“Methods of Mayhem”

Methods of Mayhem

Attention musicians: You too can have your own rock/rap act — take it from Tommy Lee. That’s right, the former Motley Crue drummer teams up with Ohio rapper TiLo in an attempt to rub elbows with the Limp Bizkits and Kid Rocks who are towering over today’s music industry.

Unfortunately for Lee, the act is very hard to swallow. Granted, Lee is one of today’s most respected rock drummers, however, his rapping is somewhat less respectable. And sidekick TiLo is not much of an improvement. Lyrics by Lee such as “I know that violence don’t fix drama/ if you wanna have that good karma go ask your mamma,” from “Hypocritical” will make listeners cringe.

Lee tries to make up for his lyrical handicap and prove he is part of the scene with plenty of big name hip-hop guest appearances.

Kid Rock spits a rhyme on the song “New Skin,” which proves to be a fairly poor match. It’s almost entirely rock, echoing Motley Crue, and more of an emotional song at that, at least before Kid Rock busts in with a rap about joints and going five times platinum. Lee and Rock’s lyrics don’t exactly go hand in hand.

Snoop Dogg also graces the album with a not-so-top-dog rhyme on the song “Who the Hell Cares,” which despite Snoop’s lackluster rap, is one of the better songs on the record.

But just remember Tommy, if Snoop will make an appearance for the Insane Clown Posse, he will do it for anyone.

All is not bad for the former hair metal bad boy, though. Lee does do a good job of mixing up the music on his record.

“Crash” and “Metamorphosis” will bring back Tommy’s days in the Crue and “Narcotic” and “Spun,” both featuring Scott Kirkland from the Crystal Method, will make you want to rave all night.

On “Get Naked,” Lee combines the heavy guitars and rap lyrics of most rap/rock acts, but also throws in booty shaking beats. The song boasts cameos from Fred Durst, Lil’ Kim and Mix Master Mike.

Lee has some good ideas that show throughout the record, but seeing him try to be a hip-hop head is like seeing Kenny G with leather pants and a Slayer shirt on.

But hey, if Methods of Mayhem doesn’t work out, there is always that boy band thing that is so popular.

2 1/2 Stars

— Trevor Fisher

“Dirty Little Secrets”

My Life With the Thrill Kill Kult

This remix collection of dance tracks spans the later portion of this Midwest-based techno band’s career.

Using a combination of female and male vocals and occasional slivers of porno samples, TKK never fails to bring forth a world of leather-clad sleaze that most think only existed in the adult section of a video store.

Thrill Kill Kult combines elements of many kinds of music to create a funky, techno, industrial brand of dance.

The collection, appropriately subtitled “Music to Strip By,” strays dangerously close to obscenity yet rarely ventures into the descriptions and four letter words that would warrant a Parental Advisory.

Even the obsession with Satan that hinged albums like “Kooler than Jesus” fails to make an appearance on “Dirty Little Secrets.”

The album itself is a fairly tame example of TKK’s work and remix qualities, yet eighteen tracks, with half unreleased, provide a decent album on its own.

The tempo has been reduced dramatically and songs like “Naked in the Grass” and “Wasted Time” are made almost motionless. But the new emphasis on horns and organs is what drives “Eight of Space” and “Golden Strip.”

Remixes of “The International Sin” and “Dirty Little Secrets” will make the dance floor hot with punchy additions of piano and cheesy saxophone samples that will make you shake your sassy right past Ricky Martin.

“Dirty Little Secrets” reveals the greatest hits the Thrill Kill Kult have been grinding to for nearly a decade.

3 Stars

— Ryan Rogness

“The Neil Diamond Collection”

Neil Diamond

In the late ’50s and early ’60s, the Brill Building in New York City was home to a crew of songwriters who turned out some of the era’s most popular hit songs. Later, several of these songwriters would go on to successful recording careers of their own. Probably the most successful were Paul Simon, Carole King and Neil Diamond.

It’s Diamond’s songwriting skill that has kept his music popular to this day. Even as his style evolved, Diamond’s music always maintained the catchy, pop feel he honed at the Brill Building.

“The Neil Diamond Collection” features a number of Diamond’s hits from his most prolific period, the 1970s. Anyone who’s ever listened to an “oldies” station or been in a waiting room will recognize classics like “Sweet Caroline,” “I am … I Said,” and “Cracklin’ Rosie.”

The only unfortunate omissions are from his early years, including “Solitary Man” and “Kentucky Woman.” On the other hand, those who compiled the album had the decency not to include some of his more recent garbage, such as “America.”

There isn’t really anything in the way of “obscure” tracks either.

It’s a bunch of Neil Diamond songs, take ’em or leave ’em.

3 Stars

— Ben Godar

“The Singles Collect”

“The B-Sides Collect”

Skinny Puppy

Skinny Puppy was the father of industrial music. They were one of the first bands to mix light-hearted keyboards, off-key drums, distorted guitars and disturbing horror movie samples.

The most innovative member of this genre is this group of non-musicians, who began creating music out of screams, dropped silverware and collected noises that independently seemed to lack meaning.

“The Singles Collect” is a very good account of Skinny Puppy’s greatest moments of anti-music. Hissing and ailing groans open “Stairs and Flowers” with a nightmare of fragmented black and white television voices.

The pumping drums are like an iron lung breathing life into “Inquisition” as grinding vocals seem to rant about torture and hate.

The album’s best track is “Addiction,” which actually resembles familiar song arrangements yet tempts with a dance beat like a vampire licking a victim’s neck.

However, the true power of Skinny Puppy can be found on “B-Sides Collect,” which is collected from leftovers of various singles and give the full power of this experimental band.

“Punk in Park Zoo’s” begins as a waving swarm of electricity infused with popping notes and random beats of a snare drum. The clattering noises in “Brak Talk” are almost retrospective of Herbie Hancock’s bustling organs and beats.

A live version of “Harsh Stone White” also captures the disturbing ambiance that a typical Skinny Puppy performance would involve.

Skinny Puppy was an interesting and original band that strove to stimulate, confuse and frighten all at once. “The Singles Collect” and “B-Sides Collect” serve as powerful sources to the band’s original power and innovation. Music has never been the same since.

3 1/2 Stars