night) (Jazz At Lincoln Center)

The Afro-Latin Jazz Orchestra balances its program between surging, animated works designed to please dancers and more intricate, fiercely played tunes that test the limits and talents of its members on this new release that was cut live last January at the Rose Theater. While the longer selections such as “Ensename Tu & Piensalo Bien,” “Corazon Rebelde” and “Buscando La Melodia” provide ample space and room for an array of sublime soloists, the shorter pieces put the spotlight on vocalists Herman Olivera and Claudia Acuna, who prove striking and delightful singers on pieces like “Somos Novios” and “Mi Amor Fugaz.” Arturo O’Farrill’s arrangements sometimes drive and bolster the vocalists, and other times augment spiraling trumpeters, trombonists and saxophonists with layers of rhythm, or throbbing bass lines that in turn are contrasted with tight drumming from Vince Cherico. Though not quite as ambitious or edgy as anticipated, the Afro-Latin Jazz Orchestra’s newest effort does have plenty of satisfactory outings that do reaffirm O’Farrill’s credentials as a first-rate conductor and arranger. By Ron Wynn

AWOL One & Daddy Kev Killafornia (Alpha Pup). 3 ribs-mystery meat.

AWOL One and Daddy Kev stay entrenched in the LA underground on Killafornia, the duo’s five song EP of obscure West Coast rhymes. Opening track “The Unwanted” introduces the release with shout outs to other like-minded mic holder’s Sage Francis and Atmosphere and the rest follows in the same vein. By Will Jordan

Zucchero Zucchero & Co. (Concord/Hear Music)

Adelmo Fornaciari AKA Zucchero has been a star in European circles since the mid-‘80s, and has formed plenty of friendships within the American music community. Many of them join him for a duet work that dips into everything from opera and pop to soul, blues, world music and light jazz. “Lay Down,” a collaboration with John Lee Hooker, is both rambling and charming, and the same holds true for Zucchero performances with B.B. King on “Hey Man – Sing a Song, “ Eric Clapton on “Wonderful World” (awfully close to MOR) and “Diavolo in Me” with Rev. Solomon Burke. Miles Davis was clearly nearing the end of the road on “Dune Mosse,” as his playing sounds detached and unconvincing. The last track “Miserere” matches Zucchero with Luciano Pavarotti & Andrea Bocelli, and both vocalists are so immense and transcendent that they nearly obliterate Zucchero’s presence. Indeed, the musical unions that work on this disc do so more because the other party (Sheryl Crow, Sting, Hooker, King) finds a way to maintain their approach without overly disrupting Zucchero’s. Despite several occasions where things seem more desultory than convincing, the CD does also offer a decent introduction to the style and sound of Zucchero. By Ron Wynn

Skopic (Lunatic Works). 3 ½ ribs-straight funktafried.

The jazz-nasty flavors of Skopic aka Boston-based Max Braverman drip through headphones like a soundtrack to a post apocalyptic thriller. Skopic created the sounds cloistered in his dorm bedroom, but his production skills rival any. While moody undertones sound throughout, Skopic’s funky beats combined with obscure sampling and rapid scratching, reveal this debut as a smart and catchy blend of beats and well thought out orchestration. By Will Jordan

Captain Bringdown and the Buzzkillers Feel Good Tunes (Sock Hop). 2 ribs-a little overdone.

With elbow-flying, boot-stomping, thunderous fury, Captain Bringdown and the Buzzkillers have created six “feel good” moshable tunes on their latest. Anthemic tunes “For The Kids” and “Blistered Up” keep the punk-ska tradition alive in the same vein as similar-sounding Suicide Machines and Less Than Jake. Though they share some of the same traits as the aforementioned ska outfits, they lack commercial appeal and originality. By Will Jordan

Dave Brubeck London Flat: London Sharp (Telarc).

