Editor’s Note: In Sound Advice, the first Saturday 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.

“Beautifulgarbage” (Interscope) – Garbage

This is the album that Shirley Manson and company have been leading up to over their six years together.

“Beautifulgarbage” takes the many intriguing things the foursome showed on their 1995 self-titled debut and 1998’s “Version 2.0” and built upon them. They manage to become more accessible and sophisticated at the same time.

Garbage’s success has a firm musical foundation in three veteran Midwestern musicians – guitarist-bassist Steve Marker, guitarist-bassist-keyboardist Duke Erikson and drummer Butch Vig. The studio magic they create helps to elevate this new release.

Then cap that with their Scottish vocalist’s confessional, uninhibited lyrics. The riveting Manson knows how to make her point, in the most direct, revealing way possible. Whether she’s taking a jab at the vultures who circle celebrities on “Shut Your Mouth” and exploring an obsessive failed relationship on “Cup of Coffee,” Manson is a master of imagery if not subtlety.

The result is that “Beautifulgarbage” is an album that’s more straightforward than past Garbage albums, without ever being simple. The quartet still masterfully explores emotions without getting obscure. Like its oxymoronic title, it manages to be both Garbage and beautiful, no mean feat.

“The Rock: Stone Cold Country 2001” (BNA) – George Jones

The subtitle of this new release by The Possum says it all. After more than 200 albums, Jones knows what works for him – fiddles, steel and plaintive vocals – and he sticks with it on “The Rock.”

Jones is a survivor. Most recently, he survived a horrendous car crash in 1998. That inspired him to give up drinkin’ and smokin’, and as this album shows, his voice is better for it.

His is the voice of experience. He’s a man sadder but wiser, and that comes through on the 12 cuts on “The Rock.” Top Nashville writers have contributed songs, including Jamie O’Hara, Al Anderson, Billy Joe Shaver and Harley Allen, and Jones takes the tunes and makes them his own.

Jones is introspective on “50,000 Names” and “Wood and Wire.” But he can still kick it up, as he does on “Beer Run” (a duet with Garth Brooks) and “I Got Everything.”

At 70, Jones is one of the few country artists who has managed to stay on top in modern Nashville. Part of that is because he’s revered by today’s performers, and they’ve helped him to remain visible through joint projects. But the biggest part of it is his ability to attract and deliver strong material, year in and year out, throughout his more-than-40-year career.

Even on a new label, Jones has kept his winning streak going with “The Rock.” The Possum remains as sly as ever.

“Wonderland” (MCA) – The Charlatans U.K.

I once made vicious fun of a friend, who described a new album he received as “consistent.” Ha! Damning with faint praise indeed. After all, when did you last hear a hyperventilating teen burble of the band that is changing his life, “They make me want to cry with the sheer consistency of their sound! Sob.” Nah. I thought not.

So, it honors me to say right now, and without a glimmer of irony, that I love the Charlatans. They’re just so darn consistent.

I mean it. I really do care about the Charlatans. After all, it’s a miracle they’re still with us, what with the armed robberies and untimely deaths. And smart money was never being put on them to be long-term survivors of the Manchester indie-dance thing. Happy Mondays and Stone Roses (RIP) were the young hopefuls.

I also care about “Wonderland,” because it displays all the things that every other Charlatans’ album has contained since they wiggled out of “Madchester” in 1990, and more.

All the usual suspects line up as influences – from U2 to the Stones via hints of fellow survivors, Primal Scream. But it’s all wrapped up in that consistently flexible tripped-up Charla-funk and soaked with Tim Burgess’ cocky drawl.

So jiggle to the arrogant breakdown of “You’re So Pretty, We’re So Pretty,” swoon before the gospel ghosts of “Love is the Key,” and give the Charlies a wave and a big smile as they come round the block again. – By Adam Corrigan

“Chasing Tales” (Invisible Music) – The Mark Kleinhaut Trio with Tiger Okoshi

The opener, “Cape Hatteras,” begins with a lightly chorded guitar melody, propelled along by Caribbean-tinged hand drums, soon joined by an impossibly soft trumpet in perfect blend and a nearly imperceptible bass adding just a touch of depth. The sound is clear and spacious, the tune fresh and engaging – the kind that sticks in your head long afterwards – and the performance is expert.

“Chasing Tales” only gets better from there. This is a delightful session, packed with intriguing, original tunes, inventive solos and brilliant ensemble playing. This is jazz free of clich?, a wonderful combination of joyous spontaneity and hard work.

Guitarist Mark Kleinhaut, a veteran of the Boston club circuit, now based here in Maine, is a dazzling soloist and an exceedingly clever accompanist – the marvel is how easily he combines the two roles. Trumpeter Tiger Okoshi has an international reputation, thanks largely to his work with Gary Burton. His sound ranges from dark and soulful to crackling hot, his solos are always well-crafted and often surprising, his tight unison work with Kleinhaut – especially on some of the jagged, quirky up-tempo tunes – is amazing.

Bassist Jim Lyden and drummer Mark Macksoud are regulars in the Kleinhaut trio and the familiarity shows. Lyden is solid and economical in the background, eloquent when stepping up to solo. Macksoud is the type of percussionist every trio leader craves – always responsive, frequently witty, explosive when called for. His brushwork on several tunes is very cool.

“Chasing Tales” is a musical treat, and a very generous one – 10 tunes, more than 60 minutes. Nice work, too, by the folks at Bunganuc Studio in Brunswick, where this session was held over two days in June. The instruments sound true; the mix (especially the tricky mix of acoustic guitar and trumpet) is perfect. – By Bruce Kyle