Ministry - Animositisomina

As Al Jourgensen and Paul Barker's first album of the new millennium, a lot was said about Ministry returning to the sound and angst of their 1989 release The Mind Is A Terrible Thing To Taste. Would their follow-up to 1999's Dark Side Of The Spoon live up to the hype?

Animositisomina breaks out of the gates screaming with raging drums, stabbing guitars and growl galore with "Animosity." The song is the centerpiece of this album as a lot of the strength of it carries over into ripping tracks like the aggressive "Piss," the slow grinding chant-a-long "Shove" and the drum driven "Impossible." "Unsung" musically makes me think that Ministry ran over KMFDM's tour van on the way to the studio and can't peel the guitar-work off their wheels. This isn't a bad thing but it's a new area for them. The phenomenally produced industrial square dance, "Broken," is bound to become a mosh pit favorite. The surprise on this album was the band's cover of Magazine's "Light Pours Out Of Me" which is as dark as it is seems out of place and maybe too true to the original.

Overall, Animositisomina is a strong move back to Ministry's more powerful work. Although a few songs just barely miss their mark ("Leper" and "Stolen,") it'd be well worth picking up if you are looking for something to push your musical boundaries or if you are just looking for something to kick.

Boston - Corporate America

Eight years after the release of their 4th album Walk On, Boston have returned with two new band members (Kimberley Dahme and Fran Cosmo's son Anthony) and a batch of 9 new songs. How will new band members and a prolonged absence affect the sound of Boston?

Corporate America opens strong right from the start with the catchy rocker "I Had A Good Time." This has everything you'd expect from Boston: tremendous guitar work, drums leading the way and great vocals. If this single doesn't get airplay near you, harass your local DJ. "You Gave Up On Love" is the definitive spurned lover's power ballad. Odd for a band to spend so long on a studio album but put a live version of a song from their last album on it but this version of "Livin' For You" is a treat. Also interesting is the Kimberley Dahme-penned and sung "With You" which I could see getting good airplay on a country radio station if someone snuck it in the programming. "Didn't Mean To Fall In Love" begins as a beautiful ballad with a lot of promise but the additional big top organ sound makes me cringe. The remaining songs on the album are fair to decent including the overly-dramatic title track and the Oasis-esque "Cryin'."

I can't recommend this album unless you are a fan and even then some of the tracks will remind you where the skip button is on your CD player. This isn't because the songs are bad... some are just musically more advanced than the lyrics which come across amateurish. I'm sure part of Corporate America is a Boston album yet for some reason amongst some good songs and classic harmonies are the stuff B-sides are made of.

Soft Cell - Cruelty Without Beauty

After releasing Last Night In Sodom in 1984, Soft Cell's Marc Almond and David Ball went in different directions. Almond had success with his solo career and brought his flare for the theatrical performances on tour with him. Ball went on to do a lot of writing, remix and production work along with a few 'one-off' projects. By 1990 he had joined up with Richard Norris as the ambient/techno/dance duo The Grid until 1996. After an 18 year break, a reunited Soft Cell return with Cruelty Without Beauty.

When I listen to a comeback album, I am judgemental. I think about what the artist last sounded like and what people remember them sounding like. On Cruelty Without Beauty, Soft Cell kick things into gear with "Darker Times." Darkness and seediness aren't new to the band that brought us "Sex Dwarf" but it seems to have entirely infected songs like the sordid "Caligula Syndrome," the humor-tinged ballad "Last Chance" and even the sleazy "Desperate." This isn't a bad thing. It seems to be balanced by the dance romp "Sensation Nation" (I mean, come on... they even mention happy shiny people) and the closing track "On An Up." As strong a song as "Monoculture" is... the deep and beautiful dance track "All Out Of Love" (no, it's not an Air Supply cover) would be my pick as first single. "The Night" brilliantly takes one eerie (almost Phantom Of The Opera-esque) keyboard line and converts it to an aggressive dance track. Although I'm still trying to understand the lyrical complexities, "Together Alone" is a song that I still find myself singing along to anyhow.

I recall reading about a new sugar substitute is being worked on that is 1000 times sweeter with no calories. For some reason, distance and time not only concentrated Almond and Ball's talents but when returning... but made them (if possible) even more Soft Cell. If you are a fan, you should have slept in front of the store to buy this disc when it came out. This isn't the album you waited 18 years for... it's better.

