It is bound to happen in this amazingly bland era of “nu metal” that a band will come along and undeservingly get categorized into this genre and be completely ignored by the music industry and fans. The band leading this year’s short list of nominees is Southern California’s Trapt.

The thing about Trapt is that the band is heavy enough to please fans of the metal genre but has enough pop sensibility to make Incubus fans sing along as well.

“Headstrong” is a perfect example of this fusion, combining pummeling guitars and drums with a vocal hook that is undeniable. Vocalist Chris Brown may not have a voice that spans eight octaves, but it is a voice that is strong and is a perfect fit for the music that borrows elements from every imaginable rock genre.

Like most young bands do on their debut record, Trapt stumbles at times. The problem is that the self-titled record features so many highly energetic rocking songs that it can be hard to swallow some of the slower tracks. This is most evident on tracks like the acoustic-driven “Stories.”

The subject spewed forth by Brown is the same old relationship-gone-bad angst, but the band has a knack for disguising rehashed lyrics with great songwriting. Along with bands like Taproot, Trapt is proving to be a band that can take its metal roots and do something more mature and melodic with them than what we are seeing from today’s breed of metal bands.

“When All Is Said and Done” and “Hollowman” are unmistakably rock anthems, the kind of tunes that even your roommate who knows nothing about music beyond what she sees on MTV will sing along to.

If MTV and radio don’t grab hold of Trapt and play “Headstrong” 75 times a day, Trapt may have a chance to be one of the leaders in a new nu metal.

—Trevor Fisher

It’s no secret Snoop Dogg lives in a world of his own.

From his style to his association with “Girls Gone Wild” to his shizzolating language, the Doggfather has carved his own niche in the world of music but has also left many wondering what the hell he’s talking about half the time.

His uniqueness comes through in his music as does the confusion. Much like his last few records, “Paid Tha Cost To Be Da Bo$$” has strong points but is cloaked in off-the-wall beats mixed with slow, soft raps and a strong flavor of classic R&B undertones.

As a result, this record falls short of the standards and reputation set by other rappers he’s associated with, such as Dr. Dre, Eminem and Xzibit.

The majority of the great songs on “Paid Tha Cost” feature other artists. Pharrell Williams of the Neptunes, one of the hottest people in music right now, lends his vocals on two Neptunes-produced tracks, including the album’s first single, “From Tha Chuuuch To Da Palace.”

Jay-Z and Nate Dogg appear on “Lollipop,” a bouncing track with a flute hook and Snoop’s signature female vocal chorus. Another strong track, “From Long Beach 2 Brick City,” includes the talents of Redman, Nate Dogg and Warren G. While Ludacris also makes an appearance on “You Got What I Want.”

Snoop impresses on his own, however, with a few songs such as “Wasn’t Your Fault” and “Stoplight.” But it’s the slower songs, such as “I Believe in You” featuring Latoiya Williams, that give this album an awkward feel, taking away from the hip hop flavor and adding a boring taste.

Notable absences from both producing and guest appearances include Eminem, Xzibit and Snoop’s longtime affiliate and mentor Dr. Dre. But Snoop does give others a chance, as talents such as Mr. Kane, Uncle Charlie Wilson and Goldie Loc show up on numerous tracks.

The beats and lyrics are original and unique on “Paid Tha Cost,” but in the end it’s the memory of Snoop’s earlier records such as 1993’s “Doggystyle” and 1996’s “The Doggfather” that keep him at the top of the hip hop game.

If nothing else, “Paid Tha Cost” can be the latest educational recording on Snoop’s shizzolating language and made-up terms.

— Kyle Moss

Too often this sort of pattern reappears in the music industry. A band releases an album to widespread acclaim, selling millions of copies. With their next release, they risk fan alienation through artistic growth or critical chide through stagnancy. Invariably, the next album sells far fewer copies.

We’ll avoid calling this the “sophomore slump” because the band in question, the Wallflowers, actually released their third album with last year’s commercial disappointment, “Breach.”

