Pop: Pink; Catatonia; The Brain Surgeons; Poison; The Nixons

PINK
Can't Take Me Home
PRODUCERS: various
LaFace 26062
In the sugary candyland of pop music, newcomer Pink is prepared to offer a serious shot of adrenaline. Although comparisons have been made to fellow multihued sister-in-song Kelis, she's actually more like Gwen Stefani dipped in a whole lot of soul. On her debut album, Pink fuses a sweet'n'spicy blend of pop, R&B, and dance. The lead single, "There You Go," has the singer taking a cue from labelmate TLC's "No Scrubs," laying down the rules to a lover over a disjointed rhythm track provided by She'kspere. "Most Girls," with its operatic hook, is similarly a girl-power statement, with Pink letting prospective mates know what it is that this girl wants (answer: love). If pop music were a candy store, Pink would be Pop Rocks-sweet but explosive.

CATATONIA
Equally Cursed And Blessed
PRODUCERS: Tommy D., Catatonia
Atlantic 83294
The popular U.K. act Catatonia doesn't take well to definitions. The Welsh quintet plays a Cardigans-meet-Radiohead style of disco-influenced alterna-rock that is truly eccentric. It is also surprisingly charming. On "Equally Cursed And Blessed," the band highlights this dichotomy wildly, swerving from clubland beats to sunny pop to blistering guitars-sometimes all in the same song. The star here is front woman Cerys (pronounced like "terrace") Matthews, with her full-bodied "razorblades and honey" vocal style. She's part Broadway show stopper, part childlike wisp, part snarling diva. But no matter which pose Matthews strikes, the results are almost always fun. This is especially so on "Dead From The Waist Down," "Londinium," and the irresistible "She's A Millionaire." And for those who missed the band's last effort, 1998's "International Velvet," the two hits from that album, "Mulder And Scully" and "Road Rage," are included here.

THE BRAIN SURGEONS
Piece Of Work
PRODUCERS: Albert Bouchard, Deborah Frost
Cellsum/Ripe & Ready 2236
The Surgeons, otherwise known as the outerborough NRBQ of the alternative era, are back with their fifth release, a bountiful double-album of droll headbangers, hard-driving rock'n'roll, and left-field fun. Some of it is lovely ("Simple Man," "Billy's Song") and full of moody magnetism ("Madame X Factor," "On The Road [Again]") or pop/rock know-how ("Competition," "Victory Boulevard"). Some of it is appealingly atmospheric ("Prince Albert In The Cans") and greasy but great, like the hot Mainstream Rock prospects "Swamp Thing" and "Hot Dog Man." And some of it's just confidently oddball ("Pink Roses" and the dark-horse hit "Rock And Roll Is Dead") as only the Brain Surgeons can be. Bring this to the next party in your operating room and stand back.

POISON
Crack A Smile... And More!
PRODUCER: not listed
Capitol 24781
The '80s-era hard-rockers continue their bid for a career revival with the release of a previously shelved 1994 collection. In order to lure the die-hards who scored the set as a bootleg, Capitol has remastered the original tracks, while also inserting a handful of rare B-sides and studio outtakes, as well as four cuts from the band's 1990 appearance on MTV's "Unplugged." In addition to providing a fun nostalgia trip, the album should take a step toward proving that beneath all of that metal bravado lie solid, infectious pop songs. It remains to be seen if Brett Michaels and pals can stir up the multi-platinum sales storm of their heyday, but there's no denying that there's a sizable core group of kids out there willing to happily snarf this (not to mention a forthcoming collection of brand-new tunes) up.

THE NIXONS
Latest Thing
PRODUCER: Steven Haigler
Koch KOC 8085
Oklahoma rockers the Nixons specialize in a familiar brand of testosterone-laced yet still-sensitive-for-the-ladies frat rock that is hopelessly derivative but scores well with the Abercrombie & Fitch set-and serves as a cornerstone of modern/alternative radio programming. Lead singer Zac Maloy is yet another member of the neo-Vedder vocal school, delivering all his lines with that low, pained fury that is the late-'90s/early-millennium equivalent of the generic '80s hair-metal shriek. That said, just as with its hit "Sister" from 1995's "Foma," the band proves itself here to have a shrewd understanding of the current pop/rock formula. Riff-happy crunchers like "Lifeline" and "Blackout" are tailor-made for ubiquitous airplay, while the ballad "Don't Cry" is bound to turn up on the mix tape of some teenage girl. The "Latest Thing" is just that. Turn it up, dude.