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.

“Phrenology” (MCA) – The Roots

These hip-hop pioneers from South Philly are back with a challenging follow-up to their Grammy-winning album “Things Fall Apart.” This adventurous sextet keeps finding new directions in which to take their music, and that shows on “Phrenology.”

Drummer-producer ?uestlove, vocalist Black Thought, bassist Hub, keyboardist Kamal, turntabilist Scratch and new guitarist Ben Kenney (who needs a nickname) blend samples and rap with rock, punk, jazz and psychedelia into a heady sonic brew.

Too often lately, denizens of the Billboard charts have been importing rappers to lend their singles street cred, or even worse, adding them after the fact and trying to get a little more mileage out of an overplayed hit by dubbing it a remix.

The Roots have taken a more accessible approach, enlisting such vocalists as Jill Scott, Nelly Furtado, Cody Chestnutt and Musiq to provide a pleasing sound atop their insistent beats while not prostituting their message.

The single “You Got Me” brought The Roots the acclaim they’ve long deserved for their role in the development of hip-hop. The many moods of “Phrenology” promise to bring the group even greater prominence and wider appeal, and rightfully so. Whatever you’re into, there’s something here for you. – Dale McGarrigle

“Nirvana” (Geffen) – Nirvana

Nirvana seems strangely relevant these days, in a bittersweet kinda way, now that critics and listeners have rediscovered yet again that it should only take a few chords, a bit of bubble gum, and an earnest howl to really rock like The Beatles rocked, like Nirvana rocked.

Now comes a collection intended to remind us just how great Nirvana’s whisper ‘n’ fuzz really was. But I wonder, has anyone really forgotten? The self-titled release dusts off some finely grimy Nirvana moments – “Sliver,” “Heart-Shaped Box” – but can’t overcome being a “best of,” though that title is only tacitly implied.

What’s more, the band’s sound now raises the question of whether yesterday’s “grunge” was really just “garage” all along; or, whether today’s “garage” isn’t just another slippery label, soon to be misunderstood and misapplied, opening a veritable floodgate of imitators, such as those that richly flowed after Nirvana – Silverchair, anyone?

A “best of” is a necessary evil, I guess. They fulfill record contracts, make new fans, and do operate under the noble notion of condensing a body of work. Still, they evoke feelings of sadness, because a “best of” somehow transforms a band or artist into an institution, safe and easily digestible – such as notorious “best of”-ers Elton John or Billy Joel. A “best of” also opens the door to various other forms of annual rehash, which is no good because you only need that one Steve Miller greatest hits disc (if at all), and did Alice in Chains need one “best of” let alone three? Oh, and Silverchair has one, too.

Sure, we all get a new song, “You Know You’re Right,” which paradoxically promises to also be like the last-ever song of Nirvana, ever, and that’s nice. The packaging is tasteful, too. But wouldn’t a single have been just as good? Or a whole album of b-sides – such as “Incesticide” – rather than a repackaging of “Smells Like Teen Spirit” and “MTV Unplugged” sessions? Or, better still, why not leave the musical legacy of Nirvana alone? – George Bragdon

“Shut Up” (Epic) – Kelly Osbourne

You open yourself right up when you decide to call your first CD “Shut Up,” especially when you’re someone as legendarily loquacious as Kelly Osbourne.

Indeed, I’ve already seen the predictable comments that Kelly should take her own advice. But it’s not Kelly who should be shutting up. Not yet anyhow.

It’s impossible to forget that Kelly is the daughter of a far more famous Osbourne – the venerable Blizzard of Oz. It’s impossible to believe that Kelly would have a recording contract today were it not for the MTV cameras that have pursued her hairstyles for the last year. And it’s impossible to pretend that Kelly’s band is not just as artificial as any boy band. Regardless, Kelly currently rocks.

Simplicity reigns on “Shut Up,” where, it is decreed four chords is at least one too many and an amp at less than 10 is unacceptable. Although she name-checks The Strokes and her boyfriend’s band, The Used (Ahhh, cute), it’s really Joan Jett who seems the obvious comparison. Nowhere is that clearer than on the sassy shout of the title track. The Madonna cover may be eminently forgettable, but “Disconnected” is awesome – half QOTSA, half Elastica and about three-quarters Kim Wilde.

Does Kelly have a future as a musician? I sort of doubt it, but history shows you can never write any Osbourne off. And if she wants to stick around for a while, I don’t mind, as long as she remains this much fun. – Adam Corrigan

“This is Me … Now” (Epic) – Jennifer Lopez

Any album is going to be something of a snapshot of where the artist was emotionally at the time it was recorded. That’s why this release is love songs, nothing but love songs.

As the title of the album’s fifth song, “Dear Ben,” attests, this is a paean to J-Lo’s movie star fiance, Ben Affleck. Her joy is palpable, and who knows, maybe the third time will be the charm for her.

Still, despite its lack of variety in subject matter, “This is Me … Now” is a step up for Lopez. The songs, many written by Lopez, don’t overwhelm her delicate voice. For the first time, she resists the need to prove that she’s from the street, except for the hit single “Jenny From the Block.” While this is definitely a studio album, Lopez and fellow executive producer Cory Rooney resist using all of the tricks a studio has to offer, something she’s failed to do in the past. (Maybe she’ll take care of that on another remix album.)

What is missing, in large measure, is that J-Lo trademark: attitude. Happiness needn’t rob her of all her sass, and it does do so pretty much here.

With her movie career in high gear, Lopez can afford to dabble in music. Her film fans will buy her albums, and those will continue to be huge sellers around the globe. But if she’s to grow as a vocalist, she needs to make more challenging, unconventional choices. There’s not much of that present on “This is Me … Now.” – Dale McGarrigle