“Scorpion” Eve Compare to: Lil’ Kim, Missy Elliott *** 1/2

When mainstream rap fans think of the Ruff Ryders they will usually think of DMX and Eve, the label’s proclaimed First Lady.

But whether it’s the mainstream sounds of those two or the funkafied jams of The Lox or Swizz Beatz, the Ruff Ryders are notorious for blending sharp rhymes and raps with pounding beats. And Eve’s latest album, “Scorpion,” does just that.

Presenting herself as the biggest female bad-ass both with her attitude and her lyrics, Eve comes right at you from start to finish. Just take your average gangsta-rap album and insert female rapping instead of male rapping and “Scorpion” is exactly what you get.

The most impressive aspects of this album really have nothing to do with her rapping but the beats and hooks on the tracks, courtesy of executive producers Dee and Waah Dean, Swizz Beatz and Jay “Icepick” Jackson.

Like most hip-hop albums, “Scorpion” has its share of guest appearances, adding a flavor change to a rap album that would otherwise begin to blend together.

Among those who brighten up “Scorpion” are No Doubt’s Gwen Stefani, DMX, Da Brat, The Lox and Ruff Ryder Drag-On.

Though Stefani’s part isn’t overpowering in “Let Me Blow Ya Mind,” having another female voice in the background of the chorus is a cool effect.

DMX is his usual raspy, wacky self – growling, barking and flawlessly rapping on “Scream Double R.” This is by far the best song on the album due to its ultra-catchy chorus and thumping beat as Eve sings, “Get that ass up/ scream double R/ we ain’t going nowhere/ we made it this far.”

Eve is an impressive rapper who flows nicely, but her lyrical content isn’t the most original or innovative.

As far as rap albums goes, “Scorpion” is tight and shows why Eve is in fact the First Lady of rap. But this record wouldn’t be half what it is hadn’t the guests appeared – most notably DMX.

– Kyle Moss

“Pure Rock Fury” Clutch Compare to: Snot, Pantera, System of a Down t ****

Chicken-fried steak is a freakish food abomination. Admittedly, there are a lot of foods that taste great covered in a greasy, crunchy batter, but steak is definitely not one of them.

There are also Fred Durst fans and metal purists who would say that southern country-rock has no business mixing with hardcore and metal. However, Maryland natives Clutch have been pounding out their unique flavor of hick hardcore since 1991, and damn, does it taste good.

Armed with witty, unorthodox and sometimes stream-of-consciousness lyrics, vocalist Neil Fallon barks his way through countrified metal that stomps harder than most so-called hardcore acts.

“Careful With that Mic” features some of the most ingenious and amusing lyrics ever in what could be a jab at former tour-mate Fred Durst or any of the recent rap-rock sensations.

“So tell me, when you took the practice scholastic aptitude test did you know the answers or did you just guess?/ You rely on gimmicks to amuse your fans and act all urban to jack-up your sound-scan,” Fallon raps on the track. The cleverness/absurdity continues with “Mmmm . this is really good ice cream! You want some of it?/ Oh, my bad, I didn’t know you were lactose intolerant.”

The unconventional lyrics and vocal delivery continue throughout “Pure Rock Fury,” which, true to its title, rocks furiously and consistently. The album is catchy in ways that commercial radio will probably never understand – which is a complete shame.

No one is getting one step closer to the edge or catching butterflies in Clutch. Fallon tells stories rather than focusing on his emotions or escapades. And sometimes, he is just plain weird.

“So who’s been planting magic beans to catch themselves a golden hen?/ We’ve spent so many years going over this we can’t start that all again!/ How would you like to dine a la Frankenstein?” Fallon sings in “Frankenstein.”

In the bland, overly sugary pop kitchen, Clutch is a tasty treat just waiting to be devoured by discriminating, hungry listeners.

– Jon Dahlager

“2000 Years of Human Error” Godhead Compare to: Marilyn Manson, Ministry, Orgy, Nine Inch Nails ****

With “2000 Years of Human Error,” the first release from Marilyn Manson’s Posthuman Records, the members of Godhead seem to have taken it upon themselves to pick up where Manson left off with “Antichrist Superstar.”

This is the album that Manson fans have been craving from Manson himself yet denied for years. Here it is, but with Manson doing the producing instead of performing.

The Washington D.C. quartet obviously fell out of the same tree as bands such as Ministry, Nine Inch Nails and Orgy. The album is driven with electronic techno beats and laced with endless amounts of subtle programming effects such as spooky sounding angel voices courtesy of bassist/programmer The Method.

Songs such as “Break You Down” and “Penetrate” show that Godhead must have been influenced greatly by Manson somewhere along the line. It’s quite easy to imagine Manson singing these songs instead of vocalist Jason Miller. In fact, Manson does lend his voice on “Break You Down,” a song that Manson’s bass player Twiggy Ramirez appears on as well.

That isn’t to say that Miller is no slouch in the vocal department though. This album features nothing but real-life singing, an art becoming somewhat unknown in today’s metal bands. No growling, no barking, no screaming. Singing is what Miller does, and he does it well too – just take a listen to the Pink Floyd-ish “I Hate Today.” The group also uses plenty of voice effects throughout the album, helping keep the sound fresh from song to song.

Godhead definitely has a dark side to them – their music is dark enough to be featured on any horror movie ever made. But it takes a close listen to notice this darkness. Unlike Manson and NIN, Godhead doesn’t rely on unbearably slow depressing songs, opting instead for guitar driven, fast-paced hard rock.

The title track of the album shows that the band does not lack the controversy that has made their label founder so notorious either. Obviously Godhead and Manson have gotten together and discussed religion once or twice.

“Scratch me harder/ `til I bleed/ God the father/ spreads his seeds/ liars, liars/ you sell it all to me/ liars, liars/ I’m what you’ll never be,” rants Miller on “2000 Years of Human Error.” Interestingly enough, Manson himself co-wrote the song as well.

In Godhead Manson has found himself a solid backup plan in case his performing career comes to an end and he decides to produce instead. Until more acts are signed to Posthuman records, Godhead seems to be perfectly capable of carrying the load.

– Trevor Fisher

“Sounds of the Underground” Astrix Compare to: Ben Sims and Adam Beyer ****

Most people that are fond of the techno music revolution know there is a plethora of labels that put out tracks.

In a way, this is something great about the “scene” because there is always something new to hear.

Recently, a mix CD release from Astrix, a DJ from the St. Louis area, was released. This is the first mix CD ever put out by Technocolor Records and definitely shows the potential that this midwest label has.

Astrix sets out to explore the listener’s mind through the tracks he has selected for this CD. One of the best tracks on the mix is “Minneapolis Sessions” by DJ Slip off Missile Records. This is one song that gives the mix a perfect start.

“Minneapolis Sessions” is almost the type of track one could call minimal techno – and it is excellent. “Losing Control” by DBX is an impressive and surprising inclusion on the album. This is a minimal-techno classic that will live forever.

On the Technocolor Records Web site, the label claims that their goal is to “put St. Louis on the map musically.”

This group of guys is well on their way to doing just that with not only their mix CDs but also with the tracks they are making in the studio.

This particular release cannot be found in stores. However, there is contact information listed on the label’s Web site at www.technocolorrecords.com.

– Tom McGrath