Supergrass: Gaz Coombes, Mickey Quinn, Danny Goffey.

Additional personnel: Hornography, The Kick Horns (horns); Satan Singh (percussion); Sam Williams (Theremin); Bob.

Producers: Supergrass, John Cornfield, Sam Williams.

Supergrass' debut album, I Should Coco, rushed by at such a blinding speed that some listeners didn't notice the melodic complexity of its best songs. On its second album, the cleverly titled In It for the Money, Supergrass brought the songs to the forefront, slowing the tempos considerably and constructing a varied, textured album that makes the band's ambition and skill abundantly clear. From the droning mantra of the opening title track, it's clear that the band has delved deeply into psychedelia, and hints of Magical Mystery Tour are evident throughout the album, from swirling organs and gurgling wah-wahs to punchy horn charts and human beatboxes. In fact, Supergrass has substituted the punky rush of I Should Coco for such sonic details, and while that means the band only occasionally touches upon the breakneck pace of its debut (the hard-driving "Richard III"), it also deepens its joyful exuberance with subtle songs and remarkably accomplished musicianship. There might not be a "Caught by the Fuzz" or "Alright" on In It for the Money, but that's not a problem, since the bright explosion of "Sun Hits the Sky" and the nervy "Tonight" are just as energetic, and the album features introspective numbers like the gorgeous "Late in the Day" and "It's Not Me" that give it substantial weight. And even with all this musical maturity, Supergrass hasn't sacrificed its good-natured humor, as the detailed production and the bizarre closer, "Sometimes I Make You Sad," make abundantly clear. Sometimes, maturity turns out to be everything it's supposed to be. ~ Stephen Thomas Erlewine

It's hard for any sophomore album to escape the microscope, especially when the first was as explosive and distinct as 1995's I SHOULD COCO. With IN IT FOR THE MONEY, the Oxford, England punk-pop trio dashes expectations without disappointing a soul. Sophisticated structures, rich arrangements and an interesting variety of instrumentation propel this album into the realm of That-Which-Is-To-Be-Taken-Seriously. Immense-sounding brass passages give the album seriousness and swagger. Rob Coombes' keyboards pop up everywhere, providing both a solid musical foundation and wild-sounding embellishment. Then there's the Theremin on "Richard III." Lyrically, it's more serious and introspective, and less of a teen-age hassle with the cops. Honest and unpredictable, IN IT FOR THE MONEY manages to bring on the big time, horn sections and all, without losing an ounce of the commitment, intensity and sense of adventure that make Supergrass such an exhilarating joyride.