A sly, wry wink from Scotland

Franz Ferdinand

“Franz Ferdinand” (Domino)

*** 1/2

When a band names itself after the Austrian archduke whose assassination helped trigger World War I, you know the group probably has a wry, somewhat arty perspective.

And most assuredly, this Scottish foursome’s inviting debut is so filled with those and other winning qualities that you know the band members spent lots of time listening to Talking Heads and Roxy Music.

Its themes, in fact, are about being so caught in the intoxicating ups and (mostly) downs of relationships that they bring to mind a dark, demented twist on Roxy Music’s “love is the drug” imagery.

In song after song, our poor hero is left so broken and shattered that you understand why, in one piece of irresistible pop (“Take Me Out”), he begs his would-be girl to put him out of his misery before she leaves.

The secret to the Ferdinands’ appeal is that singer-songwriters Alex Kapranos and Nick McCarthy consistently inject enough winsome melodrama into the lyrics and sheer, usually guitar-driven excitement into the music that the album comes across as a sly wink -- much in the style of L.A.’s beloved Sparks or the superb old British band Squeeze.

There is a sense of isolation and ache in the opening lines of “Auf Achse” that feels so painfully real that it could be the building block for a song about unrelenting gloom: “You can see her/ But you can’t touch her/ You can hear her/ But you can’t hold her.... You want to/ But she won’t let you.”

But the Ferdinands take the song to a different, more intriguing space with the bright optimism and resilience you’d expect from one of the Pet Shop Boys’ zesty dance-floor exercises. This mix of emotions leaves the teasing impression that everything in the song, and perhaps the album, is a strange blend of paranoia and fantasy.

In a few tracks, you sense this band is still at the mercy of influences as it searches for its identity, but the best moments are wonderfully promising. Franz Ferdinand will be at the Troubadour on March 19.

-- Robert Hilburn

A too tame heart

The Von Bondies

“Pawn Shoppe Heart” (Sire/Reprise)

***

Getting clocked in the face by the White Stripes’ Jack White might be a painful way to get the attention of the mainstream rock audience, but if nothing else, the recent nightclub fracas between Von Bondies singer-guitarist Jason Stollsteimer and his mentor-turned-antagonist fits right into the rowdy, bare-knuckles tradition of the Detroit rock legacy that both gentlemen represent.

If only the Von Bondies’ major-label debut (in stores Tuesday) had more of that unruly spirit. For all its merits, “Pawn Shoppe Heart” sounds too clean and constrained, lacking the swagger and attitude of “The New York Dolls,” or the true creepiness of a contemporary primitive such as Johnny Dowd.

That’s a crucial shortcoming for a quartet that’s much more about performance, posturing and personality than it is about great songwriting and record making.

The album, produced by former Talking Head Jerry Harrison, aims to bottle the band’s live energy and charisma, but it’s a tough thing to capture, especially when you keep the drums barely audible.

Muted though it is, the album does have Stollsteimer, whose voice goes from supple wail to over-the-top psychodrama, and a notable knack for revitalizing the archetypal motifs of Stooges-grounded garage rock.

And who knows, there might even be some great songwriting in their future. “C’mon C’mon,” a hook-studded rocker with a compelling vocal, and “Tell Me What You See,” with Stollsteimer and the band’s girl-group chorus locked in a dynamic dialogue, come back to back early in the album and form a memorable one-two punch. Pardon the expression.

-- Richard Cromelin

Deep down into his soul

Cee-Lo

“Cee-Lo Green Is the Soul Machine” (Arista)

***

This Atlanta hip-hop veteran’s solo album two years ago was an unexpected delight because Cee-Lo (Thomas Callaway) mixed R&B;, gospel and funk so marvelously in key tracks that he sounded more like a ‘70s Memphis soul man in places than a rapper from the Goodie Mob camp.

As the title of this follow-up CD suggests, Cee-Lo continues to envision himself in that soul singer role. He captures the falsetto edge and sensual longing of soul marvel Al Green so well in such tracks as “Let’s Stay Together” that you’re tempted to check the album credits to make sure the Rev. Al himself didn’t stop by the studio for a guest appearance. Even the title, “Let’s Stay Together” (it was written by Cee-Lo and the Neptunes), is a tip of the hat to Green’s No. 1 single from the early ‘70s.

The question raised by this CD is whether Cee-Lo should commit himself even more to the soul man role or maintain his persona as singer and rapper. At times, Cee-Lo does show the value of holding on to some of his rap. But he is more distinctive and effective as a singer, which makes part of this long, 65-minute CD feel like wasted time.

-- R.H.

Christian pop-rock sings Bono

Various Artists

“In the Name of Love / Artists United for Africa” (Sparrow)

** 1/2

Why can Christian musicians, from Bruce Springsteen to U2, be so stirring when using spiritual sensibilities, while artists who identify with the narrower Christian pop-rock movement often give us music so lacking in character and depth that it seems anonymous?

Although not fully answering that question, this CD, which features some of the Christian music world’s stars performing U2 songs, suggests the problem may be the material.

“In the Name of Love” is a response by several Christian music artists to Bono’s challenge last year to get involved in the campaign to raise money to fight the African AIDS crisis.

Not everything works on this album, which donates a portion of the proceeds to World Vision. Some singers seem so intimidated by Bono’s vocals that they are unable to break away from his interpretations. And several of the arrangements seem timid.

Yet there are eye-opening moments, especially when artists tackle some of the more intimate moments in the U2 catalog. The poignant vocal by Sixpence None the Richer’s Leigh Nash and the personal take by Nichole Nordeman on “Grace” are especially passionate.

Along with other highlights, these tracks make you want to hear more by these artists. A similar album devoted to Springsteen’s songs would be another good step.

R.H.

Quick spins

A glance at other albums of interest.

Various Artists “Bad Boy’s 10th Anniversary -- The Hits” (Bad Boy): Sean “P. Diddy” Combs’ label issues this multiartist compilation to mark the seventh anniversary of the death of rapper Notorious B.I.G. The single “Victory 2004” adds raps from P. Diddy, 50 Cent, Busta Rhymes and Lloyd Banks to Biggie’s 1997 track “Victory.” In stores Tuesday.

Various Artists “Great Irish Bands” (Hip-O/UTV): With tracks from Van Morrison and Thin Lizzy to Sinead O’Connor and the Cranberries, this compilation includes a bonus DVD with the short cult film “Sightings of Bono” about a fan who encounters the U2 singer at every turn.

Various Artists “Music As a Weapon II” (Reprise): A combo CD and DVD from the 2003 hard rock tour featuring Disturbed, Chevelle, Taproot and Unloco.

Albums are rated on a scale of one star (poor), two stars (fair), three stars (good) and four stars (excellent). The albums are already released unless otherwise noted.