SIMPLY SINGLES : R. Kelly Adds a Little Humor to the Mix

George Michael may have spent much of the past few years in a legal battle winning his freedom from Columbia Records, but his return to the pop arena feels confident and assured. “Jesus to a Child,” a ballad about the bliss of pure love, may not be the best single out there right now, but it shows that the Grammy-winning artist still has a pop touch.

R. Kelly, who tops this month’s roundup of current singles of interest (rated on a scale of 0-100), reveals a different side of himself in the various mixes of “Down Low (Nobody Has to Know).” They demonstrate the Chicago singer-writer-producer’s increasingly sophisticated studio approach, and also show that he can take off the Oakley sunglasses and wink at his Casanova image.

R. Kelly, “Down Low (Nobody Has to Know)” (Jive). By the end of this tale of a clandestine love affair gone wrong, you almost feel sorry for the protagonist, even though he admits he’s wrong for seducing another man’s lover. The commercial single contains three versions. The “Soundtrack” mix and the “I Can’t Say It Enough” mix simply offer expanded versions of the album track, but in the “Live to Regret It” mix, totally different lyrics and a more energized vocal cadence transform “Down Low” into a song about seducing the boss’ wife--and getting caught. Not only is this treatment more original, but it also shows that Kelly, who normally treats love with an almost religious fervor (think Prince), has a sense of humor about himself--almost laughing about the absurdity of his predicament. 91

Busta Rhymes, “Woo Hah! I Got You All in Check” (Elektra). This former member of New York’s underappreciated rap outfit Leaders of the New School serves up a nearly irresistible burst of exuberance. You never find out precisely why he’s so happy. Has he won the lottery? Did one of the many rappers who have borrowed his manic delivery share some of their royalties with him? It doesn’t matter. Busta Rhymes doesn’t write narratives; he just radiates a feel-good energy, which he delivers with style and wit. “Woo Hah!” is a great example of how a quality rapper can use his gift of gab with intelligence and imagination. It reminds you of Dizzy Gillespie abandoning melody to soar in the upper registers. 87

Nonchalant, “5 O’Clock” (MCA). Rapping with pinpoint economy, this Washington, D.C., artist challenges troubled black males to take responsibility for their lives and help improve their communities by turning away from violence and drug dealing. Nonchalant’s distinctive baritone and unflinching political stance are reminiscent of Public Enemy’s Chuck D. Her authoritative voice and urgent commentary are especially valuable at a time when so many rappers have a distorted idea of what “keeping it real” really means. 83

Garbage, “Only Happy When It Rains” (Almo). As its earlier single “Queer” proved, Garbage enjoys being the odd band out. Here the group makes fun of the pessimism that pervades much of alternative music, satirizing the rampant angst in sly ways that, in effect, tell peers to stop whining. What makes it so enticing is the way singer Shirley Manson and company combine misery and vibrancy in the same package. 80

George Michael, “Jesus to a Child” (DreamWorks). In this seven-minute ode to rediscovering love after a period of darkness, Michael delivers one of his most affecting ballads since “Careless Whisper.” His smoldering, nicely restrained vocal and the song’s subtle, almost effortless groove capture the bliss of unexpected romance. 80

Sting, “Let Your Soul Be Your Pilot” (A&M;). In this upbeat but mellow tale about letting higher powers guide you through life’s obstacles, Sting mixes gospel and pop sensibilities with his usual stylishness. The only problem is that the six-minute work builds too slowly. It’s not until the final third of the record that you begin to feel the soulfulness. The real winner on the new “Mercury Falling” album is “The Hounds of Winter,” a reflection on an aborted love affair. 72

Art N Soul, “Ever Since You Went Away” (Big Beat). When it first arrived a couple of years ago, the “back to the ‘70s” movement was a refreshing return to live instrumentation and the inspired, earthy sounds of artists such as Stevie Wonder and Al Green. But the approach is already wearing thin. This debut single--produced by Tony Toni Tone’s Christian Riley--is charming but ultimately forgettable. When Tony Toni Tone refocused attention on ‘70s R&B; a few years ago, they did it with imagination and flair. Art N Soul isn’t refocusing on ‘70s R&B; so much as recycling Tony Toni Tone. 65