Bruce Springsteen - The Rising

The Boss has returned with his first new studio release since 1995's The Ghost Of Tom Joad. Possibly more important is that this is his first new album with The E Street Band since 1987. What does Bruce Springsteen, one of America's true song writing talents, have to offer the new millennium?

Springsteen couldn't open this 15-track album better than with the magical "Lonesome Day." Songs like "Waiting On A Sunny Day," "Let's Be Friends (Skin To Skin)" and "Mary's Place" are the uplifting fun songs that make you feel good to be breathing. It's great to have songs like those to break an emotional roller coaster spiking with a dagger-sharp emotional song like "You're Missing." "Further On (Up The Road)" is the dark gritty no-nonsense rocker that you knew Bruce had in him. "Counting On A Miracle" wraps you up a rocking love song disguised in fairy tale imagery. "Paradise" is exactly as it's titled yet soft, sultry, sexy and touched by sadness. You never get a sense of overproduction even with the abrupt change when you hit the stand-out track "Worlds Apart." The world music feel is something you don't expect and you have to wonder if Peter Gabriel slipped this song to Springsteen (kept checking the credits for Youssou N'Dour.)

This album was a great surprise. Upon listening, you can't predict anything to come. The song writing is crisp storytelling that grabs and holds you fixed. You can almost forget there the whole E Street Band in the mix until repeated listenings. The only thing rising here is Bruce Springsteen's career... again.

Def Leppard - X

Def Leppard have clawed their way back up from what many may call commercial missteps and (following up the success of 1999's Euphoria album) they now release their tenth studio album, aptly titled, X. Oddly enough, this is their first studio release with more than one producer.

With a mix of producers, you'd obviously hear some style differences. One example is "Gravity" which makes use of some slight electronic touches with a near rap-paced chorus. The beautifully crafted first single "Now" contains guitar-work that goes from beautiful harmonics to aggressive near-Metallica moments without losing a step. Joe Elliot shows he still has amazing pipes as the band rips through the catchy "Torn To Shreds." "Scar" is a bittersweet gem with scorching solos. The haunting acoustic ballad "Long Long Way To Go" is a hit just waiting to happen (it is rumored to be the second single). The energetic rocking "Cry" is good reminder of where the band has come from while "Four Letter Word" has a ballsy strut to it (even though I think I missed what the word was somehow.)

X is a triumph. This will go down as a classic Def Leppard album right next to Pyromania and Hysteria. The only negative thing that I could say about it is that X is heavy on emotional content but that's not entirely bad either. The trademark band vocal harmony isn't lost here and helps hold things together well. I will go out on a limb and say this is the best album I've heard this year.

Poison - Hollyweird

Poison return with their first full studio release in... well it's been nearly a decade since Native Tongue. Don't get me wrong. They have been releasing new studio material but the last two albums have been accompanied by live tracks and MTV Unplugged recordings. Which makes you wonder, what makes this album stand on it's own.

This album probably should have been titled Retro for many reasons. Lyrically, a lot of the songs are stuck in a time warp. Case in point: "Shooting Star" and "Wishful Thinkin'" (which follow each other in the track listing) deal with the same small town girl gets off the bus in Hollywood in search of fame that their 1988 hit "Fallen Angel" did. Even "Wasteland" refers to "...fallen angels and broken dreams." Then there are two songs about someday becoming rock stars with a drug references galore which makes me wonder if they forgot they are or were there already. "Stupid, Stoned And Dumb" is actually as retro as it can get with opening harmonies but also a cleverly wrapped band satire.

All the songs really gel in their arrangement. The band breathes new life into the classic Who track "Squeeze Box." But, it's C.C. DeVille's vocals that make this album. "Livin' In The Now" is creative writing and musically raw leaning more towards punk than metal. The most brilliant idea this album brings forth is two songs with the same beat, same chorus but different verses and different singers: "Home (Bret's story)" and "Home (C.C.'s story)."

There is very little weird to Hollyweird. If anything, it suffers in some spots from potholes filled with rock clichés. Overall, this album has a fresh approach musically and shows hints of something far greater to come.

Pet Shop Boys - Release

Returning with their 8th studio album, the Pet Shop Boys Neil Tennant and Chris Lowe have added the familiar face and guitar of Johnny Marr to 7 of the 10 tracks on the album. That by itself should change the direction of the album but instead of going for a harder and more aggressive album, the Pet Shop Boys have decided to show a more refined and mature side of themselves that we haven't seen since Behavior.

