The Urge Too Much Stereo (Immortal/Virgin)

St. Louis ska-punk sextet the Urge have been skanking since the early Nineties, offering a kinder, gentler variation on that scene's book of loud, fast rules. Despite some occasionally hard-rocking guitars, Too Much Stereo evokes a blue-beat take on the springy strum of Dave Matthews and Barenaked Ladies ("What Is This" breathlessly name-checks Michael Douglas, Teddy Pendergrass, Dennis Rodman and Michael Jordan -- whew!). Eighties New Wave fetishists might detect the flange-friendly touch of the Fixx on "I Go Home," not to mention the influence of hyperpopsters Oingo Boingo throughout the album. Still, as kaleidoscopically textured as this effort is, there's little discernible personality on display: Lyrics like "Are we trigger happy/Or maybe trigger sad?" (on "Gunville") don't help much, either. The Urge need to lay off the Sublime and aim more for the sublime. (MATT DIEHL -- RS 846)

Various Artists The Powerpuff Girls: Heroes & Villains (Rhino)

Television's cutest trio of crime fighters since Charlie's Angels, the Powerpuff Girls (a.k.a. Bubbles, Blossom and Buttercup) have arrived to save the day with their own soundtrack, or rather, a collection of music inspired by the Cartoon Network program. Cute is the operative word as high-spirited, kid-like bands such as Bis contribute the show's end theme and Shonen Knife provide a tune for the toughest Powerpuff, "Buttercup (I'm a Super Girl)." Creator Craig McCracken chose the bands who fuel the drawing of his Japanese animation-style characters, though Apples In Stereo's "Signal In the Sky (Let's Go)" could have easily worked for the fun lovin' Archies. Optiganally Yours' "Walk & Chew Gum" is a clever old-timey number about the bumbling old-boy Mayor. But there's a dark side, too: Devo's "Go Monkey Go" celebrates evil simian Mojo Jojo and Frank Black suffers from nightmares in "Pray For the Girls." Chemical X Rules, OK! (DENISE SULLIVAN)

Moby Songs 1993-1998 (Elektra)

Perhaps not the most apt title for a collection of Moby's early rave classics, considering some of the tracks lined up -- such as Twin Peaks-sampling anthem "Go" -- actually had recording dates prior to 1993, but chances are, this collection is put together for those who aren't counting anyway. Chock a bloc with acid house and ambient hits from Moby's vegan, Christian raver days, including "Feel So Real," Songs serves up exactly what is to be expected from a cut-and-paste album: a digestible collection giving instant electronica gratification. It does demonstrate, however, the impact Moby's left on the scene, as several artists today are still trying to recreate and capture the ethereal trance-like epic beauty he's oozed out so effortlessly since the early Nineties. (JOLIE LASH)

Kina Kina (DreamWorks)

Possessing an arresting voice, former Brownstone member Kina Cosper grabs the listener's attention on her solo debut immediately with "Girl From the Gutter." The most uptempo song on a debut that manages to blur the lines between melodic R&B-based Top 40 and intelligent adult alternative, recalling both Tina Turner and Macy Gray, this tale of a woman-scorned turning the tables has the power potential of Alanis Morissette's "You Oughta Know." Kina's resilience and the loose arrangements allow her dramatic delivery to take flight. Other standouts include the passionately phrased declarations of "I Love You," the gritty "U Don't Know" and the string-laced "Still Here." With the autobiographical and mostly optimistic vibe of the Detroit native's lyrics, Kina's debut is savory and spirited. (TOM DEMALON)

On Shifting Skin (Epic)

Of all the post-grunge bands to get a bum deal, Failure had to figure somewhere near the top of the heap. They released a pair of good albums before their one truly brilliant one, 1996's Fantastic Planet, got lost amidst a blizzard of record company politics. Needless to say, the process destroyed the group, but not singer-songwriter Ken Andrews' ambition. With On, he resurfaces as a one-man band (with light help from members of God Lives Underwater, Beck and Medicine) and an album that revisits Failure's stark, synthetic rock world, where Bush and Depeche Mode not only peacefully coexist, but quite often crawl under the sheets together. Standout songs like "Slingshot" and "Shifting Skin" are marked by dense, claustrophobic textures and euphoric synthesizer grooves. (AIDIN VAZIRI)

