Daily Staff Writer

“Austin Powers: The Spy Who Shagged Me”

Various Artists

FOUR STARS

In many ways it’s a sad commentary on the buying habits of music listeners, but today, film soundtracks are among the biggest selling recordings on the market. This is unfortunate because most soundtracks are a poorly conceived hodge-podge of the latest flavor-of-the-month. “Austin Powers: The Spy Who Shagged Me,” is a nice exception.

Executive Producer Mike Myers and Co. have done a nice job of assembling an album with a consistent groove to it. The music, like the film, is first and foremost a throwback to the psychedelia of swingin’ London in the late ’60s. However, rather than simply a collection of “oldies,” the album features contemporary artists covering classic rock standards.

The result is songs we’ve all heard thousands of times on oldies radio given a fresh ’90s facelift. Lenny Kravitz gives The Guess Who’s “American Woman” a trip-hop feel, while Big Blue Missile (with Scott Weiland) lend The Zombie’s “Time of the Season” a thick, circa early-’90s Seattle buzz.

The only classic song performed by its original artist is “My Generation,” by The Who, but who can improve on perfection?

The album also features several original songs, which manage to fit in perfectly with the other material.

The Flaming Lips, possibly the world’s most underrated band, turn in “Buggin’,” a rocking slice of psychedelia in its own right.

There is time on the album for a little fun, too.

Mike Myers as Dr. Evil performs a hilarious parody of Will Smith’s “Just the Two of Us.”

The disappointments on the album are minimal. R.E.M.’s cover of Tommy James’ “Draggin the Line” lends little to the original, and Melanie G (aka Scary Spice)’s “Word Up” is uninteresting.

Overall though, “Austin Powers: The Spy Who Shagged Me” has a smooth feel to it, which is about all you can ask from a soundtrack. An eclectic group of performers have come together to create an album with a unique spin on some classic songs.

-Ben Godar

“#1”

The Short Fuses

THREE STARS

The Short Fuses are a greasy gang of punk rockers that give music a raw, enthusing edge. Coming straight out of Minnesota, this quintet plays like Armageddon is around the corner waiting for someone to lag behind and get burned in the mix.

However, there is no slowing down for singer Miss Georgia Peach and her crew of whirlwind guitarist Smack Ramen, bassist Mr. Black, rhythm guitarist Blaster and skin smacker Guy Incognito.

Songs like “Funtimes” and “Acceleration Nation,” from the band’s debut album, “#1,” ignite into fast-paced furies.

The band also shines bright with the jam-like “100 Points” and the turbo-injected “Supercharged” along with the caustic anthem “She Wants Rock Action.”

The music on this album is superb. Peach’s wanton voice sucks you in while the guitar work of Ramen will knock you on your ass.

He could very well be the next Johnny Thunder.

“#1” is a pretty noble effort for a debut album. Although the recording quality came out like “#2,” if you know what I mean, the slightly loose, unpolished quality gives it a raw edge.

The Short Fuses have two singles out: “Kick It In” and “Ride Me.” The band was also featured on “Drunk On Rock,” a compilation album that combined the likes of Nashville Pussy, Electric Frankenstein and The Hookers.

Be sure to check out these biker buffs as they rev up the Grease Age once again.

-Kevin Hosbond

“How to Operate With a Blown Mind”

Lo Fidelity Allstars

THREE STARS

Lo Fidelity Allstars combine rock and dance on their new release, “How to Operate With a Blown Mind.” The album is high intensity house music that is as hypnotic as it is English.

House music can be a little hard to take, but for that highly danceable, start-to-finish jam, “How to Operate With a Blown Mind” is like a lesson in modern British pop culture.

Anglophiles should love the thick accents which pour out of the disc like hot fudge over a bowl full of nails. It sounds cool, but good luck thoroughly interpreting the lyrics.

The track getting the radio play is “Battle Flag,” and rightly so. If it were peanut butter, it would be Jif extra funky. If this one doesn’t get you off your butt and on the dance floor, then increase your sugar intake by a couple of pounds a day. The techno bits are slightly “Atari” when they should be “Playstation,” but technology isn’t everything. These guys make up for it with a solid, London, underground aesthetic.

These boys do like to work blue, and sometimes it feels contrived. Swearing should feel natural and not as if mom and dad are just out earshot. No one is that impressed with swearing these days, and if artists can’t come up with something better than repeating “get down on your motherfuckin’ knees,” then maybe they need to sign up for one of the many “learn to write” programs available through the mail.

The CD is certainly worth listening to a couple of times but the overall content is not original enough to be an instant classic or longtime favorite. This could potentially be the beginning of something bigger for these boys, but don’t count on it.

-Greg Jerrett