Daily Staff Writer

“Risk”

Megadeth

Megadeth is back, and for number eight they’re taking a “Risk.”

Former Suicidal Tendencies drummer Jimmy DeGrasso has replaced Nick Mendza in the lineup, but that’s not the only change in the band.

The ultra-heavy guitar riffs of past albums like “Countdown to Extinction” are history, substituted by more melodic and softer songs like “Breadline.”

The angry political attitude of tunes like “Holy Wars” are also nowhere to be found.

“I’ll Be There” contains lyrics that will truly horrify any Megadeth fan. “When skies are dark/ No sun shines through/ I know I see the light in you,” frontman Dave Mustaine croons.

Mustaine is trying harder than ever to become a “real” singer so don’t expect to hear much of his signature gnarl on this album.

“Crush ‘Em,” the current single, would be a much better song without the glam rock-style scream heard in the song’s chorus.

Despite the disc’s shortcomings, there are a few songs that rank worthy. Tracks like “The Doctor is Calling” and “Prince of Darkness” bring back the darker, heavier side of Megadeth and return to more traditional Megadeth lyrics.

“While you burn at the stake, I dance in the flames/ I bring poverty, sickness and death, plus a worthless handshake.”

Overall, “Risk” falls disappointingly short of expectations for both a Megadeth album and a heavy metal album in general.

The true “Risk” on this record is spending fifteen dollars to buy it.

2 1/2 stars

— Trevor Fisher

“MOM 3”

Various Artists

Surf music can be many things. The Beach Boys, Sublime, Dick Dale, even Pee Wee Herman covering “Surfin’ Bird.” The only requirement is attitude — a cool combination of sport, sun and sipping (umbrella drinks, of course).

Sticking with the tradition of capturing the surfer sentiment is the latest installment in the “Music for Our Mother Ocean” compilation series, “MOM 3.”

The record stuffs such diverse acts as Jane’s Addiction, Ben Harper, Snoop Dogg, James Taylor and Lisa Loeb in a sand-packed grab bag and kicks out a collection of clever covers and summer anthems with more attitude than a Death Row anthology.

Midway through a year dominated bycovers (“Blue Monday,” “American Woman,” etc.), “MOM” delivers a few more goodies with Brian Setzer wailing on “Little Deuce Coupe” and the Butthole Surfers peppering up “Summer in the City.”

The Lovin’ Spoonful hit is given the typical Butthole sonic sound effect treatment, but the vocals and quintessential piano solo are right on.

Pearl Jam, who contributed “Gremmie Out Of Control” to “MOM 2,” join the Surfrider Foundation’s cause once again, sounding nothing like Pearl Jam as usual. “The Whale Song,” an ode to former San Diego surfer Eddie Vedder’s favorite mammal, lacks the vocal prowess typical of the yielding grunge group.

Rage Against The Machine’s Tom Morrello is proving to be the most innovative guitarist of the late ’90s and his work with Snoop Dogg on “MOM 3” is some of his best stuff yet.

Wah wah pedals galore and a slamming bass line compliment the Snoop style well, filing “Snoop Bounce” in between “Nookie” and “Walk This Way” in the rap-rock rack.

Meanwhile, rappers Beastie Boys file their contribution, “Nothing To Say,” under punk rock. The song clocks in at a minute and a half and sounds strikingly similar to “Tough Guy.”

Lit, the poppiest punk band since Green Day, impress with “Money,” a catchy tune worthy of the zip-lock bag treatment.

Like surfing, “MOM 3” excels when the energy is high but plunges when things get too calm.

Sprung Monkey, Beck and Jane’s Addiction deliver cowabungas, while Allison Moorer and James Taylor ballads provide less thrills than boogie boarding in Lake Laverne.

All of this up and down riding makes you wish you had a few more of those umbrella drinks.

3 1/2 stars

— Corey Moss

“You’re Pretty”

You’re Pretty

Though they defy description, You’re Pretty is what would result if Tori Amos replaced Chino Moreno in the Deftones, deciding she would like to try fronting a hardcore band.

