Older. Wiser. Experienced. Learned from the past. These are worthwhile attributes -- anywhere but in Rock 'n Roll where even new gets old quick. There's no rockers anywhere more ancient that Mick Jagger and the Rolling Stones.

"Bridges to Babylon" they call their latest album. Ancient Babylonian history or links to more recent reggae musical influence. Either way, it's still old.

It's not that they can't still rock. Or make solid professional recordings. Or that they can't still write a worthwhile rock tune. It's just that it's all old and done before. Is it their fault that there's no way for their music to progress? Not really. They set some very high standards for rock 'n roll over the years. But, try as they might, they can't possibly bring any freshness or innovation to any new material.

Several months after its release, despite a relatively successful world tour, "Bridges To Babylon" has yet to spawn a truly memorable Rolling Stones 'hit' single. Yes, radio has obligingly played songs such as: "Anybody Seen My Baby" and "Saint of Me". But nothing has generated any real excitement. Many of the songs on the album merely evoke previous Stones songs. The strutting attitude and sexual bravado that once made them delightfully decadent now just seems, well, old.

And one other complaint that older Stones fans, with weakening eyesight, might share. Why did they print the lyrics in such a tiny type size? Would they rather we don't know what they're still singing about in their (rock 'n roll) old age.

This is Bruce being brave. One of rock's megastars has come out with a collection of music to satisfy his own musical integrity rather than sell millions of CD's. When a major recording artist does this (and only the biggest stars can get away with it), there's a fine line between artistry and self-indulgence. But Springsteen stays on the right side of that line and offers us something truly fresh and original.

Traditional Springsteen fans beware. There's absolutely no rock 'n' roll excitement here. No "Born In The U.S.A." anthem-type material. No doubt he'll give fans that with his next release. "The Ghost of Tom Joad" offers a somber, low-key, Springsteen with minimal instrumental backing. It's just Bruce, his voice and his songs. That's brave!

Popular it's not. While format radio endlessly plays his older hits, nothing from "The Ghost of Tom Joad" is ever heard on the radio. Many of his biggest fans may not even buy this CD. That's a shame because it deserves to be heard. Traditional folk music fans who might normally shun rockers like Springsteen, could be pleasantly surprised. There are echoes of Woody Guthrie and Pete Seeger here.

Given the lack of electric guitars and such, you would expect true poetry in the lyrics. And we get it. Much of the material on "Ghost of Tom Joad" could be called 'dry and dusty'. That's 'dry' as in thirsty. (So you may want to crack open a cold beer or two while listening.) Many of these story songs are set in the deserts of the American southwest. Though the people in these songs are real and modern, Bruce attempts to evoke the writings of depression-era novelist John Steinbeck.

The only criticism I have is the last song. "My Best Was Never Good Enough" is a more contemporary, cynical song that seems somewhat out of keeping with the rest of the music here.

"The Ghost of Tom Joad" is a refreshingly different work that reveals Springsteen's true talent as a 'writer' of songs, not just a songwriter. Let's give Bruce a medal for bravery here... but hope that he'll go back to rockin' with his next effort.

Once again, Sting brings us music for the more mature. Why do people keep hoping Sting will go back to songs like "Roxanne" -- that infectious blend of reggae and rock that brought him a long string of hits many years ago as leader of the highly popular band The Police?

As a solo recording artist Sting has stayed away from the trap of remaking his old hits. A few years ago he proved he could still do that reggae/rock thing with the song "All This Time". So why do it again? With most of his solo work he's taken a more refined, sophisticated, grown-up approach.

Sting's solo works have been few and far between. "The Dream of the Blue Turtles", "The Soul Cages" and "Ten Summuner's Tales" have presented Sting as a subdued, jazz-oriented, introspective artist. His latest work, "Mercury Falling" is very much along the same lines. No breakthrough's here. Those who enjoyed his previous solo works are sure to find this one appealing.

Is Sting a jazz artist? Hardly. He uses elements of jazz and works with well known jazz musicians but makes none of the intellectual demands that jazz tends to make. What he does is pleasant, eloquent pop music. It has lyrical depth that can be appreciated when listening to it by yourself. Plus it can be played when guests are around -- without offending anyone.

"Mercury Falling" should produce several more radio hits for Sting. Two tracks that standout are: "I Hung My Head", a sad song about remorse, and "I'm So Happy I Can't Stop Crying", a tuneful but touching song about divorce and child custody.

When Sting first appeared on the pop scene (with The Police) he was considered 'punk'. 'Punk' and so-called 'alternative' music dominate the music scene today, but Sting is nowhere near that. He's one of the few pop stars who has actually mellowed and matured over the years.

We don't really need to shed a tear for Paul Simon and his noble failure with "The Capeman" -- both as a recording and as a Broadway play.

We do remember Paul Simon though, don't we? He of Simon and Garfunkel fame and a lengthy string of memorable hit songs back when songwriting was still a craft and singing tuneful songs was still popular.