Roland Alphonso Something Special: Ska Hot Shots (Heartbeat)

Alphonso was a key pioneer of early ska and reggae music in the 1960s, both as a bandleader and as a member of the Skatalites. This collection gathers twenty choice non-Skatalites instrumentals from his sprawling 1958-1968 discography, his jazzy sax pacing infectious R&B shuffles, steamy soul-reggae hybrids and silly but irresistible ska novelty tunes. Unlike many a ska saxman, Alphonso had a clear, steady tone that could have held its own with American jazz cats and soul session musicians of the period. On the previously unreleased "Do It Good," he sets a funk-vamp groove not unlike late-1960s James Brown; on the slower ballads, he gets a chance to let his suppressed jazz roots come to the fore with some snakey improvisation. Remastered from the original tapes, this is an important and exciting document of seminal 1960s Jamaican music. (RICHIE UNTERBERGER)

Future Bible Heroes I'm Lonely (And I Love It) (Merge)

The perky synth-pop creations of Figures on a Beach founder Chris Ewen and the smoky baritone of indie icon/Magnetic Fields frontman Stephin Merritt make nice companions as the Future Bible Heroes preach the pitfalls of l'amour on this beguiling but somewhat disposable five-song disc. When Merritt fires off amusingly clever lines like "I'm lonely as an emperor upon a golden throne/ Going off my diet with a double chocolate cone" (on the tangy title cut), it's hard not to giggle. He's just as engaging and only slightly more serious on "Good Thing I Don't Have Any Feelings," where he plays the "numb lover after a breakup" role as Ewen's machines carelessly tweek and blip with glee. Elsewhere, Magnetic Fields drummer/keyboardist Claudia Gonson lends her sturdy pipes to the smoky, quieted "CafT Hong Kong" and the upbeat "Hopeless." Fittingly, the CD booklet includes a short but sweet sponge cake recipe. (JOHN D. LUERSSEN)

The Getaway People Turnpike Diaries (Columbia)

Not too many artists can list studio time with rap oddball Kool Keith and inclusion on the hippie-centric H.O.R.D.E. tour on their resumes. That unique privilege belongs to the Getaway People, a New Jersey-by-way-of-Norway quintet that specializes in perky, turntable-inflected rock tunes that veer all-too-easily from the tender ("Deceived By An Angel") to annoying ("Six Pacs"). Good luck to anyone who attempts to swallow Turnpike Diaries whole. "There She Goes" emphasizes Latin horns and swagger, Sublime-lite number "Come Love Me" features an underwhelming beat-box cameo by the Roots' Rahzel and "Change" (sadly not a Tears For Fears cover) sounds like the Starsky & Hutch theme gone awry. "Soi Cowboy," meanwhile, may be the most transparent attempt to ape Beck ever. Not even Citizen King would go there. (VAZIRI)

Saint Low Saint Low (Thirsty Ear)

Madder Rose vocalist Mary Lorson reveals her tremendous -- yet previously hidden -- songwriting talent via Saint Low, a sultry, frequently groove-based solo project. Augmented by her capable side band, Lorson, in the comfort of her own material, sounds stronger than ever. She shadowboxes Fiona Apple on "Tall Trees" and takes the belt, snatches the gems from Jewel on the sadly beautiful "Walk On By," gets jazzy and suggestive on "Anywhere" and keeps fans of her primary group at bay with a feedback-riddled, blues-based rocker "Only One." Introspective on "A Thing Or Two," pensive and edgy on the country-fueled "Crash" and rivaling the depth of commercial powerhouses like Colvin and McLachlan on the piano-propelled, harmony-drenched ballad "On The Outside," Lorson's melody and lush delivery rarely sways off course. (LUERSSEN)

Jill Scott Who Is Jill Scott? Words and Sounds Vol. 1 (Hidden Beach)