Venerable pianist Dave Brubeck doesn’t do as much experimenting with time signatures or insert as many classical devices into his solos today as he did when rocketing to fame in the O50s as arguably the world’s most popular jazz figure. But he does dip into that arena once more on the cut ”Time Changes”, perhaps the finest musical piece from his latest release, which despite the name is a studio project cut in New York. It features Brubeck and alto saxophonist Bobby Militello making tempo shifts and adjustment on the fly, never stretching or distorting the main melody so much it can’t be recognized, yet still altering the song’s mood and flow through their interaction. Brubeck’s also always had a fondness for stride, which he displays on “Mr. Fats”, a tribute to the great Fats Waller that also contains some delightful work by Brubeck in the choruses. His current quartet includes a master bassist in Michael Moore, whose long, angular lines, counterpoint and overall technical mastery on all 10 tunes is impressive. Drummer Randy Jones adds the final ingredient, a steady, dependable percussionist, and capable rhythmic controller. While a fair number of these pieces are short and more unison/group statements than individual workout pieces, the quartet demonstrates on “The Time Of Our Madness”, “Unisphere” and “Yes, We All Have Our Cross to Bear” that every member can stretch out and deliver a compelling solo as well as ably converge and perform strong collective stretches. London Flat: London Sharp presents a Brubeck band that’s still a fine unit, though not quite the international stars they once were. By Ron Wynn

Danny Cohen We’re All Gonna Die (Anti). 3 ½ ribs-Caution-this one may oink
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm when you bite into it.

If you crossed a whiskey-soaked Shane McGowen with a climbing-the-walls Syd Barrett and a guttural-growling Tom Waits, you’d come close to identifying the rare genius that is Danny Cohen. To venture through Cohen’s world of thought is like stepping through the red, velvet curtains of a Twin Peaks episode. With eerie, elaborately detailed off-key storytelling, We’re All Gonna Die, is shuddering with sarcasm from his ominous mooing on “Cows” to the mockingly macabre “Tongue-tied in Quicksand.” No one may take his ranting seriously, but one can’t ignore the heaviness that echoes in Cohen’s warning that indeed one day, We’re All Gonna Die. By Will Jordan

The Clayton-Hamilton Jazz Orchestra Live At MCG (MCG).

It’s a real pleasure to hear a large band like the Clayton-Hamilton Jazz Orchestra that is neither a repertory unit nor a “ghost” crew, but instead a working aggregation performing both originals and jazz standards. Bassist/conductor John Clayton has several swing era veterans on board, among them trumpeter Eugene “Snooky” Young, trombonist George Bohannon, and of course his co-leader, the dynamic drummer Jeff Hamilton. This live date recorded to benefit Pittsburgh¹s Manchester Craftsman¹s Guild, provided an ideal outlet for the Orchestra to demonstrate its versatility. They covered both familiar big band numbers like Duke Ellington¹s “Mood Indigo” and Hoagy Carmichael’s “Georgia”, which features former Nashville sax star Rickey Woodward on tenor, and more obscure pieces like Johnny Hodges’ ”Squatty Roo”, which again spotlights Woodard as well as Bohannon, pianist Tamir Hendelman, and trumpeter Gilbert Castellanos and Clay Jenkins. However the Clayton-Hamilton bunch is just at home with bop pieces, turning Thelonious Monk’s “Evidence” into a trumpet summit meeting, matching the slashing techniques of Castellanos, Jenkins, Bijon Watson and Sal Cracchiolo with the sophisticated contrasts of guitarist Randy Napoleon, and then doing the same thing with saxophones on Sonny Stitt’s “Eternal Triangle”. The song voicings and instrumental configurations are constantly surprising as well, with conductor Clayton sometimes preferring to have only one or two soloists, and other times essentially convening various sections for good-natured musical combat. There aren¹t many huge groups touring and performing in the 21st century, but the Clayton-Hamilton Jazz Orchestra’s brilliance and ferocity offer a grand reminder of the days when big bands ruled the musical world.
By Ron Wynn

Ying Yang Twins U.nited S.tates of A.tlanta (TVT). 3 ribs sticky-icky-need some Crunk juice
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm to wash these tracks down.

Those ATL-crunktified Ying Yang Twins return to the game donning suits and top hats with some new sounds and heavy hitters in tow. The twins enlisted soulful crooner Anthony Hamilton on laid back “Long Time” and pop chart conquistador Maroon 5’s Adam Levine on the hook for the dance-your-ass-off, “Live Again.” Other guest appearances include: Busta Rhymes, Missy Elliot and Mike Jones. Trying to shed the Crunk stigma, the Twins delve into new realms on U.S.A., dealing with unchartered themes such as war, politics and spirituality. Ying Yang once again comes out swinging with U.S.A. and plans once again reach platinum status. By Will Jordan

Vijay Iyer Reimagining (Savoy Jazz).