The album opens with the first single "Home And Dry" which is by-and-far the best song they've recorded in ages. When I heard the background music to the track on their Web site during a visit, I overlooked it as their version of elevator music. Amazingly simplified and lush textures... beautiful. You hear the term Beatle-esque used a lot but "I Get Along" is a subdued Oasis/Beatle-esque arrangement that I can mentally hear Noel Gallagher singing it while on a baby grand. Seems like the effects of Cher's "Believe" vocal production was not lost on the Pet Shop Boys' "London." The song could have been just a beautiful acoustic ballad but the vocal effect and some creative mixing make it even better. Without Marr's guitar-work songs like "Birthday Boy," "Love Is A Catastrophe" and "You Choose," the songs either would not have happened or would have become dance tracks. The love anthem "Here" for some reason reminds me of an unmessy car accident between a PSB chorus and an Erasure verse where both cars wind up wearing each others paint and look good in it.

Aside from "The Night I Fell In Love," I was amazingly surprised and delighted with Release. Tennant is possibly at his best lyrically and comes across as a more confident vocalist. This is a triumphant moment musically for a band that just keeps getting better.

Daniel Ash - Daniel Ash

It's been 10 years since Daniel Ash has released a solo album. More intriguing is that since 1992's Foolish Thing Desire, Ash has embraced technology more than ever. You can sense that direction being slowly forced on the last three Love And Rockets albums (Hot Trip To Heaven, Sweet F.A. and Lift.) But with Love And Rockets now on a possible permanent hiatus, Ash returns with a new band and a new sound.

There is an unmistakable groove going on within this album as Ash plays his to strengths: strong percussion, haunting vocals and at least one classic remake. Songs like "Mastermind," "Hollywood Fix" and "Rattlesnake" all have a strong dance influence (almost house meets trance) to them with some of them depending more on the beat but it works admirably. "Ghost Writer," "Chelsea" and "Walk On The Moon" shine with terrific writing and the trademark chill he can lend to his vocals. They almost seem to be placed on the album as a foil to the other album tracks to bring you to the next phase. The percussive-oriented "The Money Song," "Come Alive," "Burning Man" and "Trouble" also lend texture and substance to this collection. But for some reason Daniel Ash has always had that golden touch when it comes to remaking classic hits. We aren't left wanting in that department with a cover of the 1968 Classics IV hit "Spooky."

This is a cohesive collection of songs that can be called a thrill-ride without the 10-story drops. "Spooky" is a brilliant inclusion and I can only hope for a video for the single (someone call Christina Ricci or Thora Birch quick!) I've always considered someone releasing a self-titled album later in their career as having a lack of creativity but here I can say that Daniel Ash redefines himself and it's a bold new starting point.

New Order - Get Ready

Get Ready is full of change. New Order has taken the next step in evolution with their latest effort. This is the band's first album where they've recorded as New Order but included guests appearances. Whether the collaborations here fueled the creative process or not, there is a burgeoning energy coming from these songs. I'd personally love to see the songs they threw away.

The choice of former-Smashing Pumpkin Billy Corgan sharing vocals with New Order's Bernard Sumner on "Turn My Way" originally had me upset. I think I was more in shock that there was another voice other than Sumner's but after repeated listenings I realized that no other voice would do for the part. "Rock The Shack" (with Primal Scream's Bobby Gillespie sharing the mic) holds to it's title well and is a great rock party song. The rest of the album is packed full of gems. The first single "Crystal" is simply the best song they have written in years. "60 Miles An Hour" drives with a heart-heavy lead foot. The amazing thing about songs like "Close Range," "Someone Like You," "Primitive Notion" and "Slow Jam" is that they have a distinct overall voice yet don't fall back on familiar ground.

Get Ready is the best track-for-track album of New Order's career and was well worth waiting through their 8-year sabbatical. I just hope we don't have to wait as long for a follow-up.

The Cult - Beyond Good And Evil

After a 1994 self-titled release, The Cult went in separate directions. Ian Astbury worked solo and Billy Duffy did some work with Mike Peters of the Alarm. A reunion tour in 1999 awoke the urge to return to the studio. They then recorded the song "Painted On My Heart" for the Gone In 60 Seconds soundtrack which wound up getting more airplay than they expected. What else could the band do but write some 60 songs for an album.

Beyond Good And Evil is probably the most haunting yet aggressive and hard that I've heard The Cult starting with the assault of "War (The Process)." The amazing first single off the album, "Rise," is possibly the best song the band has written in over a decade. If "Rise" is the pinnacle then the ballad "Nico" is the stop-gap. Other highlights are the mesmerizing "Ashes And Ghosts," driving "American Gothic" and anthem-like "My Bridges Burn."

