ICP blends several genres on new release 'Jeckel Brothers'

On May 25th a carnival will be coming to town. Get in line, find a flak jacket and get ready for the ride as the Insane Clown Posse drops "The Amazing Jeckel Brothers." "Jeckel Brothers" packs 17 insane tracks into a 70 minute barrage of rowdy mayhem.

This is definetely not an album to be listened to while holding sharp objects. The production on the album reflects influences from various musical genres. Hip-hop often meets with a twist of rock, as on "Play With Me," and sometimes vice-versa.

Lyrically, Violent J and Shaggy 2 Dope show that they are capable of handling various styles from hard rap to singing, all laced with dark humor.

Several guests appear on the album. Ol' Dirty Bastard takes time to share his undying love for women with us on "Bitches," and the Jerky Boys provide some light moments with their trademark telephone humor. Even Snoop Dogg visits the Clowns, dropping a verse on "The Shaggy Show."

Overall, "The Amazing Jeckel Brothers" will delight ICP fans - known as "Juggalos" - and should convert more than a few non-believers.

While the album is certainly not for everybody, "Jeckel Brothers" deserves at least a listen - just be sure to buy a helmet with that flak jacket.

No Limit Top Dogg

No Limit Records

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Whatever Snoop has wanted to do, he has always associated with the best-of-the-best. After Snoop's former label Death Row Records disbanded, he couldn't have selected a better crew to sell records with. Don't be fooled, however, by the large gold and diamond laden logo of No Limit Records on the back of the artist's second release on the label; "No Limit Top Dogg" features the longed for G-Funk style that is synonymous with the MC.

The best tracks on the album are those that you would expect from Snoop: A low rumbling bass line complemented by familiar melody sampled from some old rap or R&B tune. But you can tell that the style has evolved as most tracks are now laced with a wobbly, high-tech aura.

Some tracks on "Top Dogg" are produced by Dr. Dre, but they are overshadowed by the smooth and retro West-Coast brand production of DJ Quick, Ant Bank and Meech Wells. Disappointingly, the tracks produced by Dr. Dre contain low bass-lines and techno blips that simply become tick-tocks of a metronome that leave the entertaining to Snoop's sly and witty lyrics.

Snoop's subject matter ranges all the way from vengeful ravings ("Buck 'Em," "My Heat Goes Boom") to dear and intimate tracks ("I Love My Momma," "In Love With a Thug"). Don't miss house-party jams such as "Snoopafella," however, where an Snoop assumes the role of Cinderella and the magical horse-drawn carriage becomes a low-ridin' six-four.

A handful of tracks feature cameos from his fellow No Limit label mates, but Snoop stands apart not only for his superb mastery of verse, but many times because he's the only coherent MC out of the bunch.

Bill Dove

Carboot Soul

Matador Records

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Don't let the name Nightmares On Wax deceive you. There isn't anything scary about this British group. Beauty, sentiment and deep funky soul characterize the new album by Nightmares On Wax, "Carboot Soul." The third album by George Evelyn takes mellow hip-hop beats and blends them with live instruments such as pianos, horns, guitars, bass, keyboards and an occasional female vocal.

An absolutely beautiful album perfect for chilling out to, "Carboot Soul" sounds like a peaceful, stoned DJ Shadow or a cheery, daytime version of Portishead. Even though the beats come courtesy of a machine, everything on the album sounds natural and organic. This is the kind of music old soul legends such as Curtis Mayfield, Isaac Hayes and Quincy Jones would have produced if they had access to today's music making technology.

Jason Birchmeier

Fellow Workers

Righteous Babe Records

The liner notes of "Fellow Workers" boast that the new release stars "Utah Phillips and his mensabilly band!" This is more appropriate description of the album than the CD itself, which gives Ani DiFranco higher billing than Phillips.

The promotion of DiFranco misleads fans into thinking that this release is similar to her other works. It's not. DiFranco almost exclusively plays and sings backup for Phillips, who performs traditional workers' folk songs and spoken-word commentary on capitalist, bureaucratic society.

Although the CD isn't predictable DiFranco (if there is such a thing), it isn't a bad release. DiFranco's musical ingenuity combines with Phillips unique voice to add an intriguing twist to folk songs such as "Pie in the Sky" and "Joe Hill." The instrumental version of "Joe Hill" that begins the album is intriguing and draws in the listener.

"Fellow Workers" does get monotonous, though, particularly during Phillips' solely spoken-word performances such as "Lawrence," "Why Come?" and "I Will Not Obey." These selections are meant to be carefully listened to and absorbed, not played as background music or light listening, and as such the words blend together and become nothing but dull noise.

Though this isn't an album for someone expecting DiFranco's angry/bubbly pop music, it's an interesting release and will add diversity to any CD collection.

Jessica Eaton

05-24-99