With so many MC's generating so much creative verbiage, you'd think R&B would have absorbed at least some of that crazy wordplay. Jill Scott -- the Philadelphia songwriter behind the Roots' "You Got Me" -- wages a one-woman war on wack producer-penned R&B lyrics. Mixing song with recited poetry over live beats, Scott's debut recalls the heady lyrical gifts of Billie Holiday, Marvin Gaye, Teena Marie and Nikki Giovanni, just to name a few. But this free spirit is about more than words: Jazzy, honey-dipped arrangements bypass samples in favor of real strings, woodwinds, horns and drummers who swing. Although she can wrap her lips admirably around topics such as surveillance ("Watching Me") and self-reliance ("One Is the Magic #"), her preferred topic is love, and her stories capture its rich, oft-painful nuances: On "Exclusively," she relates how the checkout girl correctly identifies her supposedly monogamous lover simply through the scent he's left on Scott's body. This long-player smells like classic soul spirit. (BARRY WALTERS -- RS 846)

Bottlefly Bottlefly (Left Hand/Universal)

If Soundgarden never broke up and frontman Chris Cornell had continued on the lilting psychedelic-pop path evidenced on his solo debut, they could have very easily ended up sounding something like Bottlefly. This London, England quintet may be virtually unknown, but it does not sound entirely unfamiliar. Its self-titled debut is a turbulent, passionate affair, steeped in Seattle-style blues rock refrains -- the singer can be a dead ringer for Cornell, especially on plump rock numbers like "Lemoneyez" and the poignant "Sunshine" -- and spunky Beatles-style rhythms (bassist Lawrence Addison has previously worked as a session player for Sir George Martin). But by the time the disc hits "Got 2 B Luv" and "So Electric," the orchestral bells and whistles are simply too much to handle. (VAZIRI)

Brenda Russell Paris Rain (Hidden Beach/Epic)

After a seven-year absence, singer-songwriter Brenda Russell returns withParis Rain, a pop effort subtly flavored with R&B and Latin rhythms. The album is clearly aimed toward the adult-contemporary set, and the arrangements, well crafted and produced, reflect Russell's decidedly positive spin on life. She collaborates with Carole King (the obvious but catchy "Move the Moon") and Russell Ferranti of the smooth-jazz group the Yellowjackets; others lending some time as well include Dave Koz and Kirk Whalum. What saves the album from dullness is Russell's undisputed skills as a songwriter and sensitive arranger and producer. The collection sounds laid-back and effortless, and the album¦s first single, the swaying "Catch On," may do just that on pop radio. Russell poses no threat to Eminem (we'll see about that), but hers is to inspire dreams, not inflate dolls. (MARIE ELSIE ST. L+GER)

J-Church One Mississippi (Honest Don's/Fat Wreck Chords)

For nearly a decade, San Francisco's J-Church have braved shifting musical trends while holding fast to their own brand of no frills pop-punk. Predictably, One Mississippi, their first proper album since 1996, again finds them rarely straying from the unaugmented guitar, bass and drums of their blueprint. But the band's loose execution and deeper lyrical themes still set them apart from the glut of peppy punk clones. The album's frequently caustic songs are tempered with a healthy dose of hooks, and, considering, the band's tenure on the scene, the stab at "next big things" in "Rich, Young and Dumb," and the musical autobiography of sorts "J-Church Sucks" seem especially poignant. Clocking in at nearly seventy-three minutes, One Mississippi's double length is excessive for a genre built on the notion of keeping it short and sweet. Nevertheless, fans will find their patience during the last four years amply rewarded. (MICHAEL ANSALDO)

Hank Thompson Seven Decades (Hightone)

On one hand, the title of Hank Thompson's new album is a misnomer, as he hardly sounds his seventy-plus years; on the other it's as simple and true as the country legend's twang, as it references the fact that he has now recorded albums in each of the past seven decades. That's a helluva number. Rather than sounding like a Nashville windbag wheezing out a final breath of whiskey-tinged air, this genuine American treasure still sounds like a kid. While HT might not top the charts as he once did with "Six Pack to Go" and "Wild Side of Life," he continues to make classic sounding country albums that are full of life, Thompson's inimitable laid-back vox, dual fiddles, pedal steel and a sturdy rhythm guitar as once perfected by the late-great Merle Travis. Travis' son Thom Bresh is on hand here to do the picking and Texas pedal steel and production legend Lloyd Maines offers up a clean production that accentuates the Thompson sound: good-time music that invites you to dance. (ANDREW DANSBY)

