Marc Broussard “Momentary Setback” (Marc Broussard)

Compare to: O.A.R., Pseudopod, Brian McKnight

Rating: 7

A quick introduction to the music of Marc Broussard: spicy Cajun vocals can get you hot and sweaty, but often leave you with heartburn. Broussard, a 20-year-old Lafayette, La., native, worked with his father, Ted Broussard, on his first album, “Momentary Setback.”

The kid’s obviously got vocal talent — range and flexibility are two words that need not be explained to Broussard.

But as with many young artists, he needs more focus. An eclectic album, “Momentary Setback” runs the gamut from gospel to rock, goes sentimental and regains its footing — only to fall into more sentimentality.

“Momentary Setback” starts out with a lightly orchestrated vocal-driven track titled “The Wanderer.” It’s catchy, light and definitely does its part to show off Broussard’s golden pipes.

He then builds with the bass-driven “Just Like That” and is in full stride by the time he hits “Blue Jeans,” a funky R&B number that evokes junior high memories of Tony! Toni! Ton‚! with a new edge.

But just as soon as Broussard is in top form, he stumbles. After he gets you dancing, he slips in a Southern gospel blues ballad, “French Caf‚.” In its own right, it’s a fine song. It just doesn’t fit with its placement on the album. It also brings back junior high memories, but this time of “Walking in Memphis,” a memory which some of us might have repressed for good reason.

Broussard gets back on his feet with the album’s namesake and “Gotta Be More,” a full-on rock gospel that almost lets you forget once again the folly of Marc Cohn.

“Jeremiah’s Prayer,” the album’s last track, is another song whose exclusion would have improved the record. After what is a solid and somewhat funky record, he peters out with “May the angels fly to greet you/ You can see it all from up there/ I know you’re listening from up above/ ‘Cause this is and always will be my prayer.”

Next time, Broussard should keep the funky with the funky, and keep the slow and sappy to himself.

— James McKenzie

Eric Idle “The Rutland Isles” (Artist Direct/BMG)

Compare to: Kevin Kling, Dr. Demento, Tim Conway

Rating: 6

The “Monty Python” of old may be long gone, but the troupe’s hilarious blend of comedy and stupidity lives on. With his latest release, “The Rutland Isles,” former cast member Eric Idle intends to keep it that way.

For his so-called “documentary,” Idle’s character, Nigel Spasm, visits the legendary and often treacherous Rutland Isles, which lie near the West Pole.

These islands are so remote, they have rarely been touched by man. However, brave adventurer Idle takes you there. With him, you explore every nook and cranny, thus gaining the full experience of the infamous land. Throughout the course of the album, listeners are introduced to all of the exciting and unusual attractions of the islands. These finds include a pre-chewed food factory, a professor who studies analology (the study of butts), and rare animals like the penis fish — which as the name implies, looks exactly like a fish.

The 32-track faux documentary includes short monologues and laugh-out-loud songs, all of which pertain to the Rutland Isles. Toward the end of tour, Nigel Spasm discovers that gay dinosaurs existed. This track is a perfect introduction to “Gay Animal Song,” the album’s best track.

Fans of British comedy will find the album hilarious, but to listeners with virgin ears, the ride will be shocking and maybe even devastating. The end track, “Randi Statistics,” gives the user a gross mental picture and leaves a bitter taste in your mouth.

Although the humor is along the same lines of “Monty Python,” it is more perverse than Idle in his heyday, and longtime fans of more innocent comedy may be turned off.

— Dan Hopper

Saturday Looks Good to Me

“All Our Summer Songs” (Polyvinyl)

Compare to: Aislers Set, Teach Me Tiger, Belle and Sebastian

Rating: 7

Detroit’s legacy lies with Berry Gordy and Motown Records — the familiar namesakes responsible for much of the elaborate soul music arrangements of the ’60s. However, the Motor City’s deep-rooted engine is now being revved up by Detroit-area band Saturday Looks Good To Me.

“All Our Summer Songs” is 13 solid tracks of lo-fi, luscious chamber-pop of epic proportions. And though 2003 has barely begun, it’s safe to assume that “All Our Summer Songs” will be one of the best albums to come out of the Midwest.

This album reads like an homage to some of music history’s most revered subjects — Motown, Brian Wilson and Phil Spector. “All Our Summer Songs” gives just enough taste from each to render it fairly familiar yet unquestionably unique.

Saturday Looks Good To Me ringleader Fred Thomas (His Name is Alive, Flashpapr, Lovesick) has gathered a cast of more than 15 musicians to play a lengthy listing of instruments including saxophone, cello and violin. Layers of thick, reverberated instrumentation create a wall of sound so busy with intricate noise, listening feels like a mind exercise.

“All Our Summer Songs” is an album that, with its male/female call-and-response vocals, sounds more like it’s beckoning to you from another room than pouring from your speakers. The faraway feel makes the album seem more like a reverie than a reality. If you have a pension for the sun-shiny, dance-along tendencies of Poison Control Center or have a hankering for a modernized soul song via The Supremes, Saturday Looks Good To Me is the perfect middle ground. “All Our Summer Songs” runs the gamut of emotion from the affecting “The Sun Doesn’t Want To Shine” or the innocent invitation in “Meet Me By The Water.”

“All Our Summer Songs” is an ornate album brimming with enough texture to make you feel as if listening to it on CD rather than vinyl is cheating.

— Erin Randolph

The Haunted “One Kill Wonder” (Earache)

Compare to: At the Gates, Hypocrisy, In Flames

Rating: 9

A tremendous whirlwind of hype has surrounded the long-awaited follow-up to the Haunted’s tremendously successful second album, “Made Me Do It.” In fact, after listening to the new album, reviewer Keith Bennett even reported, “All I want to do right now is go outside and start beating the shit out of everybody I can get my hands on … landlords and bosses and beautiful people can suck the corn right out of my shit.” As a resident of the grain-rearing state of Iowa, my interests immediately perked.

In all seriousness though, the Haunted has once again returned to deliver yet another blistering metal performance, packing all the fury of before and belting out even faster melodies. From the opening strains of “Godpuppet,” listeners are immediately reminded of the guitar-driven havoc and angry vocals that have made the Haunted famous. From there, the album blasts into a storm of aggressive metal packed with headbanging breakdowns and catchy melodies.

“One Kill Wonder” delivers an outstanding and intense musical performance. The members of the Haunted punish guitars with brutal riffs in songs such as “Urban Predator” and “D.O.A.,” demonstrating their power as in-your-face thrashers. At the same time, the band illustrates their precision as talented artists with instrumentals including “Privation of Faith Inc.” and “Demon Eyes.” Mixing brooding rhythms with chilling industrial samples, The Haunted display talent not seen in previous albums.

Tracks such as “Shadow World” serve up ear-blistering Swedish metal filled with melodic elements in the vein of At the Gates.

Growling vocals sided by mercenary guitar work inject an extreme sense of hostility into any listener of “One Kill Wonder.” The Haunted have put together a calculated release with a primal, predatory nature that strikes fear and rage in any listener. Some may even decide to start eating corn on a daily basis.

— Greg Rice