Whatever possessed Paul to attempt something like a Broadway play with complex characterization, plot and controversial subject matter and language? Bravery and a sense of originality perhaps. It was a spectacular commercial failure. Few have actually seen the Broadway play. It closed within weeks. Yet the music from it is a creative (if somewhat secretive) success.

"Songs From The Capeman" is the CD containing the songs from the show. In a variety of musical styles and with evocative lyrics and Simon's impeccable skill with melody, it tells the sad yet inspiring story of Salvador Agron. Agron is a Puerto Rican gang member who killed a white boy in a gang fight at age 16, spent most of his life in prison and eventually emerged from prison with a college degree.

Unlike other 'story' albums, "Capeman" can be listened to again and again without it getting boring. Traditional Paul Simon fans might be put off by the explosive use of profanity. Radio could never play any of it. Many of the songs contain racist wording which, taken out of context, would be unacceptable.

Fans who've been waiting for him to record another "Graceland" will have to keep waiting. In the meantime though, his daring and provocative "Capeman" keeps alive Paul Simon's reputation as one of the great songwriters.

Many say Bob Dylan lost his musical mind many years and many albums ago.

The folk and rock music legend, author of so many truly great songs, has lapsed in a somewhat self-induced musical coma in recent years. The self-indulgent Dylan has been 'demythologizing' himself, or so he says. What he's been doing is releasing truly awful recordings in the 90's. Even his most devoted fans have been loath to squander money on the material he's put out. His musical credibility has even been superceded by his own son, Jacob, recording Dylanesque songs with his group The Wallflowers.

Now comes a slight degree of redemption (and even a Grammy Award) for the old man. "Time Out of Mind" is Dylan's first real attempt at any sort of commercial appeal with his recordings in many years. He's pictured on the cover looking somewhat like his "Highway 61" days, but it's a far cry from that. Still, this is Dylan actually singing rather than mumbling and offering real songs instead of self-indulgent garbage.

Does the credit go to Dylan himself or to legendary record producer Daniel Lanois? Lanois has worked with many great recording artists and has himself written and performed several of his own albums. It would seem he's poked and prodded and inspired Dylan into producing something close to the work he's capable of.

The album contains 11 new, original Dylan songs. Most of them quite listenable, if not classics. The strandout track is "Highlands" -- an epic 15-minute song. Is he 'revisiting' his famous "Sad-Eyed Lady of the Lowlands" song that took up one entire side of his double album "Blonde on Blonde". Perhaps.

Does this represent Dylan having his mind set on some sort of commercial comeback? Not too likely. More likely he's just taking a short 'commercial' break. But it does indicate he hasn't lost it and could someday give us one last great album.

The only thing not to like about Barenaked Ladies is their somewhat silly name. The name has earned them a reputation as a 'clown' band. Though their music is witty and fun and their stage act can be amusing, this is a band that deserves to be taken seriously.

The all-male "Ladies" have released several great albums and have a long string of hits (mainly in Canada). With "Stunt" they've really outdone themselves, rising to an even higher level of musical excellence. And gaining a huge American following in the process.

Intelligent, sophisticated, clever lyrics. Melody. Real singing (no whining or growling). And vocal harmony. These are qualities that are almost extinct in today's pop music. The Ladies write and sing real songs, songs with a lot of thought and lyrical originality behind them. "Stunt" is an album that can be listened to over and over again and each time one finds something else to marvel over.

"Stunt" has yielded several hits already. First was "One Week" with its jumble of rapid fire lyrics. Then came the immensely tuneful "It's All Been Done" with its later-day Beach Boy harmonies ("Just Like Brian Wilson"). The latest hit is "Alcohol" -- a twisted contemporary drinking song. If you've liked those songs on the radio, be assured that "Stunt" contains several other potential hit songs. Some of the songs here have very mature sexual themes. Despite their Naked name, the Ladies do not court controversy. Nothing rude. Songs like "In The Car" only reveal their complex sexual content within the structure of thoughtful lyrics dealing with relationships.

The Ladies' latest "Stunt" receives our highest rating. It's truly an aural pleasure.

Are you going the wrong way Lenny? We think so. Lenny Kravitz, the one-time rock 'n roller has had numerous hits and 4 other albums better than this one that's pompously titled "5".

Kravitz is best known for his mega hit "Are You Gonna Go My Way", with which he fashioned himself as the reincarnation of Jimi Hendrix. With his subsequent album title he declared "Rock and Roll is Dead". It may well be true that real rock (like Kravitz could play if he chose to) is on its deathbed, but Kravitz let his own music die with it.

If not rock, then what? Funk, is what he probably wants us to think of it as. When funk is contrived and overproduced and devoid of any 'soul', it's a failure. Even worse, it's boring.

"5" has produced one 'hit', a forgettable song called "Fly Away". The rest of the songs are even less memorable. Though he hasn't lost his powerful and distinctive vocal style, nothing here comes even close to what he has done in the past.