The Cult have truly reconvened. This is great driving music and has a pulse that doesn't quit. But that could be the only problem I see with the album -- track order. The first 5 songs are so strong that, when running back to back, the variety is missing. I'd only suggest adjusting the track order but that's such a minor complaint when all the material is tremendous. Beyond Good And Evil is so beyond what fans expected that it's a sin to miss .

Megadeth - The World Needs A Hero

Megadeth: quite possibly the only Metal act that hasn't chopped their locks, gone acoustic or sold their souls for a hit. Last year, Dave Mustaine and the boys closed the book on their Capitol Records tenure with Capitol Punishment: The Megadeth Years. The mystery of what was in their future wasn't too shrouded. During their tour for 1999's Risk album they found a renewed energy and it carried over to The World Needs A Hero.

I've never been a big fan of Megadeth's blistering guitar-work but they found a way to change my mind. The album starts with what will be a live staple if not a radio hit "Disconnect." The lyrics alone trapped me but the guitar solos had me hypnotized. "1000 Time Goodbye" is your classic painful relationship coming to an end via a phone call to which anyone can relate. I'll note the interesting use of sampling a very cold phone dumping but they don't acknowledge the female voice in the credits. They use a subtler sample in the title track which also goes uncredited. "Burning Bridges" stands out as my favorite on the disc due to it's drums and a great vocal performance by Mustaine. "Moto Psycho" is great driving music. Lyrically, I have to say this is one of the best albums Megadeth has issued.

So Megadeth's Sanctuary Records debut is by no other word explosive. This isn't a band that is going to be happy with only one greatest hits album out there. And if they keep writing great songs like these to record, they won't have to.

Depeche Mode - Exciter

A few Depeche Mode fans were left wondering what happened on their last album 1997's Ultra. But as many transitions go (Alan Wilder's departure), some things will change. And when you name your band after a French magazine meaning fast fashion, fashions are fickle and change constantly.

Probably the worst thing you can do before an album comes out is to listen to a bunch of samples online. Which left me entirely unimpressed. Even the first single "Dream On" sounded like "Personal Jesus." But after paying more attention, "Dream On" is a great fusion of acoustic guitar and keyboard programming that matches the dark undertow of the lyrics. "Freelove" is a personal favorite possibly due to the lines 'no hidden catch, no strings attached... just free love.' While "I Am You" is an observation in closeness, "When The Body Speaks" beautifully mesmerizes with a yearning and "The Dead Of Night" is a dark romp through the male libido. Throughout, Dave Gahan's vocals are the best they've ever been. The production is brilliant and writing impressive.

Yes, for an album with a lot of reflection on relationships, it's hard to call this album exciting let alone Exciter. But, it's just a title on a package of great songs. The band has gone back to throwing a few instrumental breaks in but as we all know they are transitions to greater things. And that's where I see Ultra... it was the transition to Exciter for a band that is all about change.

The Go-Go's - God Bless The Go-Go's

Probably the biggest surprise this year was the release of the first new studio album by The Go-Go's in 17 years. A band that musically had everything going for it but each went their own way only to reunite once every so many years to play live and disappear again. Would the magic be there? How will they sound?

This album is pure caffeinated energy. God Bless The Go-Go's opens up with the guitar assault of "La La Land" and the appropriate announcement 'Hello world! We're here again!' Co-written with Green Day's Billy Joe Armstrong (who also adds a little guitar on the track,) the first single "Unforgiven" is evidence to that. "Here You Are" and "Daisy Chain" are possibly the closest to ballads you will get. "Vision Of Nowness" shows off the ladies vocal harmonies. Vague enough to let you insert your own frustrating relationship, "Automatic Rainy Day" would make a great single on it's own. "Throw Me A Curve," "Kissing Asphalt" and "Talking Myself Down" are also strong tracks.

Possibly the best thing to see on this album is that everyone contributed to writing somewhere which shows how much of a band effort this was. At a time when female rock acts are few or are just vocal groups, The Go-Go's have returned to show us why they won't be forgotten. God Bless The Go-Go's!

Sade - Lovers Rock

After an 8 year absence from the music scene, Sade returns with Lovers Rock. Sade had always been a culmination of Sade Adu's sultry and expressive vocals with a skilled trio of jazz-inspired musicians behind her. This album takes that to a new level.