On the band’s self-titled debut, opening track “Attic” features disembodied vocals and guitar and bass swirls that butt heads and ultimately coalesce just as the drummer enters with a massive kick. This song serves as an introduction to You’re Pretty’s music, revealing one of their key elements — contrast.

Thoughtful ballads coexist with Korn-inspired tracks throughout the CD. “Pretending” evokes memories of “Siamese Dream”-era Smashing Pumpkins.

“Sshh Quiet,” another one of the record’s many memorable tracks, opens with a sparse, piercing guitar/bass riff that remains firmly embedded in the listener’s brain, even as the melodic vocal line vies for attention.

Each instrument provides unique, essential and sometimes contradictory parts in every song.

The album even uses utter or near-silence as a tool, echoing singer Beth Musolff’s lyric “But even the silence I can hear.”

The band weds traditional hardcore sounds with an infectious swing beat during “Lullaby,” a tune that will keep your body moving and your feet tapping.

The musical melting pot that is “You’re Pretty” proves that the band deserves a much larger fan base than they currently enjoy. The self-released CD is available at www.yourepretty.com.

4 stars

— Jon Dahlager

“Famous Monsters”

The Misfits

The Misfits without Glenn Danzig. At first the thought seemed impossible. Then came “American Psycho,” the band’s 1994 major label release that featured the same Misfits sound but lacked Danzig’s trademark vocals.

It just wasn’t the same.

Now with the Roadrunner Records release “Famous Monsters,” replacement singer Michael Graves’ voice sounds a bit more impressive.

Although nothing will ever quite match songs like “Ghouls Night Out” and “Last Caress,” this album comes scarefully close in quality to those early Danzig days.

Songs like “The Forbidden Zone” and “Die Monster Die” are a good reminder to all those who forgot about the staple that Misfits have left on the horror punk/metal scene.

After all these years, the Misfits can still come up with very fast songs about famous horror movies.

The album’s highlight is “Saturday Night,” a song that features a non-traditional sound for the Misfits.

“There’s 52 ways to kill anyone/ One and two are the same and they both work as well,” Graves sings, the lyrics being the only aspect preventing the band from sounding like something heard on the oldies station.

While “Famous Monsters” can never outdo classic Misfits albums of the past, the band does show that after 22 years, they can still put out solid horror records.

3 stars

— Dewayne Hankins

Indie Spotlight: “The Greatest Rock and Roll Band in the World”

Supersuckers

Sub Pop Records

The Supersuckers’ new retrospective release conjures up memories of the golden era of grunge. Wearing a Mudhoney T-shirt, torn jeans and black, low-top Converse All Stars, you were the coolest kid on the block and Nirvana had just ushered in a wave of copycat grunge bands. Luckily, the Supersuckers were not one of them.

While they used signature elements of the grunge movement like dirty guitars and raspy vocals, it was their ever-changing nature that set the Supersuckers apart from Sub Pop label-mates like the Screaming Trees and Tad.

“The Greatest Rock and Roll Band in the World” unites songs from the band’s four albums plus various rare tracks and two new songs.

The 27-song collection kick starts with “Coattail Rider,” the song that launched the Suckers’ 1992 debut album, “The Smoke of Hell.”

Raw punk energy clashes with traditional country twang on “Bloody Mary Morning,” a rare track featuring an unlikely guest appearance by country legend Willie Nelson.

Both paying tribute and poking fun at gangsta rap, the band covers Ice Cube’s “Dead Homiez,” the CD’s most unique track. The song was previously only available on vinyl, but now is easily accessible on the new disc.

Examining the band’s career to date, it appears the Supersuckers have over the years traded in their punk aggression to achieve a more varied sound. The band’s recent music, like “Dead in The Water” from 1997’s “Must’ve Been High,” embodies a roots rock, folk and country quality, but still maintains the same passion as earlier work.

While they may not be the “Greatest Rock and Roll Band in the World,” the Supersuckers create straight-up rock with a punk core, an honest attitude and a style definitive of the ’90s.

It’s music that makes you want to break out that old Mudhoney shirt again.

3 stars

— Conor Bezane

Ratings based on a 5 star scale.