Andreas Johnson album both soothing, stimulating

Editor’s Note: In Sound Advice, the first Thursday of every month, veteran NEWS entertainment writer Dale McGarrigle reviews new rock, pop, alternative, country, folk or blues albums. Different NEWS writers contribute reviews from other musical genres.

“Liebling” (Reprise) – Andreas Johnson

Based on the strength of the anthemic single “Glorious,” some are calling Johnson “the greatest Swedish export since Abba” (what, not the A-Teens?). While that certainly is over-the-top hyperbole, his second album offers up the most delicious kind of Europop (not the monotonous type made by unimaginative computer geeks).

“Liebling,” which was released in Johnson’s homeland two years ago and finally has crossed the pond, tells of a short period of his life when he was living in Berlin, and the people he met there, especially a good friend now deceased. Yet despite the often sad subject matter, he remains hopeful in his songwriting approach. The album is a short-story collection to which the listener can rock (or at least sway).

The influence of Johnson’s jazz-musician parents shows up here, but still it’s solidly grounded pop-rock, with traces of electronica wafting through. The music manages to insinuate itself into the psyche, but it’s ear-catching, not assaulting.

During the release’s finest moments. a listener feels like he’s sitting in a cafe, taking tasty sips of latte while watching intriguing strangers pass by. It’s quiet, it’s soothing, but still thought-provoking.

“Beyond Good and Evil” (Lava/Atlantic) – The Cult

On a scale from one to remotely challenging, The Cult doesn’t even register. But to berate the band for its improbably base boogie is like blaming the skunk for stinking. It’s just what they do, it’s damn good fun, and I, for one, feel comforted to know they’re still out there somewhere.

While “Beyond Good and Evil” is Ian Astbury and Billy Duffy’s first album in about seven years, you’d be hard pushed to guess so, unless you check the pictures of the dynamic duo inside. Astbury is beginning to look enbalmed; somewhat like a pumped Steve Tyler. Duffy looks like he should be enbalmed, but it already may be a little too late.

“The musical growth rate of this band cannot even be charted,” is not my quote. It was written about a band that the Cult are increasingly becoming entwined with in my mind – Britain’s other great rock exports, Spinal Tap. And like the Tap, The Cult are entirely unashamed about what they do. Which is a good thing, because this kind of power-chord pummelling is often best played somewhat straight. There can be no half measures when it comes to pomposity. You carry it through, all the way, or you get run out of town.

“It’s OK. No one is watching anymore. You now have permission to rock again,” Astbury reportedly said from the stage earlier this year. On the first matter, he’s almost certainly right. I’m not sure that anyone much has been watching or listening anymore since 1988’s “Electric.” On the second matter, thanks for the permission, Ian. I know where to find you now if I feel the need. And who knows? When you just gotta get down . . . – Adam Corrigan

“Inside Out” (MCA) – Trisha Yearwood

This collection marks 10 years since Yearwood’s breakthrough hit, “She’s In Love with the Boy.” It also illustrates some of the pitfalls that come with success.

Yearwood, together with Mark Wright, produced the album, aided by musicians and songwriters that she likes to use for her studio efforts. Also making contributions are Rosanne Cash (duet on her “Seven Year Ache”), Don Henley (duet on the title cut) and Vince Gill (background vocals on “I Don’t Paint Myself into Corners”).

The problem with “Inside Out,” as Gertrude Stein once said of Oakland, there is no there there. It’s possible to have the talent in Nashville on an album, but without at least a little substance, it’s going to fall flat. A few bland ditties about relationships failed or in flux don’t a quality album make.

Also, little about “Inside Out” lingers with the listener. Except for the catchy “For a While” (written by the always dependable Matraca Berg), there’s few hooks to be found on the album.

Yearwood has said she wanted to make an album that was a little bit lighter than 2000’s “Real Live Woman.” But she seems to have forgotten there’s a fine line between lighter and lightweight. Unfortunately, the disappointing “Inside Out” lands squarely in the latter category.

“Moulin Rouge” (A&M) – Various artists

Make no mistake: “Moulin Rouge” is a musical, built entirely for the age of sampling. In a dizzying soundtrack featuring David Bowie, Fatboy Slim, Beck, Massive Attack, Rufus Wainwright, Christina Aguilera, Lil’ Kim, Mya, Pink and others, Baz Lurhmann has lent his frenetic directing style to musical production, resulting in one of the most unforgettable musical soundtracks in years.

Clearly, one of the highlights of the soundtrack is the No. 1 hit remake of the ’70s LaBelle smash “Lady Marmalade” by Aguilera and company. This relentlessly hot track produced by Missy Elliott features some of the best vocal pyrotechnics in pop music today.

Bigbeat technostar Fatboy Slim further turns up the heat with “Because We Can,” a thumping, whirling track that should tear up dance floors everywhere.

Just when you think it can’t get any hotter: Enter Nicole Kidman purring and selling the hell out of “Diamonds Are a Girl’s Best Friend” in her charming, go-for-broke vocal style, tossing in a little of Madonna’s “Material Girl” for good measure. Ewan McGregor also makes his onscreen/soundtrack singing debut, and fares nearly as well as Kidman. McGregor’s earnest tenor carries many of the film’s sweeter and funnier moments.

Another of the soundtrack’s highlights, the sizzling and sultry “El Tango de Roxanne” is an unimaginable and heartbreaking interpretation of Sting’s “Roxanne.” David Bowie and Massive Attack form an eerily perfect pair on a remake of the ’40s hit “Nature Boy” while Rufus Wainwright puts his world-weary spin on the French standard “Complainte de la Butte.”

Operatic and totally over-the-top, this soundtrack, just like the movie, is gaudy, garish and gorgeous. – By Brent Murray