As hip-hop’s influence spreads, turntables are now as common as guitars guitars, whether in solo acts like Q-Bert and OJ Shadow, in their old school incarnation such as MixMaster Mike backing up the Beastie Boys; or in a band, as in the case of Memphis’ Big Ass Truck, whose new album Who Let You In Here? is brought to life by the scratching and sampling of Colin Butler.

At their worst, Big Ass Truck recall the alt/rock funk of 311, but more often than not, Who Let You in Here? shows off a band with an interestingly varied record collection.

Most of the record would sound at home on 106.7, though Big Ass Truck show more faith In funk than many of their contemporaries, resisting’ the temptation to speed it up, crunch it up, and fill every space with Flea-like hyperactive bass. Instead, Big Ass Truck decorates their riffs with subtle flourishes and colorings, whether it’s a Steve Cropper quote by guitarist Robbie Grant on “Queenie Comes Clean,’ or the Allman-flavored chords In “Taylor, Mississippi.’ In their best songs, they also distinguish themselves from the rest of the trying-too-hard crowd by relaxing the pace and intensity, recalling the now-visionary Basehead album from 1992, Play with Toys.

The album’s highlights are two very different instrumentals. Part Isaac Hayes, part Edgar Winter’s “Frankenstein,” “The Neco’ would sound right at home backing a chase scene in a black action movie if instrumentals were still used for such purposes. As propulsive as that song is, “The March of the Rusty Razors” is its opposite, a trip-hop nod that could have been left on the floor during the recording of Tricky’s “Maxinquay.”

The spanish guitar over a dying organ, backed by a rhythm track that’s more a pulse than a groove, “The March of the Rusty Razors” is a dark, hypnotic tonic to the good-natured rest of the album.