“The Mark, Tom, and Travis Show (The Enema Strikes Back)”

Blink-182

Compare to: Green Day, MxPx

4 out of 5 Stars

Finally. A live album worthy of existing. So many bands before couldn’t transfer their live show to CD, but Blink-182 has finally done it.

When I first heard the So Cal punk clowns were going to release a live record I was a bit iffy about the idea. I had seen Blink live and knew they were nothing to write home about. Lead vocalists Mark Hoppus and Tom DeLonge tend to be a bit off-key when it comes to singing, and they can’t do live half the things they do in the studio which makes the songs even more generic.

The only thing they would have had going for them is their “between song antics,” which I assumed they would have drowned out on the live album because Hoppus and DeLonge tend to ramble.

Fortunately, most of the comedy is there between songs, and those skits that didn’t fit in context are contained on a hidden track at the end of the album. It’s all there for your listening pleasure or displeasure, depending on your sense of humor.

The endless jokes about masturbation, oral sex and even dog semen (that’s right, dog semen) don’t seem to get old, and Satan constantly requests the kids in the crowd to take off their pants. These antics make it seem as though the songs almost detract from the thing that makes this album worth purchasing.

By track 17 of 20 overall, Hoppus says, “As my present to you people we are going to stop talking now and play a song.” However, at this point it is almost a disappointment to hear him say that.

The music isn’t all that bad. Compared to watching the Blink boys on the MTV Video Music Awards, this performance is amazing. DeLonge sings surprising well (except for the chorus of “Dammit”) and Hoppus is off-key only sometimes.

Travis is amazing as always on the drums, beefing up old Blink songs, including “Carousel,” “Dick Lips,” and “Pathetic.” He ups the quality to a level ex-drummer Scott Raynor couldn’t reach and keeps consistently perfect on “Adam’s Song” and “Going Away to College.”

It may not be the music quality that captures the essence of this live album, but it’s almost priceless to hear Blink sing songs like “Blow Job” and “Family Reunion” to a bunch of screaming 13-year-old girls who don’t have a clue.

DeLonge sums up the live album best when he says, “We are professionals at what we do. We just professionally suck and professionally act like a bunch of assholes on stage.”

They may be assholes and suck playing live, but for some reason I’m still laughing and singing along.

— Dewayne Hankins

“Capitol Punishment: The Megadeth Years”

Megadeth

Compare to: Black Sabbath, Anthrax

3.5 out of 5 StarsA greatest hits record can be a tricky matter.

This is especially true for bands such as Megadeth whose style has changed over the years and who haven’t had all that many “hits.”

When Megadeth first clanged into the metal scene in the mid 80’s, they were thrash/speed metal in the purest form. In fact, the band is recognized as being one of the forefathers of thrash metal.

But with time, Megadeth changed and added much more groove and melody, while still staying true to metal. There was one exception: last year’s pile of garbage, “Risk.”

So it would have been easy for the group to leave out the old stuff and instead opt for the material that got them more mainstream attention.

But the Megamen stayed true to their roots by including the old-school headbanging anthems “Peace Sells” from their second album and “In My Darkest Hour” from their third.

Also tagged onto “Capital Punishment” are two songs from Megadeth’s 1990 release, “Rust In Peace.”

These songs, “Hangar 18” and “Holy Wars … The Punishment Due” are the definition of thrash metal. The guitar work of Dave Mustaine and Marty Friedman is second to none. These were the times when Megadeth was the most socially aware and the most pissed-off band around.

Back then you didn’t hear Megadeth songs about relationships gone badly, you heard songs about real issues taking place around the globe. This is evident in “Holy Wars.”

“Brother will kill brother/spilling blood across the land/killing for religion/something I don’t understand,” frontman Dave Mustaine snarls.

The best part of this album is the fact that the group only used one song from its worst album to date, “Risk.” At the same time, that one song happens to be the worst song ever written by Megadeth, “Crush ‘Em.”

This song has no place on such a finely chosen compilation of Megadeth songs. So the album is near perfect, but not quite.

Two new songs are also featured on this album.

“Kill the King” returns to the heaviness of every Megadeth record prior to “Risk.” The other new track, “Dread & The Fugitive Mind” also returns to the heaviness, but is a recycled version of prior songs such as “Sweating Bullets” and “Prince of Darkness.”

Overall fans should be very happy with the songs chosen to represent Megadeth on this record. Megadeth chose not to sell its soul to the MTV gods like a certain musical counterpart starting with the letter “m.” And staying true to metal has hurt their sales, but that doesn’t take away from the truly brilliant music they have put together over the years. —Trevor Fisher

“Bring on the Fuego”

Ultra-V

Compare to: Everclear, Sugar Ray, Smash Mouth

2.5 out of 5 StarsMany bands often turn to the numbing effects of alcohol after having been together for months of touring, partying and even fighting. But how many actually turned to the bottle beforehand and then named themselves after their habit?

Thrash pop rockers Ultra-V may be the first to do just that. Comprised of former Ruth Ruth band members, Ultra-V formed in New York, but moved to L.A. to record their debut album, “Bring on the Fuego.”

It was there that they came across a drink dubbed the “Ultra V.” Made with vodka, midori, lime juice and triple sec, the Ultra V quickly became the band’s drug of choice and eventually their namesake.

The album itself starts off as strong as a shot of Hot Damn with the opener “Playboy Mansion.” The song is a lusty soundscape of celebration for America’s sex ethic, layered with shifting guitar riffs.

“Money” features a melodic bass line by the sensational Maggie Kim, as hip-hop influences weave around the melody.

Singer/songwriter Chris Kennedy proves his prowess at spiteful, witty lyricism with songs like “Alphabet Lounge” and the wistful “Heartful of Rain.”

“Igloo” offers a slightly punk nod as dueling guitarists Mike Lustig and Michael Kotch strut their stuff. In fact, a lot of the songs carry a subtle punk influence while at the same time evoking a slightly electronic pop sound.

Just when it seems the album is getting a little repetitive, along comes the song “Can I Crash Here Tonight.” Written for the cult hit TV series “Roswell,” this song features Kennedy’s smoky, soulful barroom drawl.

Drummer Christian Nakata provides the strange sounds for this song, including a dog toothbrush, cigarette lighter, office chair, crystal wine glass and nail polish remover bottle.

Later, Imani Coppola provides a screwy Eminem-style rap in the breakdown of the song “Lover,” giving an already dirty song a raunchier vibe.

Unfortunately, most of the album sounds pretty condensed and bland. Ultra-V may have good intentions with their debut, but “Bring on the Fuego” leaves a bad aftertaste. — Kevin Hosbond