[ SPIN CONTROL ]

Bjork, "Vespertine"

(Elektra) rock *;*;*;1/2

Comparisons between Bjork's fifth album and the work of Sigur Rosare inevitable, and not just because they're the only twointernationally renowned alternative-rock stars that the tiny frozennation of Iceland has ever produced.

The lovably wiggy diva has been moving slowly but surely in thedirection of Sigur Ros' icebergs-in-the-moonlight ambient Muzak forseveral albums now. To date, it's been a disappointment; her last twoefforts were pale shadows of 1995's masterful "Post." But on"Vespertine," she finally manages a credible fusing of her ebullientvocals and enigmatic, electronic backing tracks.

This is not to say that "Vespertine" is as good as Bjork at herfull-throttle best--the flashes of anger in her early solo effortsand the Sugarcubes are still missed. But she has surpassed Sigur Rosat their own game. Few voices in modern rock are as potent asBjork's, an instrument that is worthy of the opera-house settings ofher upcoming tour.

Jim DeRogatis

Stereolab, "Sound-Dust"

(Elektra) rock *;*;*;1/2

Since 1996's "Emperor Tomato Ketchup," avant-garde popstersStereolab have been more interested in rhythm than melody, and that'sbeen a loss. The best of their early work (almost everything before'96) paid attention to both, and the group's jams were as memorablefor their hypnotizing beats as for their insidiously catchy hooks.

The balance is restored on "Sound-Dust." Though the space-ageloungesters are still favoring fractured, funky, or jazzy rhythmsover the insistent "motorik" rock of their early days, the groovesare paired here with great, big, hum-along horn lines and thepatented joyous vocal "la-la-la's" of Laetitia Sadier and MaryHansen, restored to their righteous place at the front of the mix.

Recorded in large part in Chicago with longtime collaborators JohnMcEntire and Jim O'Rourke, "Sound-Dust" could stand with Wilco's"Yankee Hotel Foxtrot" as one of the most inventive pop discs of 2001(provided that the latter ever gets released), evidence that in theright hands, the more esoteric ideas of the "post-rock" movement canindeed be incorporated into darn catchy tunes.

Jim DeRogatis

The Butthole Surfers,

"Weird Revolution"

(Hollywood) rock *;1/2

The Butthole Surfers' first release in five years is a majordisappointment for anyone for anyone who ever admired the Austin, TXmadmen in their psychedelic heyday, when they delivered subversiveweirdness with unaffected glee and accidental pop smarts to rivaltheir obvious mentor and predecessor, Roky Erickson.

The newest from the Buttholes sounds like the work of a completelydifferent band, and it isn't even all that new. Earlier versions ofmany of these tracks were set to appear on the followup to the alsodisappointing "Electric Larryland," but Capitol pulled that discweeks before its release, and the litigious Buttholes wound up in aprotracted fight with the label. Now they're back on Disney'scorporate music arm (of all places!), but there's little reason foranyone to care.

Inspired by the alternative/industrial hit "Jesus Built My Hotrod"(and the cash that it must have generated), lead Butthole GibbyHaynes tries to clone that dismissible novelty on most of these 12tracks, leaning on canned electronic rhythms, hokey vocal effects,kitschier than usual pro-drug lyrics, and a celebrity cameo from KidRock on the opening track and single, "Shame of Life."

Nothing is sadder than an aging oddball desperately trying to sellout--especially when nobody is buying.

Jim DeRogatis

Al Kooper, "Rare + Well Done: The Greatest and Most ObscureRecordings 1964-2001"

(Columbia/Legacy) *;*;*;1/2 Rock

As a multi-instrumentalist, vocalist, composer, arranger andproducer, Al Kooper has shaped the direction of modern rock as fewartists have during the last 40 years. From the day he bluffed hisway into the keyboard job on Bob Dylan's "Like a Rolling Stone" tohis "Super Session" hit jam album to his seminal brass-rock groupBlood Sweat & Tears and more recently his impressive soundtrack andproduction credits, he's never followed a predictable course.

Longtime observers might have guessed that when the endlesslyinventive Kooper compiled his two-CD career retrospective, he'dchange the "greatest hits" package concept, just as he realigns theplaying field for everything else he does. Disc one includes 18unreleased tracks recorded since 1964, plus his first single, from1965. The second disc captures the highlights of his prolific earlyyears.

There may be a couple of clunkers in the mix, but the gorgeouslyremastered versions of "I Love You More Than You'll Ever Know" and "ICan't Quit Her," two of the best love songs ever written, are worthpurchasing alone. And that's just the jumping-off point.

Jeff Johnson

"Buffalo Springfield"

(Atco/Elektra/Rhino) *;*;*; Rock

Yes, four discs is a bit much (reprising this seminal band's firsttwo albums on disc 1 is a stretch), but there are many gems on thisset that focuses on the first, and most notable, collaborationbetween Neil Young and Stephen Stills. If nothing else, this one'sworth it just to listen to the Young demos that become softened andsanitized when studio time comes.

A must for Young afficianados and for anybody interested in alt-country.

Jeff Wisser

Dickey Betts Band, "Let's Get Together" *;*;*; Rock

Dickey Betts can be taken out of the Allman Brothers Band, but youcan't take the Allman Brothers Band out of Betts. At least that's thecase based on this new release.

From Matt Zeiner's Gregg Allmanesque vocal growl on "Immortal" tothe double lead guitars on "Dona Maria" to the jazz inflections on"One Stop Be-Bop, it's clear that Betts misses his formercompatriots. At the same time, however, it's obvious that he is themaster of myriad musical virtues. Pick this up, if only in memory ofElizabeth Reed.

Jeff Wisser