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Rock/pop Patti Scialfa, Rumble Doll (Columbia) In her first solo disc, this longtime backup singer gets to show her own chops, and she shines most in her songwriting. Scialfa wrote or co-wrote all 12 tunes here, and they're pretty strong, especially Valerie, In My Imagination and the title cut. Tom Petty guitarist Mike Campbell produces and plays in his trademark slinky-moody style that suits the material well. Scialfa's voice, however, is not that appealing, sort of a Chrissie Hynde without the chutzpah. Scialfa's husband, Bruce Springsteen, appears on two Boss-esque songs but stays out of the rest of the disc. Given his recent disappointing efforts, that's for the better. - WAYNE GARCIA Anthrax: Sound of White Noise (Elektra) As the only American metal band that matters, Anthrax has always doused its audience with bombast of varying tempo, tempered by literate, socially aware lyrics. On Sound of White Noise, however, Anthrax has taken a more traditional approach; sure to satisfy the detractors (who have derided Anthrax for not being as hard as headbangers like Metallica or Megadeth) as well as the faithful. New vocalist John Bush (formerly of Armored Saint) slides into place on vocally keyed songs like Packaged Rebellion and Burst. The galloping drums run up near the front of the mix in 1,000 Points of Lights, while Only highlights the group's penchant for using the rhythm guitar as lead. While metal has turned into a spectator sport, Anthrax manages to hang out somewhere between Spinal Tap-type parody and serious socially conscious hard rock. Sound of White Noise is the release that will convert a lot of skeptical metallurgists to the Anthrax camp. - STEVE MILLER Jazz/Blues Dave Koz: Lucky Man (Capitol) Although Dave Koz is not a new name in jazz circles, he comes of age somewhat with this latest release. It's not that the cuts are so much better than his past efforts, but rather the total package is deeper than any he's produced before. This one blows smooth from beginning to end, with peaks coming on the remake of Don't Look Any Further and After Dark. Although this release won't put Koz on the same level with the great sax men in contemporary jazz, his stock gets a serious boost from it. - DARRELL FRY LeRoy Jenkins Live! (Black Saint) Violinist LeRoy Jenkins' compositions aren't for everyone. But this, his only CD and first album since Urban Blues in 1984, is at once enticing and impressive. The third track, Static in the Attic (one of several songs here that he has updated from the 1984 album), has a bold, relentless, seemly detached nature; but it is connected by a breathless, dark agitation. Jenkins mixes mournful undertones with jarring improvisation reminiscent of Bird or Monk (both of whom he pays tribute to in the first cut), soothes in Computer Minds, and takes flight on a down and dirty blues on Chicago. - PHYLLIS BAILEY R&B 1 of the Girls: 1 of the Girls (East-West) Discovered as well as produced by Gerald Levert, 1 of the Girls doesn't stray far from Levert territory on its self-titled debut, while venturing into TLC-ish hip-hop/pop. No Can Do's lead vocal could have been sung by TLC's T-Boz; Do da What is a similar venture though not as catchy as it was probably intended to be (repetitive chorus notwithstanding). Handle with Care, one of the few slow tracks, has rich vocal harmonies that are as much a credit to Levert's vocal arranging as to the singers. If the band can get past the inevitable (and probably intended) TLC comparisons, they can be more than just 1 of the Girl groups. - MONICA BERMUDEZ Classical Elgar: Cello Concerto, Enigma Variations; Robert Cohen, cello; Royal Philharmonic Orchestra/Sir Charles Mackerras (Argo) Robert Cohen, once a wunderkind and now a seasoned 30-something, has attracted plaudits for his latest rendition of the Cello Concerto, Elgar's last major work and one of the masterpieces of the 20th century, a cerebral but flowing piece of music. The Cello Concerto was the English composer's response to the ravages of World War I, and it has the air of something close to clinical depression. But it's also a celebration of the cello's sweetness and flexibility of tone. Cohen's interpretation of this quintessentially autumnal work is rightly searching and somber. His blazing technique is on display in the lively second movement. The rest of the disc is equally satisfying. Mackerras, a first-rate Elgarian, leads the RPO in fine performances of Enigma Variations and the Froissart concert overture. - JOHN FLEMING