Baha Man

Move It Like This

S-Curve Records

***

It was in the summer of 2000 that the now-infamous dance tune “”Who Let the Dogs Out?”” became an inescapable staple of radio, television and film. For better or for worse, the song left an indelible paw print on mainstream music, unleashing a pop culture phenomenon of, well, canine proportions.

Hoping to avoid the one-hit wonder fate of previous pop acts (think along the lines of the “”Macarena””), Baha Men introduce their latest offering, “”Move It Like This.”” Armed with a giddy collection of upbeat swingers and a sampling of syrupy ballads, the group appears primed for a second-round assault on the ears and piggy banks of America’s youth.

For those who couldn’t get enough of the group’s unabashedly upbeat style, the 13-track set seems to be aimed squarely at the same audience that ate up the pop-ified reggae-rap “”Dogs.”” The album is tailor-made for the boom boxes of many a junior high dance and afternoon barbecue.

The Caribbean-flavored brand of lightweight, cornball grooves eases in and out of the assortment of jangling guitar riffs (“”Rich in Love””) and synth-string rhythms (“”Giddyup””). The title track is a slice of this reggae/dance-floor pop cheese, an infectious and effectively bouncy number.

Unfortunately, the novelty quickly wears thin because the flavor of the weak sound becomes little more than a bad aftertaste in the ears. Decidedly commercial and deceptively catchy, the one-note, increasingly similar sound falls short of maintaining the aplomb of the energetic morsels heard early on the disc’s opening tracks.

Harmless but ultimately ineffective, “”Move It Like This”” is unable to drum up much more than a steady beat and an artificial plea to partygoers.

— Matt Huey

Contributing Writer

Ed Harcourt

Here Be Monsters

Capitol Records

*****

On your first trip through Ed Harcourt’s “”Here Be Monsters,”” you hear 11 tracks of light-hearted tunes with lounge-jazz influences. But upon closer inspection, there are carefully produced layers of noise and sound that all support the silky-smooth vocals of Harcourt.

This well-crafted album travels from depressed midnight rambling to upbeat and even grunge. Listen to this album in the darkness of your room –and listen carefully. There are layers of sound carefully stacked on top of each other and instruments that chime in just at the right moments to shimmer in and out. If you were to play the comparison game, you could find Harcourt resembling the sounds of Mercury Rev or Space.

“”God Protect Your Soul”” has a groovy bass riff combined with a lounge piano. A red-light district trumpet plays in the background before the song erupts into a rush of horns. “”She Fell Into My Arms”” is another song that plays with a lounge attitude. But some well-placed diminished and minor chords give the song a dark, melancholic color. “”Apple of My Eye”” is a heart-warming tune that fills the air with a Motown vibe that is soulful and rich.

The magic of “”Here Be Monsters”” is that this masterpiece was produced by Tim Holmes, who is also known for his work in the electronica outfit Death in Vegas. Knowing that a dance-music producer was at the helm explains the clean mixes and beautifully layered tunes that surprise you with a wide variety of instruments.

Listen to “”Here Be Monsters”” carefully, because anyone with eclectic musical tastes will be left thinking about the sheer beauty of the album while at the same time thinking in amazement, “”What the hell just happened?””

— Joseph Lee

Hiatus Editor

Sneaker Pimps

Bloodsport

Tommy Boy Records

****

“”Bloodsport”” by the Sneaker Pimps is definitely eclectic, and there is a slim chance you can get bored with this album.

The Sneaker Pimps were probably best-known for their singles, “”6 Underground”” and “”Spin Spin Sugar,”” which featured the coy vocal style of Kelli Dayton. Back then, trip-hop beats and trancey sounds comprised the Sneaker Pimps sound.

“”Bloodsport,”” however, brings a different angle to the music. One can hear the techno beats and the trip-hop bass grooves, but there is more of a synth-rock edge to the album. And in an effort to keep their music fresh, they have parted ways with Dayton.

The result is an eclectic mix of songs that range from down-tempo to industrial grooves. Some of the music is almost reminiscent of early Depeche Mode with the fuzz bass and the retro-drum kits.

In place of Dayton is Sneaker Pimps guitarist Chris Corner. While some might say that Dayton’s departure ruins the distinguishing sound of the band, Corner is more than adequate. He adds an entirely new dimension and sound to the band. He has the talent to growl and croon his way through the album.

Heartbreaking vocals complement an acoustic guitar with a light keyboard part rounding out the sound in “”Black Sheep.”” With the simple lyrics, “”And maybe then you wouldn’t get so sick of me,”” and just enough pop in Corner’s voice, the song “”Sick”” is a great radio-friendly song.

“”Bloodsport”” provides a wide selection of songs and tempos to groove to. Corner fills in just perfectly with the evolving Sneaker Pimps sound. This album might not have the hit singles, but it works perfectly if you listen to it from beginning to end.

— Joseph Lee

Hiatus Editor