Editor’s Note: In Sound Advice, the first Saturday of every month, veteran NEWS entertainment writer Dale McGarrigle, former British music-press writer Adam Corrigan and a revolving stable of NEWS writers review new albums from across the musical spectrum.

“American Child” (Arista) – Phil Vassar

Phil Vassar faced a daunting task in producing a sequel to his self-titled 2000 debut CD, a gold-certified disc featuring the No. 1 hit “Just Another Day in Paradise” and four other top-10 singles.

That effort carried the Lynchburg, Va., native for nearly two years, culminating in him being named Top New Male Vocalist at the 37th Academy of Country Music Awards this past May.

Vassar’s follow-up effort, “American Child” already has produced one top-20 hit in the patriotic title anthem. This CD represents the continued evolution of this piano-playing singer-songwriter, this time in a direction as much toward adult contemporary as toward country. The variety on this disc ranges from the country-guitar rock of “Athens Grease” and honky-tonk sounds of “Houston” to the orchestral backing of “I’ll Be The One” and the modern pop of “Someone You Love,” co-written with Rob Thomas of Matchbox 20.

Several songs barely attempt to maintain a country facade. An occasional steel guitar on “I’ll Be The One” and a background fiddle on “Someone You Love” seem to be merely concessions to the genre that helped Vassar reach the big time.

What is consistent with Vassar’s first CD are its basic themes: loves lived and lost, boundless optimism, and traditional Americana, topics that resonate throughout country music and beyond. Vassar co-wrote all 12 songs, and continues to mix inspiration and intimacy within his autobiographical tendencies.

For Phil Vassar, life seems to be about defining contemporary country in his own terms. And with a songwriting stroke both homespun and fluid, not only are his definitions accurate, but commercial success seems destined to follow. – Ernie Clark

“Trouble Bound” (Hightone) – The Blasters

This recording captures the high-energy experience of the original Blasters, back together for a handful of California gigs this spring.

In the late ’70s and early ’80s, the Blasters, along with X and

Los Lobos, were at the forefront of the Los Angeles roots rock scene, serving up a potent blend of rockabilly, blues and R&B. But dissension within the band led guitarist Dave Alvin and keyboardist Gene Taylor to depart in 1985. Alvin has become a critically acclaimed musician over the past 15 years, while his vocalist brother Phil soldiered on with various lineups known as the Blasters.

The brothers Alvin, Taylor, bassist John Bazz and drummer Bill Bateman set aside their differences and reunited last spring, largely to promote “Testament: The Complete Slash Recordings.” (Their mentor and sax man, the late Lee Allen, could only attend in spirit.) As “Trouble Bound” attests, the quintet hardly misses a beat despite being apart for 17 years.

The live album features such Dave Alvin-penned favorites as “Marie Marie,” “Long White Cadillac,” “So Long Baby Goodbye” and “Red Rose.” New cuts include covers of Johnny “Guitar” Watson’s “Too Tired,” Jr. Parker’s “Crying for My Baby” and Sony Burgess’ “Sadie’s Back in Town.”

Phil’s anguished vocals, Dave’s sledgehammer guitar, Taylor’s barrelhouse piano and the rock-solid rhythm section of Bazz and Bateman all are on display on “Trouble Bound.” The short concert tour this stems from echoes the too-short career of the original Blasters. Maybe it’s better to play hard, then move on, rather than to slowly drift away. – Dale McGarrigle

“A Rush of Blood to the Head” (Capitol) – Coldplay

One of the few British bands to break through in the United States in recent years, Coldplay is remembered here mainly for its single “Yellow,” an epic ballad in the same vein as Oasis’ “Wonderwall” or The Verve’s “Bitter Sweet Symphony.”

The group’s debut album, “Parachutes,” showed flashes of brilliance, but the obvious influence of Radiohead, especially in singer Chris Martin’s soaring vocals, drew accusations of bandwagon-jumping from some critics.

With the release of “A Rush of Blood to the Head,” however, Coldplay has shattered all reasonable expectations and delivered a magnificent set of songs which could elevate it to the same level of popularity and acclaim as Thom Yorke and company. The dizzying rush of “Politik” opens proceedings, Martin imploring the listener to “look at Earth from outer space,” while guitars and drums churn like ocean waves behind him. New single “In My Place” follows, anchored by a simple but stirring riff from guitarist Jonny Buckland and easily unseating “Yellow” as the band’s best song to date, with Martin’s chorus prompting shivers down the spine of anyone within hearing distance.

“A Rush of Blood to the Head” closes with “Amsterdam,” a lone piano accompanying the vocal line until the full band crashes in near the end to send the album off with a bang. As the last notes fade out, it’s clear that Coldplay has taken a major step forward with its music. It’s fascinating to think that the band could someday top this record; but for now, we should all just be grateful that we have it. – Travis Gass

“Details” (MCA) – Frou Frou

It’s not surprising that Frou Frou’s debut is a little more polished than the average first album. After all, Imogen Heap and Guy Sigsworth already know their way around the business. Heap, styling floppy hats and smoky glances, has been down this road before, with her 1998 solo album, “Megaphone.” Sigsworth has worked with both Madonna and Bjork, and brings a producer’s ear and a longing to be fabulous to the table. Together they have given us “Details.”

In an attempt to live up to their name, Heap and Sigsworth deliver an evocative, smoky sound. Heap’s effortlessly sultry voice sways expertly through jazz-inflected, house-informed beats. The effect is often remarkable. However, it would be all the more remarkable if it were something not all too familiar. Portishead, Laika, Moloko, Dot Allison, Beth Orton. All fair comparisons.

Frou Frou does add a little something to the formula. “Breath In” is New Order on 33, laced with an ineffably pretty vocal. “Must Be Dreaming” eventually dissolves into disco abandon.

However, we still are on relatively tried and tested ground here. And while “Details” could have been the best album of 1996, it is merely a good one in 2002. – Adam Corrigan