Ian Astbury Spirit Light Speed (Beggar's Banquet)

With all due respect to Billy Duffy's gargantuan guitar riffs, by the time the Cult first burned out in 1994, frontman Ian Astbury seemed to be the one bringing the most interesting ideas to the table. Astbury had begun to show a hankering for electronica, as first shown with "The Witch," the group's excellent contribution to the Cool World soundtrack -- maybe their finest moment, even. Now that the Cult has reformed and is recording what the group promises will be a straight up rock album, Astbury's long-delayed solo album offers an intriguing look at the brave, new Cult that might have been. Truth is, it sounds a lot like a Cult album -- or perhaps a Primal Scream album -- and a pretty damn good one, though Astbury's new version of "The Witch" sounds a little limp compared to the original. (RICHARD SKANSE)

Spaceways Incorporated Thirteen Cosmic Standards By Sun Ra & Funkadelic (Atavistic)

An edgy, almost free jazz trio devoting an entire album to compositions by Sun Ra and Funkadelic? Well, jazz guitarist Charlie Hunter's T.J. Kirk was entirely devoted to the repertoire of Thelonious Monk, James Brown and Roland Rahsaan Kirk, so why not? Reedman Ken Vandermark, a stalwart of Chicago progressive jazz, is joined by bassist Nate McBride and drummer Hamid Drake on this unusual outing. It's interesting to hear the Sun Ra tunes (all taken from the late 1950s and early 1960s) stripped to leaner arrangements. Yet it's undoubtedly more arresting to hear the early-1970s Funkadelic songs like "Cosmic Slop" and "Red Hot Mama" reworked into muscular jazz-funk instrumentals. Vandermark interprets the material well with his athletic range, but it could be that Nate McBride is the true star of the album, his acoustic and electric basses navigating both rollicking, pumping passages and cello-like textures. (UNTERBERGER)

Mest Wasting Time (Maverick)

Produced by Goldfinger's John Feldman, Mest doesn't really stray too far from that band's punky pop formula, pumping out spirited ska-tinged love songs like "What's the Dillio?" and "Girl For Tonight." With the former -- this Chicago-based outfit's sublime first single -- listeners get a peppy, accessible tune and a likely chart hit. But for the most part, Wasting Time is comprised of rapid rockers like "Slow Motion" and the wry "Richard Marxism." With cuts like "Drawing Board" and "Change," a conspicuous knock at the commercialism of the music business, Mest sounds closer to Gilman Street than Wrigley Field. While some may mistakenly file these boys away as yet another major label punk band, Mest delivers more than mere exuberance. Underneath the surface lies an apt, elastic rhythm section, and a reliable melodic core. (LUERSSEN)

Tegan & Sara The Business of Art (Vapor)

Twin sisters Tegan and Sara Quin aren't your typical twentysomethings. For one thing, they don't whine. Instead they write and sing about their lives and worlds with clear-eyed determination ("The First"). For another, they seem to recognize the futility of angst-ridden public tantrums. Instead, their lyrics are thoughtful and express the women's personal, artistic and romantic desires ("Freedom," "Superstar"). Tegan and Sara have about ten years' experience as a live act, having started performing in their teens. That experience translates into this confident foray into aggressive but melodic rock. Armed with acoustic guitars, highly listenable songs and a band as aggressive -- or as subtle -- as the twins can be, Tegan and Sara rock with ease. Pull out those lighters, boys. (ST. L+GER)

Chris Smither Live As I'll Ever Be (Hightone Records)

Acoustic blues singer/songwriter Chris Smither delivers one of the most riveting live shows you're ever likely to see, and all he does is sit on a stool, play his songs and tap his foot. Live As I'll Ever Be lacks the stunning visuals, but all the other elements that make a Smither show work -- namely, his growling vocals, badass finger picking and uniformly brilliant songs -- are here in spades. The best song of the set by a mile is his uncommonly beautiful, lovesick lament "Slow Surprise," which Emmylou Harris covered to great effect on the acclaimed Horse Whisperer soundtrack two years ago. "Winsome Smile," Smither's hilarious, snap-out-of-it wake-up call to the type of lovesick loser likely to wallow for hours in a song like "Slow Surprise," runs a close second. (SKANSE)

