“Bizaar”

Insane Clown Posse

Compare to: Kid Rock, Eminem, Bloodhound Gang

2 1/2 Stars”Bizzar”

Insane Clown Posse

Compare to: Kid Rock, Eminem, Bloodhound Gang

1 1/2 Stars

— John DahlagerIt seems that underneath the black and white face paint, the psycho-carnival attitude and the slightly bulging beer-bellies, Violent J and Shaggy 2 Dope wish they were skinny, blond and MTV-friendly.

And though this description easily fits rap sensation Eminem, it also describes hair metal god Axl Rose 10 years ago.

Just as Rose’s band Guns N’ Roses released “Use Your Illusion I” and “Use Your Illusion II” at the same time, the Insane Clown Posse has simultaneously (and bizarrely) subjected the music-buying public to two new albums (complete with gimmicks such as board games, crossword puzzles and 3-D glasses).

“Use Your Illusion I” was worthless (except for “November Rain,” of course), failing to complement the other record. And “Bizzar” — what could be considered the second of the two discs — is a complete waste of plastic.

However, “Bizaar” is a decent, though largely unimaginative record filled with the trademark evil clown rap the Detroit-based Eminem-haters have been spewing since 1991.

Even though ICP had been making psycho-killer, misogynistic rap well before Slim Shady released his first record, J and Shaggy have reason to fear (and therefore bash) Eminem. He writes better rhymes, makes better pop culture references and has better people (Dr. Dre) laying down his beats.

“Please Don’t Hate Me,” a track off “Bizaar,” finds Shaggy and J rapping about how they repeatedly performed multiple sex acts with the mother of one of their “dogs.”

“One thing just lead to another/ Next thing you know, I’m butt-fucking your mother,” one of the clowns raps, displaying the extent of the duo’s rhyming ability.

Toward the end of the song, the listener learns the song is directed toward Eminem. This is fairly amusing because as almost any pop music fan would know, Em hates his mom.

He repeatedly disses her throughout his latest album, and she is even suing him for some of the things he has said about her.

“My Homie Baby Mama” again shows ICP’s disgust for Eminem, as they rap about being “attracted to the Hailie [Em’s daughter] drama” and wanting to “fuck my homie baby mama.”

During “Whut,” one of the best tracks on the album, the clowns rap about people not liking the way they are — just like Eminem does in “The Way I Am.”

Capping off the Eminem-related content is a secret track guest appearance by Vanilla Ice, who tells a completely unfunny “yo mama” joke.

Songs such as the darkly amusing “Still Stabbin'” make “Bizaar” better than “Bizzar,” though not by much. In the track, ICP cuts off Def Leppard’s drummer’s arm, stabs Sarah McLachlan and is the reason Slipknot has to wear masks.

“Bizzar,” the second disc, contains much less Em bashing. The songs are less catchy than those on “Bizaar” and are even less clever.

Shaggy and J make fun of musicians who have changed their styles and sold out (DMX among others, according to them) on “Radio Stars,” though they really have nothing to brag about.

The only standout track is an acoustic guitar driven secret song in which ICP informs the purchasers of “Bizzar” that they could have purchased “laundry soap” or “a half-ounce of dope” instead of the record.

When a band releases two albums at the same time, its motivation is often a bit shady, and the double shot of music is usually not worth twice the usual cash. That is definitely true in this case — the combined $30 would be much better spent on laundry soap, a half-ounce of dope or both of Eminem’s albums.In the Mode

Roni Size/Reprazent

Compare to: Fatboy Slim, DJ Spooky

4 Stars

— Kyle Moss

In the 311 song, “Come Original,” from the band’s 1999 release, “Soundsystem,” frontman Nick Hexum sings, “Roni Size/ coming full range.” He called it perfectly.

Size/Reprazent’s latest release, “In the Mode,” comes full range in originality and just flat out kicks some funky beats.

Size, who is also the producer of this project, is thought of as the visionary and primary energy source behind the beats and sounds. Reprazent is known as the collective featuring emcee Dynamite, vocalist Onalee, bass player Si John and drummer Rob Merrill.