Starting off the Lovers Rock album with the beautiful first single "By Your Side" is a mixed blessing. It's like starting the Indy 500 with your fastest lap and winding down throughout the race. My personal favorite, "Somebody Already Broke My Heart," is just one of those songs that grab you by mood and lyrical content. "By Your Side," "King Of Sorrow" and the title track also stand out as really strong moments. The whole album has it's own groove and takes a bit for you to get into but once you are there you wonder why the disc is over.

Although it says rock in the title, don't expect to be banging your head. This is more like light reggae/jazz. The production is beautiful and takes you to another place. If this is the true return of Sade, it's well welcomed.

U2 - All That You Can't Leave Behind

If you were one of those people that gave up on U2 after the release of Pop and it's subsequent lackluster sales, it's time to beg for forgiveness. For what their last album had in overproduction, All That You Can't Leave Behind has in slimmed down substance. A lot of people said the new album would be a return to War or Rattle & Hum... but do rock pioneers go back to safe ground when tremors occur? No! And that's why U2 is still around.

This album could be a singles collection for any other band. If these were the good ones, I wonder what gems didn't make the cut. Every song is so different from each other in message, sentiment and energy but still stay cohesive throughout. You could start with "Walk On" (my favorite track on the album) which is an inspirational love song that screams in defiance to the fragility, pain and frustrations found in a relationship. "New York" catches you off guard (kind of like the city) going from gentle to a full-blown rocker without losing you. "When I Look At The World," "Peace On Earth" and the first single "Beautiful Day" are best explained as gorgeous moments that escape true definition. "Wild Honey" is a playful romp. The band also finds soul and blues for the songs "In A Little While" and "Grace." "Elevation" is purely energetic. "Kite" and "Stuck In A Moment You Can't Get Out Of" round out the disc by really expressing messages wrapped in a groove.

I firmly believe that this album is U2's finest moment. The production is lush and beautiful which matches the musicianship perfectly. So when asked what CDs I would want with me if I was stranded on a island, this wouldn't be left behind.

De La Soul - Art Official Intelligence: Mosaic Thump

De La Soul have been rap innovators since their 1988 debut single "Plug Tunin'". Their intelligent lyrics mixed with original beats and a fun peaceful message during a time of gangsta rap. They evolved into darker areas on the next few albums but kept an overriding theme to each work. Plugs 1, 2 and 3 return in 2000 with Art Official Intelligence: Mosaic Thump (their first in a planned trilogy) four years after releasing Stakes Is High.

You can tell that they had a lot of fun working on this album. 9 of 17 tracks are with guests like Chaka Khan, Redman, also Mike D and AD Rock of the Beastie Boys. The first single "OOOH." is a straight forward dance track that could easily get a crowd on the floor. "With Me" and "U Can Do (Life)" sound like classic De La Soul and probably my favorite songs on the album. Never afraid to sample a little, they use a little of The Lovin' Spoonful's "Summer In The City" for the chorus to "Thru Ya City." But amidst all this fun there is room for a serious track like "Foolin'" which deals with the music industry.

The only trouble I have with this album is that this is definitely for a more mature audience. References to marijuana and some profanity by guest rappers make this an album that I cant recommend to everyone. When part of the first track has a child repeating the alphabet and judging from previous De La material, you expect better judgment and consistency. Then again, pot smoking had previously been mentioned on their work but only subtly. Otherwise, the album is great and the collaborations alone make this worth picking up.

Duran Duran - Pop Trash

When you have a career with peaks and valleys you'll have your detractors. Yet, overtime an epitaph has been written for Duran Duran they make a comeback. Pop Trash is their first album recorded entirely as the trio Rhodes, LeBon and Cuccurullo.

The follow-up to 1997's Medazzaland is a more cohesive work but instead of pushing towards electronica they've intermingled psychedelic, acoustic, hip-hop and dance. It must have been extremely difficult to choose their first single. "Somebody Else Not Me" is a terrific tune but took about 3 listenings to grow on me. Radio stations rarely give a song that much time to decide if it deserves repeat plays. But there are a lot of great songs to choose from here. Pop Trash's "Starting To Remember" and "The Sun Doesn't Shine Forever" are two of the most beautiful Duran Duran tracks I've ever heard. The album is far from a ballad collection. A strong psychedelic influence is evident on "Lava Lamp" (must be the sitar playing through it) which evolves with an injection of hip-hop on "Hallucinating Elvis" (note Simon rapping in the bridge). "Playing With Uranium" and the guitar-rock agression of "Last Day On Earth" stand out on the album.

