Sound Check: Which music magazines are making the grade?

You'll never keep up with music and popular culture just by reading little old me. You'll need to go deeper, and while more than a few of the so-called major music publications claim an ability to vaunt you back into hipdom, only a handful live up to their hype. Clear the coffee table, 'cause here comes the cheesecake:

Rolling Stone

What it is: Shape-shifting hippie rock organ, entering what seems like its bicentennial year. In favor: A rich legacy of exclusive rock star interviews; P.J. O'Roarke (intermittently); Hunter S. Thompson (whenever you can get him); the notorious cover shot. The flaws: Grip on 1990s relevancy a thin bead; behind the curve on any artist who doesn't look good naked; loved Springsteen during that horrifying "Born in the USA" episode; publisher Jann Wenner refuses to croak. Ultimately: Rolling Stone is only as good as its cover. If you dig that nude photo of Laetia Casta, pick it up -- if you want any kind of fresh information, don't bother.

Pulse

What it is: The promotional organ of Russ Solomon's Tower Records chain. In Favor: Sharp, concise reviews and interviews by real audiophiles; spotlights an eclectic range of listening (especially jazz and classical); it's free, free, free, unless you want to pay a nominal subscription fee for home delivery. The Flaws: It's the promotional organ of Russ Solomon's Tower Records chain. You get what you pay for, and you'll pay for what you get. Ultimately: Why the hell not? It's free.

Rocktropolis

What it is: A website (rocktropolis.com) with more music news, reviews and commentary in a day than MTV has produced in 10 years. In Favor: If a string breaks during the set, who will hear it? Rocktropolis, of course -- and then you, almost immediately. The Flaws: Much of the writing is pretty awful. Who knows why Aidin Vaziri felt compelled to botch his interview with Wilco, or to call it "a band that was destined to spend the rest of its career in a roots-rock ghetto"? Maybe he had a bad day. Ultimately: Read, absorb all salient details, and -- important step --delete, delete, delete.

New Musical Express

What it is: Oi, mate! The venerable voice of the British Invasion(s). In Favor: Reviews and interviews of artists you don't read about that often, such as Air and Blur; bands you'll never, ever hear on these shores; the fun of immersing yourself in someone else's hip. The Flaws: It costs, the cheap newsprint gets on your fingers and chips, and perhaps you just don't care when Oasis' Brothers Gallagher are going to appear on BBC-1. Ultimately: Peruse a copy from time to time, if only to remind yourself that bad music, as well as good, is universal.

Spin

What it is: Ostensibly a Rolling Stone competitor when launched 15 years ago, today Spin embodies many of RS's sins of pride and omission. In Favor: Fun, breezy read; the hilarious 'Spin 25"; promotes breaking artists as they happen; takes the occasional editorial risk; goes deeper into the fringe than many would credit. The Flaws: Is it in English? Smug, self-indulgent. Dopey, retro-'70s layout scheme detracts from readability (and their photography is awful). And I've no idea what "off the heazy" means. Ultimately: Spin's capsules make better reading than its stories -- make a point of enjoying them. You'll feel like you're right back in the vanguard. A little.

Stereo Dynamics

Blur, "13," Virgin Records.

Blur, we hardly know ye. Aside from the alternative-radio and movie trailer hit "Song 2" (here comes the obligatory "Whoo-hoo!"), the canny British export probably means a whole lot of nothing to you, as long as there's an Oasis in this world. A shame, too. As "13" ably proves, there's nothing the Brothers Gallagher can do that Damon Albarn and company can't do better, and without insulting your intelligence.

One of the smarter bands to survive the recent "Britpop" debacle (Pulp also managed stylishly), Blur makes distance sound like grandeur, and not like coldness. (It's the same quality that made 1970s David Bowie into an icon, and not just an aloof, androgynous twerp -- Brian Warner, is that you?) Benefiting no end from William Orbit's expert production -- who else could have resurrected Madonna? -- "13" takes Blur's electro-glam to new heights.

"Trailerpark," "No Distance Left To Run" and "B.L.U.R.E.M.I" float in a stew of spacy guitar effects and girls singing "oooh," and while these tried-and-true glam elements would tag most any other band as a Velvet Underground hangover, Blur takes the cliches and makes them relevant. "13" is a fine way to acquaint yourself, at long last, with Blur -- and acquaint yourself you should, because they're going to prove to be one of the Few '90s Bands That Mattered. Count on it.

Get Out, Act Up

Tonight, ladies and gentlemen: The Rolling Stones, at the MGM Grand Garden, at 8. Poor dopes Sugar Ray open for the living legends, waiting to be run down like dogs. Call 891-7777.

Stab west, young man. Gothic/industrial lugs Stabbing Westward kick out the funky gloom Saturday night at 8, at the Hard Rock Hotel's bright, cheerful Joint. Call 693-5222.

Oh yeah, yeah, yeah, yeah, yeah! That's about all the Candlebox I can sing off the top of my head. The would-be stadium rockers play House of Blues 8 p.m. Sunday. Call 632-7600.

Also Sunday night: The Hard Knock Life Tour featuring Jay Z, DMX, Method Man, Redman and DJ Clue at the Thomas & Mack. Wave your hands in the air at 7. Call 895-3801.

It does my heart good. The fabulous WorldFolk group presents "Unplugged & Otherwise," featuring Trinity, Conni Emerson and Inside Scarlet playing their acoustic hearts. Begins at 7 p.m. Monday. Call 733-7810.

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