Tony Yayo

“Thoughts of a Predicate Felon”

(G Unit/Interscope)

Compare to: The Game, 50 Cent, G Unit

It seems all it takes to get a rap record is a long rap sheet filled with violent crimes. Forget any talent – commit a felony and the mic is yours.

This is where Tony Yayo comes in. Recently released from prison, Yayo spends all 17 tracks of his “Thoughts of a Predicate Felon” rapping about his history of violent crime and how much tougher he is than anyone else.

There is only one good song on the CD, “Drama Setter,” a song that features Eminem and Obie Trice and is produced by Slim Shady himself. This song is pulled from despair by Eminem’s easy flow and timing. Yayo could learn from him, as Eminem has talent – Yayo does not.

The song “I Know You Don’t Love Me” bemoans the fact that whenever other rappers come to town – Jay-Z, Ludacris, Nelly, Usher, Lil Jon and Snoop Dogg are all mentioned – everyone flocks to them. There is an explanation for that. People like songs from those artists. Not to beat a dead horse, but Yayo isn’t very good.

He also makes strange analogies that leaves listeners scratching their heads. In “Tattle Teller,” he complains about someone who was “telling on his people like Saddam Hussein.”

A quick perusal of current events would show that Saddam didn’t tell on his subjects – he just killed them.

With a lack of imagination in his lyrics and subpar beats, Yayo struggles through the disc. Don’t waste your time on this “Predicate Felon” who might do the public more good behind bars then behind a mic.

– Grant Wall

Johnny Cash

“At San Quentin”

Compare to: Merle Haggard, Hank Williams, Waylon Jennings

Although the legendary “Man in Black” may no longer be with us, the musical legacy of Johnny Cash remains in the form of literally dozens of albums. Few of these releases, however, can match the raw energy of “At San Quentin.” Originally recorded in 1969 as a followup to the equally renowned “At Folsom Prison,” “At San Quentin” is a document of Cash in his prime – rowdy, raucous and completely embodying the spirit of the American outlaw.

On “At San Quentin,” Cash runs through his catalog with a passionate forcefullness that would put most of today’s country, and even rock bands, to shame. From the tender duet with June Carter-Cash on “Darlin’ Companion,” to the rough and tumble “A Boy Named Sue” and gritty “Folsom Prison Blues,” Cash treats the inmates of San Quentin to a slew of classic songs. Much of the lyrical content of Cash’s original material is reflective of the singer’s personal hardships and search for redemption, making it easy to see why the prisoners at San Quentin identified so heavily with his music.

With “At San Quentin,” Johnny Cash firmly established himself as a national treasure. Although his career went through many ups and downs before his death in 2003, “At San Quentin” arguably represents the “Man in Black” at his peak.

– Joshua Haun

The New Pornographers

“Twin Cinema”

(Matador)

Compare to: The Shins, Spoon, The Posies

With “Twin Cinema,” the New Pornographers give us yet another reason to love Canada. The Vancouver group has had some excellent songs on previous releases but its new record blends old with new to create its best album yet.

What really makes the album stand out is its continuity. Every member of the group shines, whether it is the obnoxiously catchy singalong vocals of tracks such as “The Bleeding Heart Show,” the driving, jazz-influenced percussion of “The Jessica Numbers” or the overall musical cohesiveness that elevates “Twin Cinema” from being just another good record to being a must-have for music buffs and indie fans alike.

Nothing on the record is forced or out of place. The New Pornographers feel right at home on every single track, combining wailing harmonies and fun riffs with memorable lyrics.

The album appeals to the group’s signature formula of writing unexplainably catchy power-pop songs, but “Twin Cinema” is better produced and more mature than anything else the Pornographers has released. Songs are intertwined with dual-meaning lyrics and laden with experimental instrumentation, incorporating new ideas with a successful formula to make a truly stand-out record.

“Twin Cinema” seems like a natural evolution for the group – it has all of the immediate appeal and quirky drive from previous albums. It should appease eager fans, and will probably garner many new listeners.

– Dan McClanahan

Institute

“Distort Yourself”

(Interscope)

Compare to: Foo Fighters, Helmet, Oleander

Former Bush front man Gavin Rossdale is undeservedly one of the most critically hated rock icons of the ’90s, but his new band, Institute, is about to change that.

Rossdale is still the chief songwriter, like he was in Bush, but his already solid songwriting skills have improved even further.

The music on “Distort Yourself” is a lot more pulsating, but also sounds more refined and clean than anything Rossdale ever did with Bush.

For Institute, Rossdale recruited former Helmet guitarist Chris Traynor to play lead guitar, Cache Tolman on bass and Charlie Walker on drums.

The result seems to be Rossdale’s attempt to break into the hard rock genre, which he does with no trouble.

All 12 tracks on “Distort Yourself” are absolutely solid lyrically and musically, which may have something to do with the fact that Rossdale had four years to pursue other interests between Bush’s last album and his new band’s debut.

Die-hard fans of both Bush and Helmet, and people who just flat-out love good rock music, will love Institute.

Forget about all the negative things that have been said in the past – Rossdale is back, and he has already proved all of the critics wrong.

– Dan Hopper