Cornell, ex-Ragers try a new approach

Audioslave

“Audioslave” (Epic)

*** 1/2

For anyone coming to this Chris Cornell/Rage Against the Machine super-pairing (due in stores Tuesday) as a Rage fan, the music is likely to be jarring -- especially for those who favored Rage more for the political fury of singer Zack de la Rocha than for the three instrumentalists’ sonic assault.

With Rage guitarist Tom Morello, bassist Tim Commerford and drummer Brad Wilk, former Soundgarden frontman Cornell doesn’t try to adopt De la Rocha’s focus on rapping and social commentary. He continues to write passionately about overcoming deeply rooted insecurities and doubts.

For those turning to Audioslave as fans of Cornell or of Rage’s musical prowess, however, the impact of this new unit should be immediate and deep.

With grunge favorites Soundgarden, Cornell was one of the most thrilling singers in rock, someone who could match the abandon and wail of Led Zeppelin and then touch us with softer and more personal moments. Although Cornell made some memorable music with Soundgarden, there were times when he seemed to be reaching for emotions beyond that band’s interest or scope.

His new partners seem eager to explore wider musical dimensions with him, which is good because the relentless, fist-in-your-face assault of Rage’s old rap-rock approach needed to be expanded. From the inner confusion of “Show Me How to Live” to the restless aggression of “Gasoline,” the result is both fresh and liberating.

-- Robert Hilburn

Braxton spreads herself too thin

Toni Braxton

“More Than a Woman” (Arista)

** 1/2

“You’re more than a woman to me,” sang the Bee Gees in a 1977 song from “Saturday Night Fever.” Braxton doesn’t reprise that classic disco moment here, but the R&B-pop; diva’s fifth album (in stores Tuesday) is all about settling for nothing less than a man with that same attitude.

With up-to-the-minute production by such brand names as the Neptunes and Rodney Jerkins, this collection feels like a more genteel, synthed-out cousin to recent works by Missy Elliott and TLC. Such numbers as the I’ve-had-enough “Let Me Show You the Way (Out)” have that danceable, hypnotic funkiness, while the soulful “Lies, Lies, Lies” puts some rock into the mix. Yet the propulsive “Hit the Freeway” and the lush ballad “Rock Me, Roll Me” evoke English avant-garde songstress Kate Bush with layered vocals, strings and burbling electronic noises.

‘Round about the Spanish-guitar-flavored, Madonna-esque “Me & My Boyfriend,” however, the collection starts to feel as if it’s more about covering all the pop bases. Which is OK, but Braxton’s tough-to-tender messages aren’t much different from those of a lot of current take-charge female pop singers. And putting her capable voice into so many different musical settings doesn’t completely disguise a lack of real insight.

-- Natalie Nichols

Bikeride peddles perfect surprises

Bikeride

“Morning Macumba” (Hidden Agenda)

*** 1/2

This collection of gorgeous, fully formed ‘60s international vocal pop may have been written mostly on a trip to Brazil and ooze French and English accents, but its essence is vintage California pop in the sunshine-can’t-cure-me tradition of the Beach Boys, Burt Bacharach, Nilsson, even the Mamas & the Papas.

How such grand, embraceable vocal harmonies have flown so long under the radar is a bit of a mystery, but “Morning Macumba” is Bikeride’s fourth album, and once again former Loyola Marymount student Tony Carbone delivers a handful of perfect surprises. “Fakin’ Amnesia” is a driving, guitar-and-piano clap-tracker in the spirit of Apples in Stereo. On “Moonracing,” Carbone lets his chalky, endearing, sometimes Wreckless Eric delivery drop down to an Elliott Smith hush and milks some lo-fi instrumentation.

But “Norwegia” is the reason to keep this album on constant repeat, a softly psychedelic jangle rocker with a soaring, harmony-drenched chorus of “la la las” that connect with the universe. If you don’t catch yourself whistling this one later, you better check your pulse.

-- Dean Kuipers

Partying on for a bit too long

Sean Paul

“Dutty Rock” (Atlantic)

** 1/2

The mainstreaming of dancehall continues with this Jamaica-born international hit maker, whose sophomore album strengthens the bonds between hip-hop and the fast-paced reggae style that helped spawn rap in the late ‘70s. With such star guests as Jay-Z, Busta Rhymes and the Neptunes, and tracks addressing the crowd-pleasing subjects of sex, parties, sex, ganja and sex, “Dutty” (as in “dirty”) should seal the Super Cat devotee’s appeal among U.S. listeners.

This very long collection also suffers from weaknesses that plague the albums of artists in both genres. Among the 22 dance-floor-oriented tracks are such engaging numbers as the pulsing hit “Gimme the Light,” the shake-it-baby roll of “Get Busy,” and the breezy, old-school-feeling “Still in Love.” But after 75 minutes, Paul’s braggadocio and so-so toasting become less fetching and the songs become monotonous, despite efforts to vary things by mixing in techno and funk.

The production at times is a saving grace, adding a particularly appealing bit of clacking percussion or some squiggly ray-gun buzzes and bleeps. But the handful of silly between-song skits is soooo cliched. Oh well. At least Paul was smart enough to include the much better Rhymes remix of “Gimme the Light.”

-- N.N.

In brief

Saint Etienne

“Finisterre” (Beggars Banquet)

***

Compared with the ethereal beauty of 2000’s stunning “Sound of Water,” the latest effort by this British trio sounds unusually carefree, even sloppy. Those willing to forgive the pedantic spoken interludes and an unfortunate foray into rap will be rewarded with Etienne’s sunny pop hooks and luscious, organic electronica. A big plus: Sarah Cracknell’s languid vocals have never sounded this soulful. The group headlines the Palace on Monday.

-- Ernesto Lechner

Dot Allison

“We Are Science” (Mantra Recordings)

***

Scotland’s Allison (who opens Monday’s Saint Etienne concert at the Palace) is a traditional singer-songwriter who delivers her sensitive love songs with an empathetic voice. However, she accompanies her tales with the best elements of dance music -- playfulness, musical experimentation and inviting rhythms. The result on her second solo album sets a 21st century standard for the torch song, soulful yet musically fresh.

-- Steve Baltin

Keith Urban

“Golden Road” (Capitol Nashville)

** 1/2

Urban is one chipper cowboy. The Australian’s second album brims with tuneful good feelings, implying life’s struggles far more than outright exploring them. He lives a little, loves a little, hurts a little and smiles a whole bunch in songs crafted in a conversational style that lacks the sharp focus of country sophomore classmate Brad Paisley.

-- Randy Lewis

Susan Tedeschi

“Wait for Me” (Artemis)

***

The Boston guitar-slinger and singer still hasn’t stepped out of Bonnie Raitt’s shadow five years after her second album turned into a surprise hit. What Tedeschi lacks in originality she makes up for with skills in rootsy styles from front-porch acoustic blues to horn-drenched soul to roaring roadhouse rock.

-- R.L.

*

Albums are rated on a scale of one star (poor) to four stars (excellent). The albums are already released unless otherwise noted.