Some Choice Picks From Feisty to the Reflective

The eclectic choices in this edition of the guide--a way to keep up with what’s exciting in pop on a budget of $50 a month--range from a solo acoustic album by country legend Johnny Cash to the latest rap ‘n’ roll high jinks from the irrepressible Beastie Boys.

May

Johnny Cash, “American Recordings” (American). Don’t let pop-rock producer Don Was’ well-intended but leaden attempt last year to revive Willie Nelson’s stalled recording career make you wary of pop-rock producer Rick Rubin’s pairing with another country legend. This solo acoustic collection of songs about sin and redemption captures the essence of Cash’s artistry better than anything since his San Quentin and Folsom Prison albums more than two decades ago.

Latin Playboys, “Latin Playboys” (Slash/Warner). If you agree that Los Lobos’ “Kiko” is one of the great albums of the ‘90s, this side project by members Louie Perez and David Hidalgo (joined by Mitchell Froom and Tchad Blake) should be especially appealing because it offers even more of the experimental, world-beat sounds that provided so much color to “Kiko.” The Playboys’ style isn’t as accessible or socially pointed but offers a refreshing exercise in artistic imagination.

Sonic Youth, “Experimental Jet Set, Trash and No Star” (DGC). One of the most remarkable things about this New York quartet is how it has been able to avoid becoming cautious and self-conscious despite being worshiped for nearly a decade by its indie-rock peers and fans. While not necessarily better than its earlier albums, this is perhaps the best introduction to the band’s consistently wry and resourceful ways.

June

Arrested Development, “Zingalamaduni” (Chrysalis). This socially conscious Georgia rap collective’s second album doesn’t top its Grammy-winning debut, but there are moments--once Speech stops lecturing--where the group’s commitment and ambition make Arrested Development seem a valuable fixture in ‘90s pop.

Beastie Boys, “Ill Communication” (Capitol). The Beasties’ 1986 debut album seemed too good to be true--the kind of feisty punk, metal and rap masterpiece that captured the spirit of the moment in ways that could never be duplicated. But the Beasties have carried on nicely, and this is another great youth party record.

David Byrne, “David Byrne” (Luaka Bop/Sire). Just when it looked as if Byrne had become bored with rock, the former Talking Heads leader returns to the mainstream (relatively speaking) with his most personal work ever--an album that explores questions of mortality and morals with stripped-down musical backing as intimate and as natural as a human pulse.*