Three years after the brilliant and two personnel changes, dished out . and were replaced by . The album gets off to an excellent start with a lilting, mid-tempo mood setter that samples the opening riffs of ; the red-light special became their highest charting single in years. is one of those good, questioning that always finds a way into your heart. These new are all right, but none are comparable to the squalling ' tenors of the past. Voices reaching the magnitude of 's, ', 's and 's are sorely missed. seems to have found his niche doing interludes between songs; it would be interesting to see if they would incorporate ' eloquent love talks into their stage act. sings effortlessly in a honey-laden falsetto on which, other than is the most arresting number here. displays his natural tenor before sliding into a sky-high falsetto, the backing voices are a thing of beauty as they weave in, out, and around 's deft delivery, and the bass dots in and out placing exclamation points everywhere. features a and has a -ish beat; the tenor tries to cut loose but may have been restrained by producer . When listening to it helps to imagine , , or on lead. The mid-tempo songs, for the most part, outshine the (not the song) has a deft, stepping beat but changes tempos on the chorus and becomes annoying until it gets back to that "Da, Da, Da" beat. The baritone voice on an occasional lead is sorely missed. ' albums used to feature a baritone voice distinct from the tenor not only in register, but in style and phrasing; here the voices are too similar. Still, not a bad silver platter when you take the personnel changes into consideration. ~ Andrew Hamilton