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“Well how ya feelin’ MCA” is the question asked on the second track of the eighth studio album by The Beastie Boys. It is an important question as his bout with cancer delayed the release of Hot Sauce Committee Part 1 nearly two years. His response: “Well I feel right. . .” MCA is back with Mike D, Ad-Rock and Mix Master Mike for Hot Sauce Committee Part Two. They might be out of sequence, but the Beastie Boys are hardly out of touch.

This album had me excited, yet skeptical. Which direction were they heading as they celebrate the 25th anniversary of Licensed to Ill? Ad-Rock answered my question with the opening lyrics of “Make Some Noise”, “Yes/Here we go again/give you more/nothing lesser”. Hot Sauce Committee is a departure from To the Five Boroughs, the Beastie’s last proper album. They have returned to the signature dense, heavier sounds of Check Your Head and Ill Communication with an effective mix of live instruments and killer samples. This sounds like a Beastie’s album, they aren’t trying to be anyone but themselves.

The album opens with a bang; “Make Some Noise” is a track that will be heard throughout the summer and instead of Fighting for the Right to Party the Boys are now Partying for the Right to Fight. “Nonstop Disco Powerpack” is the new “Pass the Mic” with the MCs trading ping-pong verses. “Too Many Rappers” featuring Nas is another highlight, although it was released as a single in 2009. The other cameo on the album is Santigold on the reggae detour “Don’t Play No Game That I Can’t Win”. “Say It” and “Lee Majors Come Again” feel more punk than Hip Hop, but add variety. Tossed in the middle of it all is the best 31 second interlude in the history of 31 second interludes, “The Larry Routine” is gold.

True to form the lyrics on the album run the spectrum from brash to cheesy. Here are a few gems:
“We come together like peanut butter and sandwiches”, “Like Macaroni ‘cause this shit sound cheesy”, “The proof is in the pudding and the pudding’s in my pants” and “Oh my God/just look at me/Grandpa been rapping since ‘83”. Every listen uncovers another gem; see if you can find the multiple lyrics borrowed from Dylan’s “Subterranean Homesick Blues”.

Is this the best Beastie Boys Album? No. Is it the best album of the summer? No. Should you “Ch-Check It Out” and blast it all summer? Absolutely! While the sum of its parts is far from amazing it is definitely a must buy for any Beastie Boys fan.

Tracks to Repeat: “Make Some Noise”, “The Larry Routine”, “Funky Donkey”, “Too Many Rappers”

Tracks to Skip: “Say It”, “Tadlock’s Glasses”

Birds, monkeys, rabbits, lions, lambs and pigs. While not an Animal Collective, they are characters in the ten stories being told on Iron and Wine’s Kiss Each Other Clean. After digesting the album one question remains: What the heck do these stories mean?

Sam Beard takes another large leap away from the sparse, bare-bones style that placed his earlier releases in the good graces of the Indie Folk faithful. Kiss Each Other Clean is even more ambitious than The Shepherd’s Dog and is a sonic stride into a more diverse, pop influenced sound. Soft, layered vocals and simple, yet catchy guitar riffs are consistent with previous work, but a new, more full-bodied sound is introduced. Saxophones, flutes and toe-tapping drums enhance the typical Iron and Wine simplicity creating a more playful, and up-tempo atmosphere.

While it should not be classified as ‘great’, it is this variety that entices you to keep the album on steady rotation. Kiss Each Other Clean is not immediately striking and initially comes across as a silly, disconnected misstep. Something encourages you to revisit and you are rewarded for doing so. The songs are the same, but on each listen the meanings of the stories change, lyrics jump out and new details are revealed.

Overall, the first big label (Warner Bros.) release for Iron and Wine is a pleasant departure from their simplistic past. For Iron and Wine, however, less is more. This is their draw; it is what makes them genuine and unique. Here’s hoping Sam Beard remembers his uncomplicated, folky roots and doesn’t allow the label to suck him into the waste management plant that is radio-friendly pop music.

Tracks to Repeat: “Your Fake Name is Good Enough,” “Walking Far From Home,” “Me and Lazarus,” “Tree by the River,” and “Glad Man Singing”

Tracks to Skip: “Big Burned Hand.” “Half Moon”

Don’t let the album art fool you; there isn’t a female (or a cockatoo) in this incarnation of Margot & the Nuclear So and So’s. Also gone are the strings and horns that were prevalent on previous releases; what remains is Richard Edwards.

After a much publicized spat with Epic Records, Margot & the Nuclear So and So’s return with Buzzard, their third studio album and first on their own Mariel Recording Label. Buzzard finds the band moving in a different direction, with questionable results. This album is, for the most part, guitar driven and is by far their boldest and loudest offering to date.

While I fully support a sound with more edge, it doesn’t work here. Buzzard peaks entirely too early and wanders between genres over the course of its 12 tracks. There are a few memorable moments (mainly in the first four tracks), but many tracks are too silly and absurd to be taken seriously.

Overall, this is an inconsistent album that lacks a distinct sound. While I will return to a few key tracks, this is not an album that I will ever again listen to in its entirety. This year has offered up some phenomenal albums; I suggest that you revisit those and leave Buzzard to the birds.

Tracks to Repeat: “Birds,” “New York City Hotel Blues,” “Claws Off”

Tracks to Skip: “Tiny Vampire Robots,” “Your Lower Back”

The band formerly knows as Pivot fails to deliver on Church with No Magic, the Australian trio’s third album. The subtraction of vowels and the addition of vocals does nothing to improve on their sound.

“Window” is the only song on this album that I would care to hear again, the rest of the album falls well short; the effort is entirely awkward, confusing and boring.

With all of the great music released this summer I cannot recommend that you waste your time and money on this album. If you enjoy experimental electronic-rock go listen to your old Portishead albums, you would be much better off.

Tracks to Repeat: “Window”
Tracks to Skip: The rest of the album

The Legendary Roots Crew returns with How I Got Over, their eagerly anticipated and greatly delayed ninth Studio Album. This marks their first release since joining “Late Night with Jimmy Fallon.” This unlikely pairing quickly solidified them as the most talented house band on the planet.

How I Got Over sees The Roots returning to the genre-blending style that made Things Fall Apart and Phrenology such successes. Gone is the heavy sound, dark overtones and negative themes associated the last two releases, Game Theory and Rising Down.

In typical Roots fashion, How I Got Over features a wide array of guest collaborations. The opening track features members of The Dirty Projectors and Monsters of Folk contribute to “Dear God 2.0” which has to go down as one of most unique pairings of the year. John Legend appears on two tracks and Dice Raw, a mainstay on past Roots albums, is all over the album. The diversity is apparent from track-to-track, but it diminishes Black Thought’s impact; only two tracks are entirely his.

With the exception on the last two tracks this is a phenomenal album, a necessary addition to your collection. I contend that “How I Got Over” is the best hip-hop song of the year and there are plenty of other nuggets to keep you coming back. No one is making hip-hop like this anymore; the Roots have confirmed that they are in a class by themselves. Who else in the game can combine the versatility and consistency that The Roots have exuded for nearly two decades? Legendary indeed!

Tracks to Repeat: “Dear God 2.0,” “How I Got Over,” “Now or Never,” “The Fire,” “Walk Alone”

Tracks to Skip: “Web 20/20,” “Hustla”