Daily Staff Writer

“Celebrity Skin”

Hole

“Mechanical Animals”

Marilyn Manson

Courtney Love and Marilyn Manson are not easy people to like.

They don’t say the right things or wear the right clothes. They perpetually rupture the unwritten rules of rock ‘n’ roll defined by the same performers who influence their music, namely Kurt Cobain and David Bowie during the glory days of progressive music.

Worst of all, Love and Manson are gimmicks: The Queen Bitch of Grunge with an attitude worse than the Gallagher brothers and the Spokesman of Satanism with a bad habit of showing his ass.

As hard as it is, “Celebrity Skin” and “Mechanical Animals” make you like the distorted luminaries behind them.

Perhaps it is the presence of producer Michael Beinhorn, whose r‚sum‚ boasts Soundgarden’s “Superunknown,” Soul Asylum’s “Grave Dancer’s Union,” and The Red Hot Chili Peppers’ “Mother’s Milk,” that places both records closely behind “Milk” on the list of important records of the ’90s.

Or maybe the hairless wonder Billy Corgan, who worked with Love and whose friendship undeniably played a major influence for Manson, can claim some credit.

However it is distributed, credit is definitely due for the creations of “Celebrity Skin” and “Mechanical Animals.”

“Skin,” the long-awaited follow-up to Hole’s 1994 breakthrough “Live Through This,” is a masterpiece pop record acted out by a grunge band. Joan Jett does the Liz Phair diary.

“Northern Star,” bounded by a full string section and Pumpkinesque percussion, is by far the most beautiful song Love has written. And the raw emotion in her voice, heard only before on “Doll Parts,” is a perfect fit.

“Swing low sweet chariot,” Loves sings on “Awful,” a memorable fast-paced number written collaboratively by Hole members Love, Eric Erlandson, Melissa Auf Der Maur and Patty Schemel.

Corgan’s lendings are also solid, with tunes like “Celebrity Skin” and “Hit So Hard” providing the clever innovation his Pumpkins work commonly possesses.

Manson’s “Mechanical Animals” is similarly innovative, but what makes it stand out from his past work is its friendliness.

Not friendly as in Manson gone Hanson, but friendly as in hard to turn off.

“The Dope Show” is amazingly catchy for a song that layers Bowie-style glam over Reznor-style electronics.

“I Want To Disappear” is carried by the classic ’80s drumbeat characteristic of Devo, while “Coma White” is what “Love Hurts” would have sounded like had Manson fronted Nazareth.

“Rock is Dead,” possibly Manson’s boldest statement yet, picks up musically where “Beautiful People” left off, as Manson screams poetically “Rock is deader than dead/Shock is all in your head/Your sex and your dope is all that we’re fed/So fuck all your protests and put them to bed.”

Personalities, appearances and gimmicks aside, Manson and Love are not only amazing talents, but progressive rock’s last chance.

And shouldn’t the music be what counts.

“Celebrity Skin” — 4 stars out of five

“Mechanical Animals” — 3 1/2 stars out of five

— Corey Moss

“I’m Telling You for the Last Time”

Jerry Seinfeld

“What’s with the cab drivers and the B.O.?” says comedian Jerry Seinfeld on “I’m Telling You for the Last Time,” a comedy album in which the great comedian retires all of his best material.

The record contains 21 tracks revolving around 20 jokes and a question and answer session in which Seinfeld is asked a few questions from the audience.

Nonstop laughter is the best way to describe this creation. With so many classic Seinfeld-style jokes that leave you going “that is so true,” this CD is definitely a showing of how funny this man really is.

Track after track, he cleverly points out humorous happenings in the world that occur in such things as halloween, airplanes, Florida, horses, cab drivers, McDonalds, Florida, skydiving and toilets.

“What is the point of the helmet when you are skydiving? If you jump out of a plane and your parachute doesn’t open, that helmet is now wearing you for protection,” Seinfeld says.

Seinfeld’s unique way of telling jokes without swearing or being dirty sets his comedy apart from others. His high voice squeaks and trademark “what is with …” are both to be found on this recording and help make it classic Seinfeld.

