Daily Staff Writer

“The Story of the Ghost”

Phish

Phish’s improvisational roots have earned the group a reputation as one of the best jam bands since the Grateful Dead.

But limiting Phish to one genre of music or even a general category is impossible. Phish albums have always contained many different styles of music.

Jam sessions heard on “Junta” take time to explore the music, with songs reaching up to 30 minutes in length, while 1994’s “Hoist” focused more on the group’s rock ‘n’ roll abilities.

Other classics such as “Lawn Boy” and “A Live One” have added to Phish’s cultic following — one that has grown to mirror the following of the Dead throughout the past few decades.

Phish’s latest release, “The Story of the Ghost,” showcases the band’s musical abilities in more than one style. The album demonstrates musical maturity, greatly complementing Phish’s previous projects.

The band covers a broad scope of its talent, combining improvisational roots with the mellow rock flavor of “Hoist.”

Funk influences can also be heard in several songs, notably the opening track, “Ghost.” To label the song as funk would be incorrect, as Phish’s drugged-out and dreamy lyrics add to the complexity of the music.

Bassist Mike Gordon lays down a solid, slow bass line and even throws in a little pop and snapping, making the song a definite foot-tapper.

“The Story of the Ghost” represents a different aspect of Phish’s long career, from song to song.

However, one constant can be heard throughout the album — Phish’s unique lyric style.

Lead guitarist/vocalist Trey Anastasio weaves his unique mesh of singing and poetry into every song, many of which, as on other Phish albums, are stories about fictitious characters or friends of the band.

Although a little on the mellow side (even for Phish), “The Story of the Ghost” is an excellent example of the group’s musical capabilities and experiences.

4 stars out of five

— Sam Johnson

“Mutations”

Beck

Armed with no turntables and a microphone, but one hell of a song book, Beck serves up “Mutations,” a platter of acoustic material he has composed in the time since “Loser” made him a winner a few years back.

More Allman Brothers than Dust Brothers, “Mutations” showcases a Beck whose voice is flattering and whose lyrics actually make sense.

Reminiscent of “Odelay’s” “Lord Only Knows,” the songs are country tunes mutated as only Beck can.

“Nobody’s Fault But My Own” finds a depressed Beck singing “Who could ever be so cruel/ Blame the devil for the things you do.” This emotional side of the often unpredictable performer is no doubt where it’s at on “Mutations.”

“Tropicalia” is an experiment with percussion and features Beck in full “Deadweight” form. With its lounge-style rhythms, “Tropicalia” would have fit just as snug into Ewan McGregor’s “A Life Less Ordinary.”

“Dead Melodies” is pure Johnny Cash-style. Interesting, but effective.

“Mutations'” best offering is a hidden track that says boogie the same way most of “Odelay” did.

If the ghosts of Jim Morrison and Kurt Cobain would ever collaborate, the result would sound something like this beauty.

And knowing Beck, he probably could find some space-age way of communicating to arrange it.

3 1/2 stars out of five

— Corey Moss

“Electro-shock Blues”

Eels

“Electro-shock Blues” should be packaged in a beautiful wooden box with a key to wind it up rather than the jewel case and comic-ridden liner notes that wrap it like the present it is.

Eels’ jewelry-box-style music is as delicate as the lyrics frontman E penned during the past two years — a dark period in which he became the last surviving member of his family.

The songs are passionate, personal and perplexed — all of the things we love about off-the-rocker rockers like E.

Whereas the songwriter proudly introduced “Novocaine for the Soul” on Eels’ debut record, “Beautiful Freak,” E rebuttals with “The Medication is Wearing Off,” a tearjerker laced with “do do dos” dancing off his soft palette.

Comforting rhythms and soothing vocals on “Last Stop: This Town” remind Eels fans why they became fans in first place. Co-written and co-produced by Dust Brother Michael Simpson, it is Eels’ catchiest song to date, and possibly one of the best truly “modern rock” songs of the year.

Grant Lee Phillips of Grant Lee Buffalo contributes vocals on “Climbing to the Moon,” another jewelry-box tune reminiscent of the new alt-rock ballad sound R.E.M. is going for on its new release.

E’s dry humor is as crisp as ever on “Hospital Food,” a toe-tapping swing number complete with horns and lounge-style percussion.

“P.S. You Rock My World” wraps “Electro-shock Blues” up beautifully, as E sings “I was thinkin’ ’bout how everyone is dying/ And maybe it’s time to live.”

The novocaine has definitely worn off.

