Eminem reopened the door for white rappers, and in comes the first person to really take advantage of the situation.

Meet Bubba Sparxxx, a smooth-flowing rapper from the backwoods of Georgia. Inspired by the likes of N.W.A., Too $hort and Outkast among others, Sparxxx comes with an approach not unlike other rappers, but still makes an impact with his beats and delivery.

A standard in rap that is becoming more and more important is having a great producer. Sparxxx went out and got himself Timbaland, who has been making “ear candy” for such artists as Missy Elliott, Jay-Z, Nas, Ludacris and Snoop Dogg for years.

Though Timbaland is present only on six songs, “Dark Days, Bright Nights” continues on a similar path of catchy hooks and apparent Southern-influenced rhymes.

If wrestling in the mud with pigs in the video for “Ugly” wasn’t enough, the occasional barn-animal noise and the word doo-doo do pop up (and it’s not even the Wal-Mart version) to lamely remind you that he is definitely from the South.

Though the album is overall quite solid and easily digestible, there aren’t really any singles beyond the album’s first, “Ugly,” the best song on the record.

But tracks such as “Lovely,” “Bubba Talk” and “If It’s Bumpin'” are gems in their own right as they show Sparxxx’s skills as an emcee. Much of his flow has an OutKast feel but also has on originality to it.

Sparxxx should be a mainstay in the hip-hop world and “Dark Days, Bright Nights” is solid evidence to support this.

-Kyle Moss

It’s the end of pop punk as we know it, and I feel fine. Probably signed by some shady Hollywood Records exec looking to make some bank off the alterna-punk craze generated by bands such as The Offspring and Green Day in the mid-’90s, The Suicide Machines at one time released great punk albums filled with instant fist-raising sing-a-longs.

Five years after their stunning ska-punk debut, “Destruction by Definition,” the Machines have fallen prey to the chameleon-like quality of pop music, changing face like Michael Jackson.

The band’s evident energy on the first two albums has melted, reforming into a bland, featureless mask of mid-tempo pop conformity.

Railing against pre-packaged revolution on the title track, the Machines seem to be unaware that they are guilty of what they preach against.

“Riot – rebellion for sale/ Buy it – devoid of anything real/ Riot – rebellion for sale,” singer Jason Navarro barks during the song’s chorus.

Only a few tracks later, the band wallows through the pop hook-laden R.E.M. hit “It’s the End of the World as We Know It (And I Feel Fine),” complete with chorus breakdown, Blink-182 harmonies and forced feeling.

Even the infectious ragged fuzz guitar riff on the track “The Air We Breathe” is obscured by the same out-of-place pop production and emotionless harmonies that populate the classic R.E.M. rehash.

However, the cover is oddly fitting on an album that features many tracks (“The Killing Blow,” “Honor Among Thieves,” “Middle Way”) that seem to indicate that the band knows “Steal This Record” is the end of the world – or at least the road – for this pop-punk act.

-Jon Dahlager

Live albums seem to serve one general purpose within the music industry: fulfilling contractual obligations. This appears to be true with even the Queers. Case in point, the band has once again jumped back to Lookout! Records, while Hopeless Records issues this live album to free the band of its artistic duties.

Never mind the red tape; this disc does indeed have a place on your shelf.

Those familiar with the Queers (no, they aren’t gay) know they’re the brash, brazen bastard sons of punk by way of the Ramones, Brian Wilson and toilet humor. This disc serves as a greatest hits containing 31 overly crass tracks spanning their entire career.

Just how far are the Queers willing to go? Many of the songs are taken heavily from their 1993 release “Love Songs for the Retarded” including “I Hate Everything” and “I Can’t Stop Farting.” Other Queers classics include “I Only Drink Bud,” “I Like Young Girls” and their set opener/closer “This Place Sucks.”

Lyrics are just as perverse as the song titles. “She’s flat as a board and I just don’t care/No tit, no tit/My friends are always wondering/No tit, no tit,” from “No Tit.”

It doesn’t take a genius to figure out these guys aren’t serious. They’re just having fun. The album sounds clean and tight, very representative of their live show.

For those looking to delve into more than just Blink-182 and Sum 41, here’s a good starting place.

-Boonie Boone