Pianist and composer Vijay Iyer has excited many jazz critics and fans alike with both his edgy writing and his distinctive playing. Neither a disciple of the modal school, a subdued or laid-back stylist, nor a particularly demonstrative or blues-tinged soloist, instead Iyer integrates bits and pieces of all these approaches and more in the impressive work that’s presented on his current release Reimaging. Although it seems a conventional quartet date, Iyer doesn¹t merely establish the main melody, then settle back and accompany the saxophonist. On such songs as ”Revolutions”, “Song for Midwood”, “Infogee¹s Cakewalk” or “Phalanx”, the group alternates roles within pieces, with Iyer sometimes aggressive and other times softer, frequently interacting with bassist Stephan Crump and drummer Marcus Gilmore behind alto saxophonist Rudresh Mahanthappa, whose spry lines, bright tone and alternately fiery and light style reveals a debt to Cannonball Adderly and David Sanborn, though he also possesses his own sound. Sometimes the quartet seem like four joint voices, then just as quickly Iyer will take the rhythm section on its own journey, while Mahanthappa establishes a parallel direction, only to have all four members eventually work themselves back to a set melodic structure. Both inside and outside, avant-garde and pop-influenced, Vijay Iyer¹s work on Reimagining only reaffirms his growing reputation as an emerging star among jazz players. By Ron Wynn

Onaje Allen Gumbs Remember Their Innocence (Ejano).

Keyboardist Onaje Allen Gumbs has moved from one end of the jazz spectrum to the other, going from more edgy and experimental fare early in his career to his current release that¹s sometimes serene and sometimes intense, but for the most part won¹t frighten or alienate listeners who veer away from less structured music. Gumbs remains a wonderful player, with a supple, fleeing style that¹s distinguished by a flair for crafting and executing engaging melodies and light, graceful patterns. When working with alto saxophonists Roger Byam or Sadao Watanabe, Gumbs embellishes their lines in places, complements or intersects them in other sections, and always ultimately adds some luster to the overall piece. He teams with varying instrumentalists on these numbers, with he and Byam teaming for poignant opening and closing performances on the disc, and Gumbs also offering on the tune “Playtime” one of the CD’s strongest tunes. Dennis Collins brings some vocal ardor to the number “Your Love”, wile Branice McKenzie’s leads lighten “Maybe Next Year” and the spoken word verbal forays of Sharrif Simmons buttress Gumbs piano and Byam’s soprano saxophone work on “All I Hear”. This isn¹t hard bop or soul jazz or funk, but more introspective and soothing music designed to show listeners jazz’s less frenzied side. By Ron Wynn

Dropkick Murphys The Warriors Code (Hellcat). 4 ribs--dripping with a Bushmills marinade.

Like a beer bottle shattered on someone’s skull in an Irish bar brawl, Dropkick Murphys once again kick out the jams with their latest, The Warriors Code. A mixture of Celtic folk, classic punk and American rock, the Murphys are true contenders in the world of angst-riddled Ireland-bred rock, complete with bagpipes, accordions and whistles. Like any good Ireland-inspired collection of songs, The Warriors Code begs listeners to learn the words and sing along in unison, whether it be upbeat stomper tracks like “Sunshine Highway,” classic odes like title track, “The Warriors Code” which is dedicated to Massachusetts boxing legend Micky Ward. By Will Jordan

Xiu Xiu La Forêt (5RC). 2 ½ ribs--forget about napkins, ya need tissues for this one.

Though an admirable attempt, La Forêt is Jamie Stewart’s emotionally unstable cathartic outpourings and sometimes it sounds as though he needs an anti-depressant rather than a microphone. Reminiscent of indiscernible Cure at times, inflated Morrissey whininess at others and even a balmy funeral march, La Forêt is encircled by an impenetrable darkness that needs illuminating. Stewart talent is not in question, he does everything on this album, but he could use a little uplifting. By Will Jordan

Zox The Wait (Armo). 3 ½ ribs--hard to sit still while chomping on this one.

