Chamillionaire works with no swearing

“Ultimate Victory,” Universal

Chamillionaire could be onto something by not using profanity and offensive words in rap lyrics.

The platinum-selling Houston rapper, who says personal growth is responsible for his change of heart, has made the philosophy work, impressively excusing himself from using any cussing or the N-word on his second solo release “Ultimate Victory.”

Chamillionaire’s clean language on the album even rubbed off on guest rapper Lil Wayne, who strays away from speaking any offensive words on guitar-driven “Rock Star.” Even fellow Texan Pimp C on “Welcome To The South” and “Rocky Road” featuring Devin the Dude curse only once.

Although Chamillionaire shuns vulgarity, he doesn’t sound like a lame rapper without it. He’s still successful with his signature fast-paced raps over catchy hooks. He shows that best on his first single “Hip Hop Police” and on the smooth track “Pimp Mode,” featuring Bun B.

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Chamillionaire’s “The Bill Collecta” featuring Krayzie Bone is a spin-off, production- and melody-wise, from their Grammy-winning single “Ridin.” But it falls mightily short of last year’s smash hit.

“The Evening News” is an intensely political song where Chamillionaire gets outspoken on various world issues as he rhymes, “9/11 was a calculation, and some would say it was a timed attack.”

By Chamillionaire ditching the rough language, he uses more raw and aggressive lyrical content, which should help “Ultimate Victory” avoid the sophomore jinx.

” Jonathan Landrum Jr.

“Kill To Get Crimson,” Warner Bros.

The man who brought us Sultans of Swing has become the Wizard of Waltzes. Half of the 12 songs on Mark Knopfler’s “Kill To Get Crimson” are in 3/4 or 6/8 time, a sure sign he really doesn’t want his MTV ” or air time anywhere.

Knopfler even sings about waltzing. And polkas. When flutes break out on the second cut, there’s cause for alarm.

But while the album’s hardly geared for the masses, and seriously laid-back, at least a couple of tunes will remind longtime fans of Knopfler’s Dire Straits days. And he remains a fine songwriter, exploring sins and confessions, hangings and coffins, painting and poetry through all sorts of quirky characters.

The folksy arrangements inspire some of Knopfler’s finest singing. Too bad one of the best guitarists of his generation declines to cut loose with any Sultans-style solos, but it’s hard to let ‘er rip to a 3/4 beat.

Check this out: On the captivating “Secondary Waltz,” a boxer reminisces about childhood dance lessons in gym class. Sings Knopfler: “One-two-three, two-two … we’re all a disgrace.”

” Steven Wine

“Electropop,” Chime

That silky smooth neo trip-hop sound you don’t hear coming from your radio is likely a track off Jupiter Rising’s debut album “Electropop,” a polished attempt to deliver smart, safe tunes seemingly in search of a hit.

Unfortunately, the talented L.A.-based duo of Spencer Nezey and Jessie Payo probably haven’t delivered one. This is desperate, soul-infused pop music that uses every trite hook in the bag when something a little more experimental might have borne fruit.

Nezey is the brains behind the operation, a former beat-maker turned producer who says in his bio that he had trouble finding collaborators he could trust in until he found his sultry-voiced muse in Payo. But the forced melding of their efforts feels dated and their varied musical tastes simply muddy most of the songs in terms of tempo and style.

“Go!” sounds like a Gwen Stefani knockoff that’s destined for background music at a beach volleyball tournament. It’s all energy, no substance as Payo sings about hitting the dance floor in fierce fashion, perhaps even starting a small scale riot with all her hustle. Ugh. Spare me the faux drama.

It only gets sappier with tracks like “Frenz,” a medium-tempo song about trying to take platonic relationships to the next level. “I see in your eyes/ So much more than you dare to say/ To my emotional demise you go anyway,” Payo sings well, but not believable.

Neither Payo’s voice nor Nezey’s behind-the-boards magic hits a sour note throughout. But the combination lacks any raw touch that might have made Jupiter Rising stand out. As it is, the loves songs are vague and the retro beats aren’t retro enough to be novel. The two artists have proved capable, yet not captivating.

” Ron Harris