“Breach” was more of a rocker than their banner “Bringing Down the Horse.” Feeling the crunch, The Wallflowers offer up “Red Letter Days,” an album of far more focused songwriting and production.

Some may cry foul and call this move selling out or pandering to the masses. But honestly, how can you blame someone for just becoming better?

The main part of the Wallflower equation that’s changed this time around is the departure of guitarist Michael Ward. But only those who are paying extremely close attention will notice there may just not be a single solo on this record.

Even though he’s lent out his keyboard skills on a plethora of other projects, Rami Jaffee is still in the mix on this record. His presence is definitely appreciated on the ballad “Closer to You” and the rocking “Everybody Out of the Water,” where he adds just the right amount of drama.

The opening song offers up the obvious single in “When You’re On Top.” The song would have been a great summer road trip mix-tape addition with the chorus of “I feel fine/ With the sun in my eyes/ The wind in my hair/ When I’m falling out of this sky.”

“See You When I Get There” adds some welcome female backing vocals to the mix and offers the most entertaining lyric of the record. Frontman Jakob Dylan tells a bothersome girl off as he says, “Now sometimes you’re an angel/ But you’re usually/ A pain in the ass.”

Technically, the record ends with the second to last song. The 13th track, “The Empire In My Mind” doesn’t exactly fit with the album, but was included because it serves as the theme song for the CBS TV show “The Guardian.”

On verses of “How Good It Can Get” Jakob Dylan cops the vocal delivery of legendary folk troubadour Bob Dylan. But if anyone’s allowed to ape Bob, it might as well be the fruit of his loins.

Don’t misunderstand — as a band, the Wallflowers owe more to Tom Petty than Jakob’s dad. Not many modern bands work this brand of radio roots-rock as well. For that, this record should find a welcome place with most fans of the genre.

— Jesse Stensby

The Roots “Phrenology” (MCA)

Compare to: A Tribe Called Quest, Jurassic 5, Brand Nubian

Rating:9

Here it is — hip hop in its finest, most original, most intelligent form. The Roots, long known in the hip hop realms as pioneers of live beats and thought-provoking lyrics, are back with a vengeance on their newest release, “Phrenology.”

The album’s title is fitting — the practice of phrenology, the examining of the shape of the human skull as an indicator of mental capacity and character traits, was popularized in the 18th century.

Unlike this outdated and discredited practice, however, the talents of Black Thought, ?uestlove, Scratch and the rest of the Roots crew will be appreciated and accepted as fact for many years to come.

“Phrenology” finds the indomitable group from South Philly bringing their smoothest, most polished sound to date.

The album also features the usual group of Philly-based guest stars as well, with a marked difference.

This time around, the cast of characters, including Jill Scott and Musiq, are well-known in their own right.

On “Complexity,” Scott’s sweetly enunciated soprano flows flute-like over ?uestlove’s signature laid-back drum beats. Black Thought’s lyrics “You’re physically in this/ But how can we tell/ If we was meant to be in bliss/ If you’re not mentally as well?” illustrate perfectly what so many know by heart — love is rarely a cut-and-dried affair.

“Break You Off,” quite possibly the most user-friendly Roots track since their 1999 hit “You Got Me,” is a sensual journey through the drama of casual love.

Musiq’s effortless falsetto provides the hook, and although the tale Black Thought weaves is an old one, the listener is guaranteed to come back for more.

“The Seed (2.0),” a booty-shaking romp that evokes the soul jams of Sly and the Family Stone, features the neo-soul talents of relative unknown Cody Chesnutt.

The Roots crew brings it all together on this one — the groove is undeniable, and Chesnutt’s voice alone is worth spinning this track, preferably at high volume.

The Roots’ trademark sound continues to influence the often fickle world of hip hop, evidenced by the sound of groups like Midwest-based Heiruspecs. On “Phrenology,” the original boys from Philly provide more imitation-worthy material.

—Megan Hinds