764-HERO Weekends of Sound (Up)

764-HERO (referencing the number Washington state drivers phone to report carpool lane violations) starts out as a thick, dreamy blur, the sort of thing that had them classified as "emocore." But John Atkins' wailing vocals are a bit too anguished for that description; he even drawls, "We're so tired of weekends of sound" at one point. Though the pace does drag at times, you'll then get a number like "Left Hanging," where Atkins' voice is distorted into a lurching fuzzball of noise. The album ends with the enigmatic-like "Kid, I've heard dreams are mathematical now." Especially after listening to 764-HERO's music, I'd imagine. (GILLIAN G. GAAR)

Firehouse Bring 'Em Out Live (Spitfire Records)

Firehouse are one of those bands that refuse to fold into history. Coming out of North Carolina at the tail end of the hair-metal era, they just can't seem to let go of that bygone time when bombastic guitars howled and fuzzed and, well, so did David Lee Roth. Yet that's not entirely a bad thing. This fifteen-track live set recorded in Osaka, Japan, leans heavily on the band's self-titled 1991 double platinum debut album and their knack for the power ballad (the Top 10 hit "Love of a Lifetime" still works in its cliched, soggy way). Playing to their well-executed formulaism, and unselfconsciously shilling their own limitations as strengths, they manage to get the plane off the ground nicely enough. Firehouse are now, and always have been, more typical than prototypical, but give them their due -- for an Eighties band in a millenium-straddling time slip, they sound pretty good. (ADRIAN ZUPP)

The Yo-Yo's Uppers And Downers (Sub Pop)

The U.K.'s Yo-Yo's borrow from the best but still come up smelling fresh. Like the Beatles, they occasionally sing with rather Americanized accents. Like Cheap Trick, they know how to wield a chunky, melodic riff. And like the Stooges, they pay homage to the God of garage rock ("Home From Home"'s intro has a dash of "Louie Louie"). The band's debut has bright, catchy numbers like "Head Over Heels" with its sing-a-long chorus, sweet odes to tru luv, complete with "ooo-wee-ooos" (what else would you expect from a song titled "Sunshine Girl"?) and delightful rants about "Cellphone Psychophobia" ("I'm gonna rip it from your hand!"). (GAAR)

Matthew Shipp Quartet Pastoral Composure (Thirsty Ear)
William Parker Trio Painter's Spring (Thirsty Ear)

Matthew Shipp's recording retirement has proved to be a delightful failure. His latest venture is quite interesting, especially in that it goes well beyond recording albums. Shipp has become something of a rarity, a fringe jazz performer who is calling the shots as he now fronts "The Blue Series," an imprint on Thirsty Ear. If the first two releases in Shipp's series are any indication, it just might provide a blueprint for the shape of jazz to come. Shipp's quartet is a terrific ensemble with a frightening range. The ongoing debate between traditionalists and the avant-garde are dispersed on Pastoral Composure, which strikes a revelatory balance between two forms. From the swinging "Visions" and tasteful "Prelude to a Kiss" to the title track with its spooky rhythmic feel, Shipp's new album places the abstract and the classic in an attainable language without ever going soft.

Parker's trio finds him with a new ensemble that features Daniel Carter on reeds and flute and new drummer Hamid Drake. While Parker's name has appeared as that of a sideman for frontline free jazz projects (including Cecil Taylor, Charles Gayle and myriad others) over the past thirty years, he is quite accomplished at driving the ship himself. Being the finest bassist in jazz puts him in high demand for other sessions. But Parker's intense and complex compositions make a strong case for him to lead more sessions. Like Shipp, he has crafted a thing of beautiful balance here. The traditional, spiritual "There Is a Balm in Gilead" and classic Ellington piece "Come Sunday" speak in a timeless voice that perfectly complement Parker's freer compositions rather than contrasting them. Shipp and Parker have colored the fringes of jazz for decades. They seem most aware that the genre is suffering from its dual identity, and their most recent pursuits are an exciting and promising direction. (DANSBY)

(July 18, 2000)