What strikes you most about "5" is the shallowness of the writing. Meaningless fluff given a pseudo funky musical treatment. As if it wasn't bad enough that he has nothing to say, he has the audacity to present us with a CD booklet that graphically highlights the lyrics. This has the effect of making his words even more ludicrous than you think they are.

As in the past, Kravitz has had an unfortunate tendency to be preachy. Religion and rock (or funk) don't mix well and here's further proof.

You may be tempted by this if you've liked some of his previous work. Don't be. Wait and hope he somehow revives his rock capabilities with his 6th album.

There's no room for rap recordings in our music reviews. We don't consider Rap to be music -- just bad rhyming and bad attitudes over repetitious beat. Nevertheless, we will take Lauryn Hill seriously. Because she can actually sing. Because she brings something fresh to a stale music scene. And because of the sheer popularity of this album and the critical acclaim it's received. Some listeners must be enjoying it.

What we can't take seriously is the overall theme and the between-tracks dialogue. It's mostly teenage high school classroom memories. Interesting the first time you hear it. Tolerable for the second listening. Tedious ever after. The only recording artist we know of who can get away with between-tracks spoken material is Prince (the artist formerly known as). She's not him.

Yes there is Rapping here. But you don't quite have to cover your ears or try to tune it out. It's not that aggressive 'gangsta' stuff. There's more Rap than the average non-rap fan would like. But she also offers plenty of real singing.

Lauryn Hill has a silky soulful voice, but she's not Whitney Houston. She gets some credit here for being original. Not that original though. The song styling and vocal phrasing reminds us of Stevie Wonder in his prime. That's not a bad thing at all. Stevie had a wonderfully evocative way with a song and Hill has that too.

If you are weary of all those cookie-cutter "Lilith" girl singers or long for old-fashioned 'soulful' music, Lauryn Hill is worth having. Beyond the Rap and the foolish classroom babble, there's listenable music here.

We've been long time fans of Tom Cochrane, a genuine, hard-working, solid Canadian rocker. We've never found a Tom Cochrane album that wasn't totally satisfying. Until now.

That's not to say his latest work, "X-ray Sierra" is bad. It's just not the tuneful, poetic Tom Cochrane we've come to expect. There's a sense here that Tom realizes the limitations of his songwriting style and tried to push his talents beyond those limits. The result is disappointing. We don't get that satisfying collection of new Tom Cochrine material we're hoping for.

Hopes were high for this album with the release of the first single, "I Wonder". With its fancy guitar work and thoughtful lyrics this song grabs you by ear when heard on the radio. "I Wonder" is the first track on "X-ray Sierra" and has to be up there with the best of Tom's many great songs. But we wonder what happened after that song. The second track is not too bad. "Stonecutter's Arms", though a bit lame, is still in the traditional Tom Cochrane mould.

If you are a dedicated Tom Cochrane fan and have all his previous works (both solo and with his former group, Red Ryder), then this probably deserves a place in your collection if you want to spend the money on it. It's not hard to listen to, just not the enjoyable Tom Cochrane experience you expect. If you are a casual fan of his music or perhaps were tempted to buy this because of hearing "I Wonder" on the radio, don't go for it. Go back and get some of his earlier works instead.

It's our sad duty to report that R.E.M are on the downside of their career with their latest release, "Up". It not a huge drop from their position at the pinnacle of pop music, but it does represent a slight slide in popularity, sales and musical accomplishment.

R.E.M. has always been one of our favourite bands in these times when favourite bands are hard to find. To their credit is a lengthy list of superlative albums and an abundance of memorable hits that have become radio classics.

Never known for being rockers, R.E.M. have built a reputation on sparse but generally tuneful melodies and moody mysterious lyrics. Some have ridiculed R.E.M.'s convoluted lyrics, but we are of the opinion that Michael Stipe and company produce some very profound writing. That's still the case on "Up".

The problem with "Up" is that everything is down. Down in terms of musical tempo and spirit and exceedingly down in terms of depressing, 'sad' lyrics. These are probably honest reflections of their feelings, but, for sure, they are not even the cynical "Shiny Happy People" of yesteryear.

Whereas in the past, an R.E.M. album would produce 4 or more hit singles, "Up" has had only one real hit, the dark and brooding "Daysleeper". It's an intriguing song but if you let it go around in your head, it can actually give you a headache. It's that line that goes "My night is colored headache gray".

There's also a problem here with originality. Lack of. One song in particular, ("Hope") sounds like an (uncredited) remake of Leonard Cohen's famous first song "Suzanne". Another song sounds all too similar to a song by Jim/Roger McGuin (of Byrds fame).

If you are a rabid R.E.M. fan, yes, go right ahead and add "Up" to your collection. You won't find it 'uplifting' but by now you're probably used to this band's mood swings. If you're a fan of the commercial, hit-making R.E.M. and are undecided about purchasing it, we can help you make "Up" your mind. It's simply too negative and low key to be 'enjoyable'.

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