Big Chief’s debut irreverent> `Platinum Jive’ drives through wide spectrum of music

“Platinum Jive” (Capitol) — Big Chief

You’ve got to admire the chutzpah of a group that subtitles its major-label debut “Greatest Hits 1969-99.” There’s no sense waiting for the masses and radio to determine what constitutes a hit.

But that’s Big Chief for you — a band without pretensions but with a distinct, bizarre and sarcastic view of life.

The group displays that sensibility of “Platinum Jive,” combining jazz, punk, retro rock, techno, rap and grunge into a tasty musical stew. Big Chief is nothing if not sonically unpredictable.

Is “Platinum Jive” music that will go down in history? Yes, but not quietly. Big Chief offers attitude with a sense of humor, a rare and welcome combination.

“One Emotion” (RCA) — Clint Black

Just a few years ago, Black was one of the premiere “hat” acts, along with Garth Brooks and Alan Jackson. His endearing blend of country, western swing and honky tonk had won him a loyal following.

Since his marriage to actress Lisa Hartman, Black’s been seen less with his hat on. And, as “One Emotion” shows, his music has become more mainstream as well.

Black is always going to have his country side, as he shows on such cuts as “I Can Get By” and “Wherever You Go.” But “One Emotion” also contains a tune such as “A Change In the Air,” which would fit in perfectly on a James Taylor album.

Is this change in Black’s music a bad thing? That depends on whether the listener is a fan of country music or just good music in general. Just because his music is evolving is not in and of itself a reason for denigration.

And “One Emotion” stands tall on its own merits. Country music today has room for many different styles of music, and Black is just dabbling in many of them. And there’s nothing wrong with that.

“Hold Me, Thrill Me, Kiss Me” (Epic) — Gloria Estefan

As is a superstar’s prerogative, Estefan has opted to record cover versions of 13 songs that influenced her while growing up, tunes that were on her turntable in the ’60s and ’70s.

Just as Luther Vandross does on his cover album “Songs,” Estefan gives her own spin to old pop hits, ranging from 1956’s “Goodnight My Love” to 1976’s “Whispering/Cherchez La Femme.”

Estefan, naturally, is at her best on two disco-flavored numbers, “Turn The Beat Around” and “Everlasting Love.” But she’s not as convincing on the Blood Sweat & Tears classic “You Made Me So Very Happy.”

Can Estefan bring a few of these tunes back onto the charts? Probably, just on the strength of her reputation. Is this a must-have album? Only for Estefan completists. It’s an enjoyable way to while away 45 minutes, but it’s not the album of new material that Estefan’s fans are waiting for.

“The Cult” (Sire/Reprise)

The title of the latest album from the Cult is appropriate. Self-titled albums generally mark an act’s debut, and this album marks a rebirth for the British group that hasn’t been heard from in three years.

Cult leaders Ian Astbury and Billy Duffy have been joined by a new bassist and drummer. They have also adapted a hard-rocking, raucous sound that most closely resembles their second album “Love.”

As always, the Cult tackles issues in the world around them. “Real Grrrl” and “Star” addresses women in power and realizing their potential.

“Counting Down” laments the loss of innocence. “Black Sun” shines a light on abuse.

On their new album, the Cult starts over in a positive way. While maintaining the innovation that made them a fan favorite, the group also strikes out successfully in a new direction. The Cult has returned to stay.