From the New to Neil

The lineup in this edition of the guide--a way to keep up with what’s fresh in pop on a budget of $50 a month--ranges from veterans Neil Young and R.E.M. to newcomers like Iris DeMent.

October

Iris DeMent, “Infamous Angel” (Philo). If Trisha Yearwood reminds you of the country purity of Emmylou Harris, DeMent should suggest the soulfulness of Harris’ folk roots. DeMent’s vocal style is a touch too idiosyncratic to match the classic grace of Harris’, but the two singers sound great together when Harris guests on “Mama’s Opry.” DeMent’s warm, inviting manner as a writer recalls John Prine’s feel for sentimental tales of people and places. Prine must think so too. He wrote the album’s liner notes.

R.E.M., “Automatic for the People” (Warner Bros.). Some people are hailing this as the band’s most accomplished album, and it does come close to being that in its best moments, including “Everybody Hurts,” which features as convincing and vulnerable a vocal as Michael Stipe has ever put on record. For someone to call it the band’s best, however, suggests it may be time to listen again to “Murmur” or “Document.” Still, this mostly subdued, melancholy work is affecting and classy.

Sugar, “Copper Blue” (Rykodisc). With Husker Du, Bob Mould seemed so determined to stay out of the rock ‘n’ roll mainstream that it’s tempting to think that he called it quits with that band in 1987 because he sensed the mainstream was moving too close to him. After two solo albums failed to make much impact, Mould returns to the group format and he seems right in step with the “Lollapalooza” alternative rock crowd. But that doesn’t cost Mould his individuality. He still displays a passion and songwriting craft that most bands can only dream about.

November

Ice Cube, “The Predator” (Priority). The young rapper’s failure to deal more fully with life in the ‘hood after last spring’s L.A. riots makes this a less essential work than either of his first two albums. But he remains one of rap’s most important figures.

Mudhoney, “Piece of Cake” (Reprise). If you don’t mind that Mudhoney leans so heavily on the key riff in Elvis Costello’s “Pump It Up” in its “No End in Sight,” I won’t dock points here either. The riff demonstrates how the band mixes lots of enticing rock tradition in its ‘90s grunge-rock assault. The result is a bit more accessible and good-natured sound than is found in many of its fellow Seattle bands. No Nirvana, but more than Pearl Jam. Mudhoney will be at the Palladium on Dec. 4 with Eugenius.

Neil Young, “Harvest Moon” (Reprise). Talk about a roll: This makes three great studio albums in a row from Young. But the tone of this acoustic work is more in keeping with its namesake, 1972’s acoustic “Harvest,” than 1989’s “Freedom” or 1990’s “Ragged Glory.” There are moments of social commentary, but the heart of the album centers on gentle moments of intimate and generally heartwarming reflection.