Pro Pick Of The Month
Jay-Z Vol. 3
Life And Times of S. Carter
Def Jam
"He’s the illest ni**a out right now. The beats are baggin’, the video is bangin’, the girls in the video are bangin’. Benie Seigal and Memphis Bleek show skills. You should listen to Jigga’s advice, he’ll never steer you wrong."–Stevie Williams
The Jesus Lizard
Bang
Touch and Go Records
The press materials that accompany this collection of singles, B-sides, and live material proclaim the Jesus Lizard (which called it quits after a decade-long run) to be "the greatest live band of the 90s." For once, the adulation isn’t unwarranted–in singer David Yow the Jesus Lizard had a 90s Iggy Pop. His visceral performances were seldom less than thrilling.
Somehow, this never translated into great records. For whatever reason, the Jesus Lizard wasn’t as scary in the studio. And despite the fact that Yow’s guttural vocals and Duane Denison’s lacerating guitars sound even more menacing on live renditions of "Seasick," "Lady Shoes," and "Monkey Trick," they don’t do the intensity of their live shows justice. I guess you just had to be there.–Jeff Niesel
The Jungle Brothers
V.I.P.
V2/Gee Street
Produced by the Propellerheads’ Alex Gifford, the Jungle Brothers’ V.I.P. is their most dance-oriented album to date. From the head-bobbing "Down With the Jbeez," a collaboration with the Black Eyed Peas, Sense Live, and Alex Gifford, to the retro funk of "Sexy Body," and the avant-garde jazz of "Playing for Keeps," V.I.P. is hip-hop for the big-beat generation. Recording in Jamaica and Miami undoubtedly gave the music a tropical taste as "Early Morning" has a lazy, dub-like feel to it, and "Get Down" features the kind of pumping bass generally associated with South Beach. While the Jungle Brothers (rappers Afrika and Mike G) started out over ten years ago as part of the consciousness-raising Native Tongues movement, few of the songs here have any political content, and the many songs about clubbing (see "V.I.P.," "The Brothers," and "JBeez Rock the Dancehall") ultimately do the band a disservice.–Jeff Niesel
Blackalicious
Nia
Quannum
Blackalicious (Chief Xcel and the Gift of Gab) and the Quannum Projects compatriots who guest on Nia (DJ Shadow, Lyrics Born, Lateef, Erinn Anova, and Joyo Velarde) make hip-hop for fans of indie rap outfits such as Jurassic 5, Mos Def, and Ozomatli. Intelligent enough to write rhymes that could pass as poetry, Blackalicious’ songs might be ready-made for the classroom, but the ease with which all the rappers flow suggests they’ve got microphone skills
that go beyond their erudite wordplay. Imbued with old-school funk flavor, tracks such as "If I May" and "As the World Turns" sound seductive and soulful–they’re just the kind of artistic expressions that the new school of hard-knock rappers seem to have forgotten. This stuff still bounces (see "Trouble," "Cliff Hanger," and "Beyonder"), but Blackalicious proves that hip-hop doesn’t need bravado to be badass.–Jeff Niesel
Modest Mouse
Building Nothing Out Of Something
Up Records
Issued as a farewell of sorts from Up Records, Building Nothing Out Of Something, a collection of Modest Mouse singles and rarities, doesn’t provide any answers as to how the band was able make the leap to the major leagues (Epic will release its next studio album in the spring). It does, however, confirm the group’s status as one of the Northwest’s most talented acts–next to one-time labelmates Built to Spill, of cose. Sounding like a cross between Will Oldham and Doug Martsch, guitarist Isaac Brock has a high-pitched, chirpy voice that suits itself to chanting but doesn’t sound the least bit radio friendly, especially when he’s singing about bizarre conversations he’s had with strangers ("All Nite Diner") and long drives through barren landscapes ("A Life of Arctic Sounds"). Still, there’s something oddly striking and beautiful about the chiming guitars in songs such as "Broke," "Baby Blue Sedan," and "Sleepwalkin’."–Jeff Niesel
Grade
Under the Radar
Victory
