A Rock Great, a Soul Great and Some Upstarts

Rock artists, from Bruce Springsteen to the Vines, dominate this edition of Calendar’s guide to keeping up with what’s noteworthy in pop music on a budget of $50 a month. But a soul legend and a trailblazing British singer-songwriter also squeeze their way onto the list.

July

Bruce Springsteen’s “The Rising” (Columbia). The anthem-like, post-9/11-themed “Into the Fire” and title track are getting most of the attention, but it’s the intimate moments, including “Empty Sky” and “You’re Missing,” that are the most eloquent and moving on Springsteen’s first studio album with the E Street Band since “Born in the U.S.A.” Not everything works in the 73-minute package, but the highlights reflect the soulfulness and commentary that have made Springsteen such a vital figure for so long.

Solomon Burke’s “Don’t Give Up on Me” (Fat Possum). This soul great has always had the voice, but it’s been a long, long time since he had material this stirring, arrangements this tailored and a record company this devoted to promoting him. Burke’s pleading vocal on the title track (co-written by Dan Penn, who also helped craft such R&B; standards as “Do Right Woman--Do Right Man”) is enough to win a Grammy nomination, but there’s a lot more to enjoy here, including songs by Van Morrison, Tom Waits and Bob Dylan.

Beth Orton’s “Daybreaker” (Heavenly/Astralwerks). Orton, whose music combines elements of the singer-songwriter and electronica traditions, has been slow to follow up on the promise of her 1997 debut album, “Trailer Park.” But she is right on target in this confident, alluring work, whose complexity and depth require you to spend time to fully appreciate its charms.

August

The Vines’ “Highly Evolved” (Capitol). Craig Nicholls sounds like a tortured Kurt Cobain here and a pastoral John Lennon there, which makes you wonder whether he’s the real deal or just a quick study who knows classic rock values are in vogue. Six numbers into the Aussie rock quartet’s passionate performance at the Roxy, I cast my vote. His rock vision is still fuzzy, but he brings an intensity and commitment to his best music--whether it’s the desperate, punk-driven “Get Free” or the more melancholy and searching “Homesick”--that feels drawn from deep inside.

Bright Eyes’ “Lifted” (Saddle Creek). Conor Oberst, who has already given us one of the year’s rock delights with the Desaparecidos’ “Read Music/Speak Spanish” album, returns with a 73-minute assault filled with so many dazzling images and rhymes that you wonder whether his real name isn’t Zimmerman. After all, he’s from the Midwest and he tends to spit out his words the way a young Dylan did. There are times when this cocky young songwriter seems guilty of just showing off, but there’s an independent spirit here that makes him exciting, indeed.

Division of Laura Lee’s “Black City” (Burning Heart) If you’re in love with the Hives and are looking for something else from Swedish rock, D.O.L.L. is a good choice. Where the Hives listened a lot to Mitch Ryder & the Detroit Wheels before putting together their garage rock and punk, D.O.L.L. stocked up on Jesus and Mary Chain CDs, meaning the sound is darker and more obsessive.

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Robert Hilburn, The Times’ pop music critic, can be reached at robert.hilburn@latimes.com.