4 stars of out five

— Corey Moss

“Riddim Warfare”

DJ Spooky That Subliminal Kid

One word best describes Outpost Recording artist DJ Spooky’s latest record — spooky.

DJ Spooky creatively uses everything from turntables to live instruments and digital effects machines. But in the process, he creates a bunch of sound that splatters chaotically from the speakers like a blender demolishing its contents.

“Riddim Warfare” leaves you wondering what the heck you just heard.

Of the 21 tracks on “Riddim Warfare,” two of them involve rapping and, coincidently, are the only good ones. DJ Spooky’s use of sampling reveals his wish to be like the Beastie Boys, but without Mike D and the Boys, he falls short.

Unexpectedly slow beats result in a confusing entourage of songs. DJ Spooky puts forth sluggish rhythms that give the music an eerie and unsettling feel and fails to satisfy your anticipation of fast-paced dance songs.

Spooky has clever samples but uses them in an non-constructive way by setting them to dragging rhythms and overusing them.

The abundance of tracks on the record are unnecessary; once you’ve heard one DJ Spooky song, you have heard them all.

Another problem with “Riddim Warefare” is DJ Spooky’s transitions from sound to sound.

Starting with muffled, slow reggae-style music, proceeding into a slow classical opera and then skipping doesn’t cut it.

Spooky has some talent, but before he can be in the game with greats like Mix Master Mike and DJ Shadow, he needs to learn how to channel it into more tolerable tunes.

2 stars out of five

— Kyle Moss

“Viva la Dregs”

The Hollowbodies

For centuries, Western Civilization has sought the answers to many philosophical questions: “Do we have free will?” “What happens to us when we die?” “What is Cheez Wiz really made of?”

But no question has haunted humanity more than the one posed by Iggy Pop in 1973: “If Jesus were alive today, what kind of music would he be listening to … is that my mascara?”

If Jesus had mysteriously risen from the dead today, there would be little doubt among philosophers, theologians and gas station attendants that he would be listening to The Hollowbodies’ “Viva la Dregs.”

Why? Because this album has a sophisticated yet folksy alternative college rock thing going on that Jesus would really be able to groove on.

Jangly guitars, traditional instrumentation, toned-down effects and intelligent, emotional lyrics make “Viva la Dregs” the perfect palate-cleanser after a hard day of industrial angst and techno hypnotica.

But don’t get the wrong impression. This album has more guts than a German sausage factory with none of the flies.

“Jimmy” and “Everyone Goes Away” are two of the better tracks. They are reminiscent of a Gen-X Jackson Brown hopped up on sugar.

More power than ballad, with vocals that crack the illings out of your head without so much as a “please” or “thank you.”

“Little King” is a soapy, sweet ditty which goes a little too far to make a good impression. This is the one the band wants on the radio, and it shows.

The chorus rings in your ears like “Pop Goes the Weasel” for an hour after you shut it off. Real men shouldn’t sing like this and expect to breed.

All in all, “Viva la Dregs” is the perfect addition to anyone’s alt-folk-rock-college collection. Put it next to Dave Matthews and Hootie.

The Hollowbodies will be heard from more in the future or my name isn’t Charleton Heston for Con-tel.

3 1/2 stars out of five

— Greg Jerrett

“Tip”

Finger Eleven

American musical tastes continue to lean toward the north with the release of the already embraced Finger Eleven debut, “Tip.”

“Quicksand,” the band’s widely popular radio single, is powered by memorable riffs and lead singer Scott Anderson’s catchy voice.

The title track is an amazing song that opens with ripping riffs that attack and pull. The song shifts moods about every 10 seconds, and the constant change is mesmerizing.

Even more invigorating is Anderson’s soft soprano melody as it slides along the groovy bass line.

The record continues in this fashion; one minute it’s really in your face, the next the listener is straining to hear the quieter parts.

“Condensor” is the type of song that really defines the band. Guitarist James Black calls it a bunch of noise, but the outcome is a strong head-banging song surrounded by intellectual lyrics.

The let down on “Tip” is that it sometimes gets a little mundane. Some of the songs just need a tad more life or a different sound from the rest.

The only song that catches extra attention comes near the end. “Costume for a Gutterball” is a hard-hitting riff-bomb song with spatial vocal yells similar to Tool.

“Tip” proves Finger Eleven has a unique and quality sound all its own. The building intensity and energy of most of the songs is enough to make listening to it worthwhile.

3 stars out of five

— Kevin Hosbond