Canada’s Grade fall into this awesome gray area between hardcore and emo where their songs aren’t exactly hard with melodic parts or melodic with hard parts. Kyle Bishop’s gravely voice almost crosses the line into metal, but Greg Taylor’s back-up vocals round the package out. The dynamics of the rough vocals over melodic guitars keep the hardcore urgency in the sound while tinting it with a little pop. The best thing about Grade is that they aren’t some hardcore band that comes out blasting with 30-second songs. This five-piece has a great knack for (gulp) songwriting. "Triumph and Tragedy" and "Stolen Bikes Ride Faster" were two of my favorites, although the whole album is really strong and totally worth picking up if you want to hear the best band that’s come out of the hardcore scene in a long time.–Nick Bogardus
At The Drive In
Vaya
Fearless
At The Drive In recently did some tour dates with Rage Against the Machine. Being that a band of Rage’s stature took a relatively unknown band on the road with them is testament to At The Drive In’s live show. The only way to describe the experience is 45 minutes of unstoppable raw-guitar flurry, screamy vocals, and a thunderous rhythm section. Vaya is the group’s newest release, although a full length is expected for Spring 2000 on the Den Network, Beastie Boys manager John Silva’s new venture. Grab Vaya so you can tell your friends that you knew them before they were huge.–Nick Bogardus
Abhinanda
The Rumble
Simba
Abhinanda is what the Fonz would listen to if Happy Days were shot 30 years later. This Swedish five-piece is comprised of ex-Refused members and is straight-ahead kick-ass punk rock with a huge emphasis on the rock–pretty similar to Nashville Pussy or the Murder City Devils, for you rock ’n’ roll enthusiasts. Abhinanda break out of the three-chord cage and write songs that incorporate a lush rock soundscape full of subtle guitar licks, odd time signatures, explosive breaks, and even a string quartet. The Rumble is what you put in when you’re in a police chase or getting a tattoo. Rock ’n’ roll at its finest.–Nick Bogardus
Various Artist
At Home With The Groovebox
Grand Royal
Beck, Pavement, Sonic Youth, and some of their less-famous friends pay tribute to the pawn shop find of the moment: The Groovebox compact-programmable synthesizer. The result is nearly an hour’s worth of annoying instrumental blipping and bleeping, made just a touch more tolerable by not-entirely-awful contributions from Cibo Matto and Tortoise’s John McEntire.–Aidin Vaziri
Fu Manchu
King of the Road
Mammoth
Scuzzy teenagers. Fuzzy guitars. Muscle cars. Mustaches. And old-school skateboards. These are the elements that Fu Manchu brings to every album year after year with the same fist-raising enthusiasm. Is it any wonder they are Orange County’s best-kept rock ’n’ roll secret? With a sound that owes a clear debt to vintage Black Sabbath and song titles that include "Hotdoggin’" and "Weird Beard," their time has clearly come.–Aidin Vaziri
Del The Funky Homosapien
Both Sides of the Brain
Hiero Imperium
Set free from the major label that once tried to market him alongside hardcore cousin Ice Cube, this freewheeling Oakland rapper spell-checks his name and speaks his mind on this dense, diverse declaration of independence. With intermittent help from friends like Casual and Prince Paul, he lets off plenty of steam ("Shit Talkers") while taking time out to explore his more creative tendencies ("Signature Slogans").–Aidin Vaziri
rd Beard," their time has clearly come.–Aidin Vaziri
Del The Funky Homosapien
Both Sides of the Brain
Hiero Imperium
Set free from the major label that once tried to market him alongside hardcore cousin Ice Cube, this freewheeling Oakland rapper spell-checks his name and speaks his mind on this dense, diverse declaration of independence. With intermittent help from friends like Casual and Prince Paul, he lets off plenty of steam ("Shit Talkers") while taking time out to explore his more creative tendencies ("Signature Slogans").–Aidin Vaziri
