SOUND CHECK : DAYS OF THE NEW/``DAYS OF THE NEW'' (OUTPOST/INTERSCOPE).

Kentucky-bred singer-songwriter Travis Meeks gave his band the boot following Days' well-regarded 1997 debut album and now takes the reins, playing most of the instruments, producing and writing everything here.

This second chapter is engrossing and complex, traveling far beyond the instantly identifiable and refreshing use of layered acoustic guitars that ensured the first album's ``Touch, Peel and Stand'' a long life on alternative-rock radio.

Here, he goes for a far bigger, more detailed sound, bringing strings and brass into the picture, shooting for the grand, near-concept-album approach of '70s icons like Pink Floyd. Sometimes, though, the ornate arrangements overcome the material, which can veer dangerously close to just plain ordinary. But with tracks like ``Enemy,'' all elements fall into place, suggesting Meeks has some bright days ahead indeed. Three stars

- Fred Shuster

Tower of Power/``What Is Hip?: An Anthology'' (Warner Archives/Rhino)

You want authentic old-school funk 'n' soul? Here's the place to start - a timeless two-disc collection spotlighting Oakland's integrated r&b ensemble, which reached its commercial zenith between 1972-75.

As the package reveals, Tower of Power was all about expert musicianship, sizzling grooves and a stop-on-a-dime horn section that moonlighted on countless albums by other acts.

Beginning with 1971's ``East Bay Grease,'' the outfit cut more than 15 albums in 30 years and ``What Is Hip?'' skims the cream. Whether you're a longtime devotee or a newcomer to this garden of very earthly delights, you'll get a major kick from such magical moments as ``Down to the Nightclub,'' ``You Got to Funkifize,'' ``Don't Change Horses (In the Middle of a Stream)'' and, of course, the fabulous title track. Also included is the previously unreleased ``Credit'' and the rare, non-album single sides ``Stroke '75'' and ``Simple as That.'' Four stars

- F.S.

The Wiseguys/``The Antidote'' (Ideal/Mammoth)

The Wiseguys are essentially one guy, a lanky Brit named Touche' (Theo Keating) who blends old-school beats and hip-hop grooves with witty found sounds, classic soul and funk references into an engaging gumbo.

``Ooh La La,'' the single that hit No. 2 on the UK charts, is hard to overlook, but ``Cowboy '78'' boasts an effective ``Fistful of Dollars'' riff, while ``The Grabbing Hands'' grabs from all sides. For pure disco anthems, it's hard to top ``Start the Commotion'' and ``Bounce to the Beat,'' aimed straight at dance clubs everywhere. Three stars

- David Bloom

John Prine/``In Spite of Ourselves'' (Oh Boy)

The point of this exercise - in which Prine duets with a passel of mostly alt.country ladies on chestnuts even the Nashville crowd probably considers hokey - escapes. Prine is one of the great eccentric singer-songwriters of his generation, on a par with Randy Newman and Steve Earle, but a song stylist he ain't. He repeatedly hits bum notes while trying to harmonize with Iris DeMent, Dolores Keane, Melba Montgomery, Lucinda Williams and such on songs that boast wonderful, old-timey orchestrations but mostly puerile lyrics by the likes of Roger Miller and Bobby Braddock.

An album of his own compositions, reinterpreted with other voices, probably would've worked better. Two stars

- Bob Strauss

Indigenous/``Things We Do'' (Pachyderm)

The emergence of teen blues guitarists with few chops and even less feel can have longtime aficionados of the six-stringed art gnashing teeth. But Mato Nanji, a South Dakota Sioux, plays with thrilling skill and genuine commitment to the blues.

Nanji's band Indigenous, which includes a sister, brother and cousin, plays blues-rock with the best of 'em. In fact, when we heard a song from ``Things We Do,'' the quartet's excellent debut album, on the radio unannounced the other day, we assumed it was a lost Eric Clapton track.

Fans of Britis-h blues will want to check out such gems as ``Now That You're Gone,'' ``What's Goin' On'' and the disc's centerpiece, ``Holdin' Out,'' a soaring, Hendrix-tinged instrumental. Three and one half

- F.S.

Air/``Premiers Symptomes'' (Astralwerks)

Those who enjoyed French duo Air's intriguing debut, ``Moon Safari,'' will certainly gravitate toward this prequel, a seven-track collection of mostly instrumental early singles, including ``Modular Mix,'' ``Californie'' and ``Les Professionales.'' While ``Premiers Symptomes'' isn't as instantly compelling as the album, it's fascinating to follow the development of Air's moody, noir-styled sound. Three stars

- F.S.

Wood/``Songs from Stamford Hill'' (Columbia)

Once you get past the ridiculous band name, British singer-songwriter James Maddock has come up with one of the most satisfying debuts of the year, highlighted by standouts ``I Only Came for You'' and ``You Said the Words.''

This music, with its beautiful melodies, great lyrics and imaginative choruses designed for mental dancing, has the power to recall moods and feelings you can't quite put your finger on.

Unfortunately, however, not everything works so well and a couple of tracks sail too far into patented Eagles territory. Incidentally, you may already know opening track ``Stay You,'' featured on the best-selling ``Dawson's Creek'' sampler. Three stars

- Mike Murphy

Chris Cornell/``Euphoria Morning'' (A&M)

Cornell's old group, Seattle's recently disbanded Soundgarden, practiced a sonic diversity that led to the more experimental terrain found here. Owner of a soaring yet vulnerable delivery, Cornell uses sometimes surreal musical textures and varied singing styles here as he stretches out over piano and bluesy guitar on the surprisingly gospel-fueled ``Disappearing One'' and the r&b-drenched ``When I'm Down.'' Among the best tracks, the sorrowful ``Wave Goodbye,'' a sad tribute to the late Jeff Buckley, and the lush radio fave, ``Can'-t Change Me.'' Three stars

- F.S.

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7 Photos

PHOTO (1) no caption (Travis Meeks)

(2 -- 7) no caption (CD covers)