The Freshman Class Acts of ’92 : Rockers and rappers dominate this year’s Top 10, but promising newcomers delving in folk and R&B; are also among the field

The creative health of pop music demands a constant flow of strong new voices and challenging new attitudes--and in 1992 rock and rap continued to produce the best and brightest of those new voices and attitudes. Of the artists on Calendar’s annual salute to pop’s 10 most promising arrivals, eight are tied to one of the two fields.

On the rock front, Babes in Toyland and PJ Harvey represent another significant step for women. Women may still be having trouble breaking into the hierarchy on the business side of pop, but they are contributing greatly to the artistic side.

Along with past Calendar newcomer nominees Hole and L7, the Minneapolis-based trio Babes in Toyland is at the forefront of a group of new bands whose music explores roles and relationships with a uniquely female perspective and a no-holds-barred, gender-bending vocal and instrumental assault.

PJ Harvey is a British trio (two men and one woman) that supports Polly Jean Harvey’s intense tales of sexual politics with a blistering, blues-accented, power-rock sound.

On the rap front, Arrested Development, Basehead and the Disposable Heroes of Hiphoprisy are adding a sense of musical freedom and sophistication to the hard-core sound of ‘80s rap through the use of various pop, rock and jazz elements.

Arrested Development’s influences are so broad and its vision so confident, for instance, that it can mix a sample from a Sly Stone record and a reference to Ice Cube in the same tune without sounding self-conscious.

The focus of the list is on creative potential and vision, not sales--which is why Billy Ray Cyrus, the year’s biggest-selling newcomer, isn’t included. Some acts on the list released albums before 1992, but they stepped up to major labels this year, a move that greatly increased their chances of reaching a wide audience and helping shape the music of the ‘90s.

Here are the members of the Freshman Class of 1992, with their breakthrough albums.

Arrested Development

“3 Years, 5 Months and 2 Days in the Life of. . .” (Chrysalis). Even before Spike Lee picked this Georgia-based group’s “Revolution” as one of the key numbers for “Malcolm X,” Arrested Development was being hailed as one of the most important and original new voices in R&B; and rap. Described by group leader Speech (above, center) as an alternative to gangsta rap and “silly pop rap,” the group--whose music often mixes a sharply defined social consciousness with soothing, disarming musical textures--delivered one of the year’s best singles (“Tennessee”) and albums.

Babes in Toyland

“Fontanelle” (Reprise). Like a wrong turn onto a menacing street late at night, this band lurches at you in key moments of the album with such unsettling aggression that these tales of confrontation are at once disorienting and alarming. Courtney Love and Hole may still be the most vital of the ‘90s female-led hard-rock attractions, but bassist Maureen Herman, singer-guitarist Kat Bjelland and drummer Lori Barbero (from left, above) confirm their place as formidable rivals in this short (37 minutes) but captivating major-label debut.

Basehead

“Play With Toys” (Imago). This album didn’t connect commercially during 1992, but the quirky, sensual outing is reminiscent of the playful, strong-willed independence of the early Prince. Leader Michael Ivey (above, left) raps in a droning, deadpan style (Lou Reed is an influence) about themes ranging from social commentary to such everyday matters as romantic heartache and enjoying a favorite brew. Despite a wry base of soul, jazz and hip-hop, Basehead adopts an offbeat honky-tonk persona in the closing track--and the moniker Jethro & the Grahamcrackers to match.

Mary J Blige

“What’s the 411?” (Uptown/Motown). Talk about audacity: Who else would start her debut album with almost three minutes of phone-machine messages lauding her singing? But Blige, 21, demonstrates over the next 50 minutes that she is worth the good words. The material sometimes falters, but Blige’s sassy, authoritative vocals remind you of the early Chaka Khan--and Blige’s version of Khan’s “Sweet Thing” shows you that she’s not afraid of being measured against that model. The risque title track--a battle-of-the-sexes exchange with rapper Grand Puba--is a showstopper.

Cracker

“Cracker” (Virgin). Fresh from the ashes of cult faves Camper Van Beethoven, singer-guitarist David Lowery indulges his pre-punk pop-rock influences without sacrificing his wry ‘90s sensibilities. “Teen Angst” is a delightful expression of suburban teen insolence in which Lowery lampoons the idea of message-conscious music (“What the world needs now / Is another folk singer / Like I need a hole in my head”), then slyly substitutes his own prescription for the lovesick blues: “What the world needs now is a new Frank Sinatra / So I can get you in bed.”

Iris DeMent

“Infamous Angel” (Philo). Reminiscent of John Prine, DeMent writes songs that have such a warm, universal edge they seem like folk tunes that have been handed down for ages, soaking up character at each step along the line. An Arkansas native who was raised in Buena Park, DeMent often uses childhood memories as the backdrop for her sentimental tales of people and places. “Mama’s Opry” is a sweet, endearing ode to her mother’s aspirations and dreams, while “Let the Mystery Be” is a gently philosophical look at religious attitudes.

Disposable Heroes of Hiphoprisy

“Hypocrisy Is the Greatest Luxury” (4th & B’Way/Island). If rap truly is the CNN of the ‘hood, as Public Enemy’s Chuck D. maintains, rapper Michael Franti and deejay Rono Tse (above, right and left) transmit enough provocative ideas in this debut to keep half a dozen cable channels supplied with programming. In the tradition of the Last Poets and Gil Scott-Heron, Franti delivers pointed commentaries on such topics as TV (“Television, the Drug of the Nation”), homophobia (“Language of Violence”) and commercial compromise (“Famous and Dandy--Like Amos ‘N Andy”). A powerful work.

PJ Harvey

“Dry” (Indigo/Island). Polly Jane Harvey, right, the leader of this tenacious British

power-rock trio, examines the sexual politics of troubled relationships with an anger, longing and doubt that recalls the intimacy and insight of Patti Smith and Sinead O’Connor. Instead of defining attitudes in her lyrics, she usually infuses the songs with the conflicting impulses that can strengthen or immobilize one’s resolve. In the album’s best moments, Harvey sings with such intimacy and unguarded passion that the songs--like much of the most riveting rock--seem like some sort of essential cleansing process.

Helmet

“Meantime” (Interscope). On its major-label debut, this forceful New York metal-industrial quartet is focused and driven in the manner of early Metallica. Led by guitar whiz Page Hamilton (above, second from right), Helmet also benefits from a wry intelligence. The album title, for instance, both underscores the way Helmet’s dark, relentless music is a soundtrack for these “mean times” and serves as a mocking reminder of one of Hamilton’s favorite themes: the opportunities and time lost in the “meantime,” as you dream your dreams but haven’t found the passion to act on them.

TLC

“Ooooooohhh. . . on the TLC Tip” (LaFace/Arista). Despite strong competition from Kris Kross, this personable young female R&B-rap; trio from Atlanta delivered the freshest and most appealing teen pop of the year. Writer-producer Dallas Austin played a crucial role in the album’s success by injecting the centerpiece songs with sharp, provocative edges that give the music more depth than is usually found in ear-candy pop. The themes range from the sexual awakening of “Ain’t 2 Proud 2 Beg” and the feminist bite of “His Story” to the frisky independence of “Hat 2 Da Back.”