album reviews: Spin Cycle is a biweekly roundup of the latest music releases selected by Citysearch editors.

Run-DMC
"Crown Royal" (Arista)

On its first record in eight years, Run-DMC has recruited a few of the b-boys and rockers that it's influenced over the years, including Method Man, Kid Rock and Fred Durst. It's a logical step, considering the band's 1986 Aerosmith collaboration, "Walk This Way," helped plant the seed for the crop of rap-metal hybrids currently holding court on MTV. Sadly, what should have been a spirited old-school revival feels more like half-baked nostalgia: DJ Jam Master Jay dusts off tired samples from Al Green and Steve Miller, while the raps by Joseph "Rev Run" Simmons and Darryl "DMC" McDaniel lack the vivid details of the band's early classics, back when they were rhyming about motor-mouthed losers and their favorite footwear. It's only on the final track, where Jay takes a field trip to Timbaland's spacey funk, that "Crown Royal" shows any signs of life. Pretty disappointing, coming from these pioneering kings. --Justin Hartung, citysearch.com

Creeper Lagoon [ tickets ]
"Take Back the Universe and Give Me Yesterday" (Dreamworks)

Creeper Lagoon's sense of romance is palpable. That's not romance of the red-wine-and-Barry-White variety, mind you, but rather in the vein of hopeless romantics who wear their hearts--and yours--on their ruffled sleeves. On the Bay Area group's major-label debut, singers Ian Sefchick and Sharky Laguana sound like Pavement’s kid brothers, but forsaking know-it-all smirking for heartfelt melodies, a la the Posies. The double-barrel opening of "Chance of a Lifetime" and "Wrecking Ball" sets a rocking, textured and freewheeling pace, which is slowed only occasionally by narcissistic songs that outstay their welcome (the too precious "Sunfair"). But with gems like "Keep From Moving" and the country-tinged "Under the Tracks," and even the vaguely disturbing, second-hand Bowie of "Lover's Leap," the Creepers rein in their messier instincts, paring the proceedings down to smart, singalong and ultimately giddy jangle-pop. And that, let's be clear, is a good thing. --Kevin Forest Moreau, neworleans.citysearch.com

Cash Brothers
"How Was Tomorrow" (Zoe/Rounder)

With their debut, Canadians Andrew and Peter Cash perform a rare feat of originality in the over-mined territory of alt-country rock. Their influences remain subtle for the most part--a hint of Tom Petty on "Nerve," shades of Pink Floyd on "Dream Awake." Sibling chemistry works in the brothers' favor; their different approaches to songwriting strike a perfect balance and, in the tradition of Exene Cervenka and John Doe of X, the duo creates an unusually dark vocal blend. The best track, titled "Nebraska," is about a lovelorn guy driving around at night listening to that classic Springsteen album; it's a high-concept song and they pull it off, putting you in the passenger seat for a power-chord-driven ride. Another standout, "Night Shift Guru," continues a working-class theme with the insightful tale of a 7-Eleven clerk. Inspired playing and natural production cap off the promising "Tomorrow," where influences give rise to something highly accessible and fresh. --Don Harvey, austin.citysearch.com

MJ Cole
"Sincere" (Talkin’ Loud/Island)

Two-step garage, the new genre of choice for discriminating dance fans, is that rare mix of both radical progressivism and mainstream populism. Flavored with hardcore breakbeats and the tasty atmosphere of house and R&B, two-step has blown up with both underground DJs and little kids singing along to choruses ripe and ready for Destiny's Child. As they’ve wiggled their way up the charts, though, two-step producers like MJ Cole have been paring things down as they move into the adult world of full-length, capital-A albums. And "Sincere," one of the genre’s most earnest attempts at full-length legitimacy, pays the price for its upward mobility. On certain tracks--the flirtatiously dark "Attitude," the spaghetti-Western dancehall dirge "Bandelero Desperado"--Cole reveals himself as one of two-step's most articulate experimentalists. But it's way too often here that everything new and interesting about two-step gets brushed aside for suspiciously lite jazz and limp mixes of dancefloor hits. Those intrigued by two-step would be better off with Artful Dodger's mix disc, "Re-Rewind" (on London/Sire). --Andy Battaglia, newyork.citysearch.com

Los Hombres Calientes
"Vol 3: New Congo Square" (Basin Street)

With two strong albums since 1998, Los Hombres Calientes have lit a match under the seat of Afro-Cuban jazz. Their third album represents a turning point. It is the first the group recorded since the departure of drummer Jason Marsalis, young brother of Wynton. Furthermore, "New Congo Square" was created with unusual ambition for a small label. Band leaders Irvin Mayfield (trumpet) and Bill Summers (percussion) recorded in Cuba, the Dominican Republic, Jamaica and the Hombres' hometown, New Orleans. The listener benefits from their frequent-flyer miles; there's African instrumentation, cameo vocalists, Mardi Gras-style second lines, and risky covers (like Bob Marley's "I Shot the Sheriff," with its familiar melody pushed in refreshing directions). The disparate nature of the tracks can become distracting, but overall, the album is arranged masterfully, balancing contributions of guests and full-timers. And Mayfield, master of ceremonies, deserves praise for improvising comfortably throughout, regardless of musical territory. --Marc Weidenbaum, citysearch.com

Previous Spin Cycles:

Mar. 29: Aerosmith, Shawn Colvin, Mirwais, Pete Yorn and Old 97's

Mar. 1: SXSW Edition: Idlewild, Blake Babies, Kasey Chambers, Spoon, Kristin Hersh, Jim White, Brassy, Kid 606, Will Hoge and F--k

Feb. 15: Stephen Malkmus, Rodney Crowell, Low, V/A "Studio One Rockers" and Dusty Springfield

Have a comment or question? Send a message to the Spin Cycle editor: Don Harvey.