U2’S ‘Pop’ More Showmanship Than Usual Good Songcraft

U2

“Pop” (Island

In its desire to stay on the cutting edge, U2 has de-emphasized the quality that made it one of the world’s most enduring bands: exalted songcraft. Instead, it has concocted a fireworks show of sounds but one that has fewer memorable moments than fans might expect. That’s not to say the album is devoid of tunefulness. In fact, lead single “Discotheque” and likely follow-ups “Staring At The Sun,” “Last Night On Earth” and “The Playboy Mansion” are all compelling songs with provocative lyrics, and other tunes sound better with repeated listens. Time will ultimately determine this album’s critical and commercial success, and the band’s upcoming stadium tour will help in both regards. For now, however, “Pop” plays like a soul-searching work that may alienate some die-hard fans even as it draws in new ones.

Alison Krauss & Union Station

“So Long So Wrong” (Rounder)

The group’s follow-up to 1995’s double-platinum, award-laden “Now That I’ve Found You: A Collection” demonstrates that Krauss and Union Station are more interested in the music than in superstardom. A magnificent singer, Krauss takes lead vocals on only eight of the 14 cuts here, preferring to share the spotlight, as bluegrass groups often do. The music here is by and large straight-ahead lyrical bluegrass, with a public-domain song like “Little Liza Jane” sharing the stage with current Nashville tunes by such writers as Kostas and Harley Allen and even pop star Michael McDonald.

Collective Soul

“Disciplined Breakdown” (Atlantic)

While the music industry gropes for a genre that will re-energize business, in strolls Collective Soul with its third album of trend-oblivious but utterly appealing tunes. By virtue of the material’s strength alone, Collective Soul gets its point across to a wide spectrum of fans, from modern rock to mainstream rock, from pop to triple-A. On its third outing - the follow-up to its multiplatinum self-titled album of 1995 - the Georgia-based band rocks mightily on lead single “Precious Declaration,” brings out its funky side on the horn-accented “Full Circle,” and pulls out all the stops on the epic “Blame.” Other highlights include “Listen,” the title cut and “Link.” A band that plays to all fields without trying and shows no signs of slowing down, either creatively or commercially.

Drain S.T.H.

“Horror Wrestling” (The Enclave)

Swedish all-female heavy metal band comes on with enough force to rate among the headbangers of the world and with enough melodic acumen to stick in the minds of hook-starved audiences. Although Drain relies a bit heavily on early grunge moves, it shows glimmers of originality on such well-crafted tunes as “I Don’t Mind,” “Someone,” “Crucified” and the acoustic-accented “Crack The Liars Smile.” An opening slot on the Type O Negative tour will ensure wide visibility among metal fans and a chance for the band to refine its sound. A promising act.

Zap Mama

“Seven” (Luaka Bop/Warner Bros.)

If any world music act was going to shatter the boundaries of the genre and craft an all-encompassing and irresistible sound, it was bound to be Zap Mama. On its latest album, the acclaimed Belgian/Zairian outfit completes its metamorphosis from an impressive a cappella group to a cutting-edge collective that whips up a tasty stew of hip-hop, jungle, reggae, pygmy chants and global pop. Front woman singer Marie Daulne is in top form, whether taking the lead or collaborating with Michael Franti of Spearhead or other vocalists. Highlights include the anthemic “New World,” the clever “Telephone,” the dramatic “Damn Your Eyes” and the catchy “Poetry Man” (featuring Franti). The group’s possibilities are as endless as its palette of musical colors.