**** Mothra
*** Rodan
** Batora
* Hedora

VARIOUS ARTISTS Cinemaphonic: Soul Punch v. 2
(Motel Records/ Fourth Density)
**1/2

The liner notes explain it in detail, but essentially this is a collection of low-budg film/TV soundtracks from the '70s. While many of them are quite bumpin', there's certainly a kitsch factor involved that's not far from the lounge culture revival of yesteryear (1991; i.e., you'll be over it in about one year). That's due to the distinct '70s soul-jazz sound, punctuated by wah pedals, Hammond organs, let's-hump-horn sections, and the ever-funky... flute. Many of the tracks stand out, however, especially the ones written by Alan Hawkshaw, who has an exceptional understanding of the necessity of bass, drums, and low-end to get the booties quivering. This record is begging to be sampled; there are many fast-paced, syncopated drum parts, plus all those great, weird, maniacally funky organ parts the b-boys and b-girls love so much. JULIANNE SHEPHERD

MARY LOU LORD Live City Sounds
(Rubric)
*

I've always been of the opinion that just because you like good music, it doesn't necessarily make you a good musician. While it's clear that Mary Lou Lord must have a CD collection to die for, I'm still confused as to why she makes these all-cover records in the first place. Is it too much to ask of a performer to pen their own material? With Live, Lord pays tribute (although that's not exactly the term I would use) to Dylan, Springsteen, and a whole slew of other performers who would have been better off left alone. Personally, I think I make a pretty fantastic mixtape, but the last thing I would want is to have some lowly record label (the dropoff from Sony to Rubric is pretty astounding) manufacture and distribute them for me. Since this album was recorded live in a Boston subway tunnel, it makes me wonder if Mary Lou made any donation money from the passersby. Personally, I would rather give my loose change to the hippies on Hawthorne. CARMELO MARTINEZ

CHECK ENGINE S/T
(Southern Records)
***

At first, I was really annoyed by Joe Cannon's vocals on this record--they are abrasive and have a trebly vibrato to them. Then I realized how brilliant it is for a guy in an avant-punk band to sound like Ethel Merman. I fucking love Ethel Merman. Anyone who can simultaneously annoy and entertain the way she did is tops in my book. Check Engine doesn't do that--they mostly just make you want to rock out. Featuring the guitarist and the muscular, tattooed sax player from Sweep the Leg Johnny, they can't help but play very powerful, modern, intelligent punk rock with a perfect amount of jazz, courtesy the saxophone. It sounds like Sweep, but mellower, with less time changes, which still places the band far above average. And Joe has this sing-yell thing he does with his voice that is weirdly crass, but also confoundingly sweet. JS