In the genre of electronica music, one may very easily find repetitiveness. But if you come across a fresh electronica sound, filled with beats you never thought could exist, it’s like breaking up with your boring girlfriend for a beautiful girl — one who actually likes you.

“In the Mode” weaves a tapestry of sounds that flow into your head like 2% milk into a tall glass.

Dynamite’s rhymes fit perfectly with the off-the-wall sounds in songs such as “Heavy Rotation” while Onalee’s beautiful female voice is the chocolate syrup on the ice cream that are the beats of tracks like “Staircase.”

Roni Size/Reprazent make this music original by mixing so many flavors of cultured music. Styles such as soul, hip-hop and reggae find their ways into this mix of electronic noises and beats.

Highlights of “In the Mode” include guest tracks with Method Man on “Ghetto Celebrity” and former Rage Against the Machine centerpiece Zack De La Rocha on “Centre of the Storm,” a strange yet amazing relationship between De La Rocha’s phat lyrics and Size and Reprazent’s amazing rhythms.

“In the Mode” highlights the awesome aspects of so many forms of music by putting an electronic spin on them, making it a most refreshing breath of sound in a music industry on life support.

There are basically two kinds of country music in the world today. There is Hot Country, which is country music’s version of pop music. It is the kind of music that sells on top-40 stations.

Then there is the kind of country that has its roots in the folk music of various white culture’s from Appalachia to the Ozarks. It is the music that inspired rockabilly and spawned outlaw legends like Johnny Cash, Hank Williams and Merle Haggard.

After that, things get complicated. You get into alternative country with performers like Garrison Starr and Lucinda Williams who don’t get airplay far outside of Americana programs on college stations.

Few performers cross these lines, but Dwight Yoakam is one of the more legitimate performers who manages to show up on Hot Country stations and deserves respect. He isn’t pandering to the masses, but the masses dig him anyway. Meanwhile, he garners respect from critics for injecting quality into every song.

“Tomorrow’s Sounds Today” is a genre busting collection of country tunes that bring together rockabilly, traditional country and even a Cheap Trick cover to show Yoakam’s range cannot be limited by definitions. There is something here for dyed-in-the-wool rednecks, Americana devotees as well as long time fans of Buck Owens.

Yoakam represents that portion of country music that claims Elvis Presley as one of their own. He knows how to rock the mic without selling out.

His version of the Cheap Trick classic “I Want You To Want Me” shows his breadth of interest and an ability to translate rock classics in his own unique style. He is a uniter who ultimately understands music’s ability to draw from disparate sectors and draw on their similarities. “Tomorrow’s Music Today”

Dwight Yoakam

Compare to: Junior Brown, Clint Black, Lyle Lovett

4 Stars

— Greg Jerrett

There are basically two kinds of country music in the world today. There is Hot Country, which is country music’s version of pop music. It is the kind of music that sells on top-40 stations.

Then there is the kind of country that has its roots in the folk music of various white culture’s from Appalachia to the Ozarks. It is the music that inspired rockabilly and spawned outlaw legends like Johnny Cash, Hank Williams and Merle Haggard.

After that, things get complicated. You get into alternative country with performers like Garrison Starr and Lucinda Williams who don’t get airplay far outside of Americana programs on college stations.

Few performers cross these lines, but Dwight Yoakam is one of the more legitimate performers who manages to show up on Hot Country stations and deserves some respect. He isn’t pandering to the masses, but the masses dig him anyway. Meanwhile, he garners respect from critics for injecting quality into every song.

“Tomorrow’s Sounds Today” is a genre busting collection of country tunes that bring together rockabilly, traditional country and even a Cheap Trick cover to show Yoakam’s range cannot be limited by definitions. There is something here for dyed-in-the-wool rednecks, Americana devotees as well as long time fans of Buck Owens.

Yoakam represents that portion of country music that claims Elvis Presley as one of their own. He knows how to rock the mic without selling out.

His version of the Cheap Trick classic “I Want You To Want Me” shows his breadth of interest and an ability to translate rock classics in his own unique style. He is a uniter who ultimately understands music’s ability to draw from disparate sectors and draw on their similarities. — Jon Dahlager