My only negative here is that they could have done without the song "Pop Trash Movie" which TV Mania (Warren and Nick) initially wrote for Blondie to record. I'd actually love to hear what she'd do with it. Otherwise, Duran Duran are taking bold new steps here instead of becoming redundant possibly due to TV Mania taking over production duties. My recommendation is to give it more than a few spins before passing judgement.

Bon Jovi - Crush

I have to confess that I'm not a big Bon Jovi fan. There was a time that I thought they were the enemy in a world that was pushing dance music into obscurity to make room for metal. Which is pretty unusual because I saw them open for Ratt during my first concert experience. But that animosity faded over time as songs like "Runaway" and "I'll Be There For You" found permanent residence in my brain.

Their first album in 5 years, Crush, knocked some sense into me. The album is a mix of rockers and ballads that reminds you that they didn't have hits just because of their hair -- they just wrote great material and performed it like no one else. The catchy first single "It's My Life" is the wake-up call and songs like "Next 100 Years," "Mystery Train," "Thank You For Loving Me" and "She's A Mystery" are hook-laden masterpieces. They remind you of where the band came from but give glimpses of where they are going. "Save The World" is a great song with moments that Jon proves he can hit those high notes.

With such a strong album, I can't help but wonder why they would include the song "Captain Crash & The Beauty Queen From Mars." It's chorus ('You and me were's invincible...') sounds a little too close to the chorus of Oasis' "Stay Young ('Hey, stay young and invincible...') for me. Aside from that, this is a moment of greatness for a band that isn't ready to retire on their royalties. They have taken their sound to a new level for the next 100 years and I heavily recommend this album.

Tina Turner - Twenty Four Seven

You may ask yourself, how could Tina Turner have her highest album debut in her career now after 44 years of performing. It's a pretty simple answer. Material. Like any actress eyes scripts before accepting a project, Tina has pulled together songs that really hit home. This is not meant to discount her performance. Tina just has an uncanny knack for finding her strong points and building on them instead of coasting on her latest release Twenty Four Seven.

You could start with the infectious "When The Heartache Is Over." With the Metro production team that helmed Cher's comeback hit "Believe" you might expect Tina might use some vocal manipulation but instead you get raw emotion with upbeat production in this optimistic 'love survivor's anthem'. The danceable "Whatever You Need," funky "Absolutely Nothing's Changed" and even the beautiful ballad "Falling" are classic Turner. Tina also reunites with Bryan Adams on the energetic angst ridden romp "Without You."

This album is phenomenal and in my opinion one of her best ever. Sometimes you can feel better hearing a song and knowing that someone else has been where you are. This will always be Tina Turner's best asset (yes, her legs run a close second) and why you can't help but connect with her.

David Bowie - 'hours...'

What keeps a Duke in power? Money? Political clout? No... I'll tell you what does - pushing the boundaries of your empire while not losing ground. And after 20+ albums the Thin White Duke has expanded his domain and solidified his community. We could spend hours just talking about davidbowie.com but we won't. David Bowie has blurred genre lines with 'hours...' and that isn't as bad as it sounds.

The most noticeable change starts with the opening track and first single "Thursday's Child". I really don't know what to make of this song. The ballad's instrumentation reminds me of Sting's "Fields Of Gold" but vocally Bowie is bold and out in front with a strong presence. It's a beautiful song but seems so out of character that it makes you wonder where he's going with the rest of the album.

The rest of the album can be seen as an energetic rollercoaster. The song "The Pretty Things Are Going To Hell" is one of those high points where you see nothing but a steep drop ahead and you are going to enjoy the plunge. Reeves Gabrels' guitar rips through this rocker and is the metal bar keeping you in the seat. I will be shocked if this isn't a single.

One stand-out has a history to it. Bowie held a song contest on his web site in which the winning song would appear on this album. Alex Grant won the contest and provided part of one of the most predictable tracks on 'hours...' titled "What's Really Happening?" Bowie's vocal delivery fits this song's mechanical prose while pushing an atmosphere reminiscent of "Ashes To Ashes" and "Space Oddity". Definitely not memorable enough to be a single but it is a good break from some of the songs that seem like filler for the better tracks.

For a known musical chameleon, David Bowie has created an album that defies categorization upon every listen. I'm still left with beautifully haunting lines like "I've got seven days to live my life or seven ways to die." What that line from "Seven" means will probably forever evade me but it is just like this album. Somewhere between Rock/Pop and Rock, Bowie has claimed new territory but we just don't know what to call it yet. Whether you get sick or not on rollercoasters will help you decide if it's a keeper.

---