Diary of Dreams: One of 18 Angels
Metropolis Records 82388

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Fronted by classically trained synth-wizard Adrian Hates, DOD is a relatively new band possessing an immense amount of promise. Weaving a tapestry of orchestrated synths, desperate melodies, and impassioned vocals, One of 18 Angels isn’t what one could strictly consider a Goth album. Instead of repetitive minor chords that rarely go anywhere, this German band builds harmonies within its arrangements, which not only pull at the heartstrings, but also encourage repeated listening. About the only criticisms I can lay upon this accomplishment are that the recording rarely deviates from average and the synthesizers occasionally sound stale.

Morrissey: The Best of Morrissey
Rhino R2 78375

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Those naysayers who believed Morrissey would surely shrivel up without the musicianship of Johnny Marr will probably still hold to that opinion, while those of us who believed in him are sure to pick up and enjoy this excellent collection of memorable songs. "Everyday is Like Sunday," "Suedehead," "Sing Your Life," "Hairdresser on Fire," and "Certain People I Know" all have the trademark wry, off-time inflections that make Morrissey’s vocals instantly recognizable, not to mention, oddly enjoyable. And while the music may, in some cases, pale when compared to the beauty and originality of, say, "Girlfriend in a Coma" or "There Is A Light That Never Goes Out," these songs are classics in their own right.

Clan of Xymox: Notes from the Underground
Metropolis Records 222

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After listening to, and summarily disposing of, Metamorphosis, I grieved. It seemed as though Clan of Xymox, a band that once stood for originality, had finally run out of ideas. But credit should go to Ronny Moorings and company for resurrecting the band. While the popular and musical Twist of Shadows was a brilliant pop album, Notes from the Underground is right where the band’s musical roots should remain. The band's glum but energetic approach with synthesizer and guitar is the perfect aphrodisiac for those who find happiness in knowing how depressing life can get. "At Your Mercy," "Innocents," "Liberty," and "Something Wrong" are songs that would make any Goth-lover delighted that they’re alive!

Willie Nelson: The Great Divide
Universal 586231

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It took more than a dozen spins before I warmed up to this album, but now that I have, it hasn’t left my player in a dozen more. Nelson mainly plays new songs, along with a couple unexpected oldies. He also brings in well-known contemporary artists to accompany him on many of the tracks. Imagine my surprise when I learned that one of my favorite songs, "Last Stand in Open Country," had Kid Rock signing along -- a singer I haven’t been able to stand anywhere else. "Mendocino County Line" features Lee Ann Womack and is also outstanding. But not everything is successful. "Don’t Fade Away" (with Brian McKnight) and "Time After Time" (yes, the Cyndi Lauper tune) are interesting but awkward. But he makes up for it with a scorching good job covering the 1967 First Edition song "Just Dropped In (to See What Condition My Condition Was In)." Four other songs elevate the album from good to great. "Won’t Catch Me Crying," "The Great Divide," "This Face," and "You Remain" -- all featuring a slow-singing Willie at his best.

The Proclaimers: Persevere
EMI/Nettwerk 30193

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Good pop is increasingly hard to find. Simple verse/chorus/bridge/verse/chorus arrangements that make their mark with a catchy melody or interesting lyrics seem to have gone the way of the passenger pigeon. So it’s nice to know that some artists still value the well-crafted three-minute tune. Persevere is filled with such gems, and comes to us from Scotland's Reid brothers. Mainly known for their huge hit, "I’m Gonna Be (500 Miles)," the Reids' distinct vocal harmonies and folksy musical style seemed to have fallen out of favor after the success of Sunshine on Leith. Some 13 years later, this group seems content releasing albums that feature consistent songwriting rather than the typical four-out-of-ten-good-songs percentage that plagues most pop albums. Arguably the Reids are at their best on songs like "Scotland’s Story" and "Everybody’s a Victim," but their wit and playful banter also makes the balance of this 14-track effort quite enjoyable.