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.

“Busted Stuff” (RCA) – Dave Matthews Band

What happens when you take the jam out of the Dave Matthews Band?

Well, we found out in DMB’s last release, “Everyday,” in which Matthews took his signature sound, cleaned it up and sent it off in short, poppy to-go packs. “Everyday” was like a six-pack of Diet Dr. Pepper – it still tasted good, but something was missing.

He gets the sugar back in “Busted Stuff,” which includes many of the tracks he ditched to record “Everyday.” A bit of history: Matthews and his usual producer, Steve Lillywhite, were in the process of laying down tracks for a decidedly downbeat album when, suddenly, Matthews decided to drop the whole deal and quickly record “Everyday” with Glen Ballard.

“Busted Stuff” is the stuff he left behind. While it isn’t necessarily busted, it feels formulaic at times. The components are all there – soulful lyrics, Matthews’ amazing voice, and a folk-rock-jam-band style — but the feeling isn’t.

“Grey Street” and “Raven” come close to vintage DMB, but the title track, which tries to be sexy, falls flat.

I remember when Dave Matthews used to put me (and all my friends) in a trance. I could listen to “Under the Table and Dreaming” or “Crash” for hours. I can listen to “Busted Stuff” all the way through. One time. Once in a while. Maybe I grew out of it.

Or maybe DMB outgrew its fans. – Kristen Andresen

“Home” (Wide Open/Monument/Columbia) – Dixie Chicks

Welcome to the new sound of the Dixie Chicks.

After selling 21 million copies of their albums “Fly” and “Wide Open Spaces,” lead singer Natalie Maines, banjoist Emily Robison and her sister, fiddler Martie Maguire, are settling down, getting married and starting families. This comfort level shows up on “Home.”

Also, as a result of their celebrated lawsuit against Sony, they ended up with their own imprint, Wide Open, a mone-

tary, out-of-court settlement and increased royalties. Most importantly, they gained the power to make the album they wanted.

“Home” takes the trio back to its roots, a collection of 12 thoughtful acoustic and bluegrass songs. There are no singalong arena anthems such as “Goodbye Earl” and “Ready to Run;” just well-crafted gems from some of the country’s top songwriters, wise meditations on love and life.

Produced by the Chicks and legendary musician Lloyd Maines (Natalie’s father), the album was recorded at home in Texas and manages to keep that organic, live-in-the-studio feel. The group’s maturation, both musically and personally, shines through, and as a result, “Home” should connect with many listeners. – Dale McGarrigle

“Songs for the Deaf” (Interscope) – Queens of the Stone Age

Britain’s New Musical Express calls them “2002’s greatest living rock band.” The jury apparently is still out on who 2002’s greatest dead rock band is, but never mind. The jury also is out on whether the NME is just a little guilty of over-excitement, but I’m personally swaying toward sending them down.

While I may be a little pressed to name a better hard-grinding band than Queens of the Stone Age from the current crop of turgid metal losers, I just don’t sense true greatness (yet) from QOTSA. If, however, The Queens are not quite Great with an upper-case G, it’s not for want of volume. “Songs for the Deaf” is an aptly named opus. “You Think I Ain’t Worth a Dollar …” may start out with all fake radio samples and transistorized riffing, but swiftly pulls the bottom out and tries to make your ears bleed. “Six Shooter” pulls a similar trick before pummeling you into submission.

But it’s far from all about the noise. Where QOTSA get their nose in front of the pack is when they deploy their secret weapon – tunes.

That tunes are an integral part of many musical forms seems elementary, but too many bands are missing the point these days. I tend to feel that if you’re going to dispense with melody and concentrate on sonic terror, have the guts to go all the way, like Einsturzende Neubauten or even Extreme Noise Terror.

The Queens are savvy – as they should be considering the long careers of all the members, including Mark Lanegan from the Screaming Trees (who gets some writing credits) and Dave Grohl (who doesn’t). Large chunks of this album flirt strongly with melody, such as “Another Love Song,” or “Mosquito Song” which, with its acoustic licks, strings and accordions, borders on both tenderness and the hilarious.

But best of all, there is that one perfect single that can apologize for any staler moments. “No One Knows” is frankly one of the year’s best songs. OK, it plays the loud-soft-loud game a bit, but is at heart a choppy piece of genius, referencing The Beatles, Wire, The Kinks, and a patchwork of others.

Queens of the Stone Age are still seemingly a work in progress, but they’re progressing nicely. – Adam Corrigan

“Love & War” (Dreamworks) – Jerzee Monet

On her sparkling debut, this New Jersey native sounds wiser and more polished than her mere 20-plus years, both lyrically and musically.

Monet (ne Tanisha Monet Carey) is truly one of those fabled discovery stories. She was cooking at a Virginia restaurant in 1999 when rapper DMX and his crew came in to eat. She cornered DMX and gained an audition, and ended up a client of Boondo Calamundo, also Eve’s manager, who got her a deal with Dreamworks.

It would be easy to lump Monet into the neo-soul category, but she’s really an old-school R&B singer. (That’s despite guest raps by DMX, Eve and the over-present Ja Rule on the album.) There are also more than traces of blues, jazz and hip-hop, which results in an ear-pleasing, throwback blend.

Her first single, “Most High,” wonderfully addresses disrespect, family values and domestic values. “Respect,” “Yeah” and the title cut are other tunes in that same socially responsive vein. Then there’s her knowing takes on relationships, such as “Work It Out,” “Missing You” and “Better Than That.”

Based on the strength of “Love & War,” Monet is a singer to watch (and listen to), like Lauryn Hill, Jill Scott and Alicia Keys before her. She’s an artist to be reckoned with. – Dale McGarrigle