Daily Staff Writer

“Frank Black and the Catholics”

Frank Black and the Catholics

A new section of the Bible was just added this September — the Gospel according to Frank Black.

Praised by critics and fellow musicians alike, Black has impacted the alternative genre as much as the late Kurt Cobain of Nirvana.

And now, the Great Frank Black has done it again, this time with his backing band The Catholics.

For those not schooled in the ways of Father Frank, the musician has been notorious for going through many identity changes.

First he was the infamous Black Francis fronting the influential alt-rock pioneers The Pixies. Then he moved on to a solo career, changing his name to Frank Black and adopting an all-new style.

But as fans of the zany musician know, Black isn’t renowned for staying within the boundaries of any specific sound.

Which brings us to the songster’s latest self-titled album, “Frank Black and the Catholics.”

This album marks Black’s return to a classic guitar/bass/drums rock ‘n’ roll sound. Gone are the usual quirky experimental-sounding guitar riffs that characterized The Pixies, which are replaced by poppy distorted chord progressions and harmonious guitar fills.

Black’s distinctive voice personifies each song, with the exception of “Dog Gone,” on which his voice is quite reminiscent of Eddie Vedder’s.

He even gives a little nod to legendary surf guitarist Dick Dale when he mentions the “king of surf guitar” on the final track “The Man Who Was Too Loud.”

While Black’s music may not be played often on radio or MTV, it won’t be long before the masses learn of the Great Frank Black.

“The news is gonna break that I am here, and your noose is gonna break when I am there,” the slow “Dog Gone” proclaims.

Veteran Pixies disciples or anyone looking for a good straight up rock ‘n’ roll record will not be disappointed with “Frank Black and the Catholics.” Who knows? Maybe the Gospel according to Frank Black will inspire a whole new generation of followers.

4 stars out of five

— Conor Bezane

“The Complete Bob Marley and The Wailers 1967-1972”

Bob Marley and The Wailers

Imagine kicking off your shoes at a beach party in the islands. The waves are crashing, and the air is filled with sweet music. Are you there? That sound you are dancing to is Bob Marley and The Wailers.

For the tried and true reggae fan, there is none higher than Marley.

“Legend” was a necessary part of any party collection back in the mid-’80s, and you would be hard-pressed today to find anyone unfamiliar with his greatest hits: “One Love,” “Stir it Up,” “Buffalo Soldier,” “No Woman, No Cry” or “Three Little Birds.”

Marley was the very definition of a reggae superstar.

And now his early years are available in a new three CD collection titled “The Complete Bob Marley and The Wailers: 1967 to 1972.” The collection contains 64 tracks, including 28 previously unreleased or uncollected tracks from the formative years of this influential performer.

For those who broke their teeth on “Legend,” these recordings will not be your new favorites. They don’t have any of the same popular appeal of the greatest hits album.

The sound quality of this collection is much lower than average (which is to be expected from such old recordings), and the songs themselves have less appeal than the popular favorites.

“Sugar, Sugar” is a syncopated remake of the Archies’ old classic. Any time you put a Caribbean beat to an old standard, you get something fresh. This one is no exception.

Other tracks worth note are “Soul Captives,” “Selassie is the Chapel,” “Jah is Mighty” and “Love Light.”

This collection may not be for the causal listener, but for the diehard Bob Marley/reggae fan, it makes a great addition to your personal island archives.

So kick back or do a bouncy, mellow dance while listening to these ganja-soaked classics, mon. Irie.

4 stars out of five

— Greg Jerrett

“Rasassination”

Ras Kass

Ras Kass’ “Rasassination” is a good debut, but it needs a little work in the originality department.

The album’s downfall is that it has something for everyone.

Fans of Dr. Dre will enjoy the title track, which features the infamous rapper creating a buzzing sound reminiscent of early Dre.

Filled with gangsta rap lyrical content, “I Ain’t Fuckin’ With You” takes a page strait from the NWA songbook.

Ras Kass mirrors Puff Daddy with his party-like flows and ultra hip-hop grooves in “Grindin'” and “Lapdance.”

But what about the modern-day gangsta rapper? RZA of the Wu-Tang Clan joins Ras Kass to represent thug life in “The End,” which is actually the best track on the album.

While a lot of music on the record was likable, Ras Kass has no set style, but rather a willingness to appease everyone.

In fact, Ras Kass has a featured artist on nearly every cut on the record. Mack 10, Kurupt & El Drex, Xzhibit, Jazza Pha and others join Ras Kass to provide a collage of hip-hop flavors.

Not to say that it doesn’t work — it just worked better the first time with Master P, Puff Daddy and Wu-Tang Clan.

3 1/2 stars out of five

— Chad Calek

“Strictly Diesel”

SpineShank

If you like your Deftones served with a little White Zombie, SpineShank’s “Strictly Diesel” is for you.

The Fresno, Calif., foursome shows its strength in the band’s first full-length release on Roadrunner Records.

From the opening chords on “Intake” to the surprisingly hip cover of The Beatles’ “While My Guitar Gently Weeps,” vocalist Jonny Santos whines with desperation before quickly breaking into violent fits of rage.

The music falls into the now cliche West coast hardcore sound that accompanies such acts as Korn, Coal Chamber and Deftones.

While SpineShank’s efforts should be rewarded, more creativity could add to the album.

SpineShank’s “Strictly Diesel” will have a hard time separating itself from the oncoming masses of bands that share its same sound.

3 stars out of five

— Chad Calek