When Zox begin their onslaught on live audiences, not a body remains standing still, and with their latest release, The Wait, they continue that tradition. The quartet, which includes a reckless vocalist/violinist (Spencer Swain), out of control at times (he’s even broken his arm because of his rambunchious performances). Zox’s songs are full of energy and good feelings, though they do address some hard issues. Songs like quirky, “A Little More Time,” upbeat, foot stomping, “Can’t Look Down,” and even the sadder more balladesque “Everything but Fine,” is more pretty than tear-jerking. By Will Jordan

M.E.D. Push Comes To Shove (Stones Throw). 3 ½ ribs-folks fightin’ for a taste.

It’s been a long time comin’ for Medaphoar aka M.E.D. to drop a solo debut. The Cali-bred vocalist made his bones on other like-minded Stones Throw artist’s (Madlib, Madvillian, Lootpack and Quasimoto) projects for years and hits hardest on his own. He uses his connects on Push Comes To Shove, recruiting J. Dilla, Dudley Perkins, Noelle and even Diamond D for some heavy-hittin’, tongue twistin’ on this kicked back, yet prolific release. Nearly all tracks were produced by Madlib and the beats keep heads bobbing from intro to coda. By Will Jordan

The Low Budgets Aim Low, Get High (Schuylkill Records). 3 ½ ribs.

Bent on destruction of western civilization, The Low Budgets come crashing out of Philadelphia with silver-tongued, quirky, garage rock. Landing somewhere between The Dead Milkmen and Devo The Low Budgets’ tracks are cartoonish, blue collared youthful anthems, filled with songs about stupid dead cats, lawsuits and thrift stores. “Oh Yeah,” is the obvious single and rings like a true hit. By Will Jordan

Je suis un etranger (Ronda). 3 ribs too much talking not enough bite.

Beware the voices in your head after listening to Ronda Record’s latest compilation Je suis un etranger. For this project, the Paris-based label invited its artists to work on a concept—“a compilation based on the speaking language.” On this electronic mixture of beats and noise, each artist chose a language and a piece of music and compiled their own sonic essay. The result is a diverse selection of language and music stylings from around the world from Poland to China, Sweden, Portugal, France and many more. By Will Jordan

Calm Chaos Melody of Mokus (B&B). 2 ½ ribs been under the lamp a little long.m

Damn! Who knew Swedish-bred fellas could rock this freakin’ hard. With an edgy raw sound reminiscent of Rage Against the Machine or Incubus, Calm Chaos is wreaking havoc across Sweden with their powerful yet catchy jams. Songs like “Heroin[e],” “Raped Romance,” and “Ghost Killer” will keep these Skellefteans in constant rotation on Swedish radio, but their sound may not be original enough to break into mainstream America (not that they need the US to conquer the rest of the world.) By Will Jordan

Paris Zax Unpath’d Waters (Alpha Pup). 3 ½ ribs needs a little more sauce.

Paris Zax, the man behind the music of underground hip hop acts, Busdriver and Shape Shifters, comes out with his own collage of “hip hop, jazz, blues and psychedelic rock,” on Unpath’d Waters. The compilation runs like a soundtrack to the Miracle Mile section of Los Angeles’ underground, with samples of quotes, waves and various rhythms mixed well together. Ozomatli guitarist Will dog appears on the record, as well as jazz legends Snooky Young and Bob Elford. By Will Jordan

Far Rad This Candy’s Gross (Circle Machine/Johann’s Face). 2 ribs a little skimpy on the meat. mm

Toss together head nodding beats and erratic electronic sounds, under high-pitched, hyper vocals, and it becomes obvious Far Rad is out there on their own. The Chicago duo comprised of Michael Perkins and Ken Zawacki is nothing short of original. This Candy’s Gross sounds more like a soundtrack to a video game than an electronic orchestration, but it’s not without distinction. Far Rad’s keyboard core evokes an 80s pop nostalgia—“Tulu is a Wimp,” “Hard Boiled” but also glimpses into the future—“Cellar,” “Casino!!!” By Will Jordan