Seinfeld is one whose jokes can make people laugh the fourth and fifth time they’re heard, which explains why his show does so well in syndication.

A comedy album from one of the funniest men who ever lived is definitely one to be owned.

5 stars out of five

— Kyle Moss

“Follow the Leader”

Korn

Korn’s latest release, “Follow the Leader,” is a letdown.

Not to say the record is bad, but it lacks the characteristics that made the self-titled debut and “Life is Peachy” such a success.

While the “clicky” bass lines and double-bass barrage are still present, the grumbling low guitar tones seem to be lost in the mix.

Vocalist Jonathan Davis, who used to be able to raise the hair on anyone’s neck with his wretched screams, relies much more on whines and whispers than blood curdling yells.

The heaviness that once set Korn apart from so many hardcore bands seems to have been replaced with commercialization.

“All in the Family” and “Children of the Korn” are the two best songs on the record. The ironic thing is that both these songs feature guest vocalists.

Fred Durst of Limp Bizkit takes potshots at Korn in the former, while Ice Cube brings old-school gangsta rap to the Korn groove in the ladder.

“It’s On!,” “Dead Bodies Everywhere” and “Reclaim My Place” should feed the millions of Korn hungry fans enough to keep them in their place, but the record fails in comparison to previous releases.

2 1/2 stars out of five

— Chad Calek

“‘Clay Pigeons’ Soundtrack”

Various Artists

Pull out your initialized brass belt buckles, tip your dusty Stetson and hike up the Wrangler jeans because the dark western comedy “Clay Pigeons” clippity-clops its way into theaters Friday.

The soundtrack, which hit stores Tuesday, is a masterpiece in itself. We can only hope the movie is as well produced as its counterpart.

What other soundtrack on God’s green prairie includes the country stylings of Pat Boone, Lyle Lovett, Tonic, Sister Hazel and The Verve Pipe? Answer: None but “Clay Pigeons.”

Most of the album’s songs are country tunes without the twang. Besides the new material, there are a few older country numbers offered by Jimmy Wakely, Don Gibson and Pat Boone.

Opening track “Timebomb,” performed by Old 97s is a rockabilly punk tune with a polka drum beat. A perfect song for beer-swillin’ and roughhousing in any saloon.

“Everybody’s Talkin’,” performed by Tonic, might frighten some of the band’s fans because of its laid back nature, but you shouldn’t be scared. It’s just a cover song.

Lyle Lovett puts in a good performance singing “Teach Me About Love.” My question is this: Julia didn’t school you in the art of love? After losing her, he has a lot to croon about.

Other album highlights include Sister Hazel’s cover of “Let Your Love Flow” and Sara Evan’s performance of “Almost New,” a perfect song for slow dancing.

Saddle up and catch “Clay Pigeons.” Oh, and loosen the Wranglers a tad.

4 stars out of five

— Jason Young

“Propska One”

Various Artists

“Jesus music” isn’t limited to DC Talk and Jars of Clay anymore.

New modern rock, alternative, ska, celtic and heavy metal albums are constantly created by Christian artists trying to get their music heard and accepted.

And this variety of styles has given way to an increased popularity of sampler CDs in the Christian music arena.

“Propska One,” a compilation of music from 17 different groups, showcases the talents of budding artists like Mukala, as well as the talents of veteran performers such as Plankeye and Jars of Clay.

Third Day starts off the progression with the fiery, “You Make Me Mad,” led by the insistent vocals of Mac Powell. A couple tracks later, All Star United’s selection, the happy-go-lucky “La La Land,” offers a fair representation at best with its predictable chord progression and sing-songy chorus.

Later on, Caedmon’s Call checks in with an exclusive live recording of “Another Ten Miles,” a cut previously only available to the band’s exclusive Guild Members. Five Iron Frenzy toots its horns for the energizing, doxology-ridden, yet highly skankable “A Flowery Song.”

There’s a fine line between what is considered the average, cheezy sampler CD and what is considered worthwhile. This one actually makes it over the line.

4 stars out of five

— Ashley Hassebroek