Framing private times ... and the Whole 9!,' the latest from Al B. Sure!, is a remake of "Hotel California." Yes, that "Hotel California" – and it is a bold play on young Al's part. The opening track is the straight remake, which turns the classic into a creepy combination of Lifestyles of the Rich and Famous and Dark Shadows. It's not that it doesn't work; it's just that you can't help but wonder why anyone would choose to cover a song that, out of its original context, does close to zip for an artist. The closing track is the bass mix, which is simply a stripped-down, note-for-note version of what you heard almost an hour before.

As ultimately pointless – if well intentioned – as these cuts are, at least there is an element of risk. For the rest of the disc you get Al whispering sweet nothings, going on and on about luv. (Does a soul singer exist who doesn't want to make love all night long or touch you in that special way? How does Al find the time to do it all night long, with all those outside projects and all? Has anyone ever really met one of these all-night guys?) Al's seduction moves range from Marvin Gave-style falsetto (for the sweet stuff) to your basic Barry White growl (for when he knows you want it, girl). The first six tracks on Private Times are an almost continuous midtempo grind that goes on way too long (no song is under four minutes) and is pretty run-of-the-mill. Decent, state-of-the-art fuck music, it's devoid of personality – not too explicit but very familiar; good for a slow-dance party but verging on dull.

The next eight tracks – side B on the cassette – is Al getting busy, ya'll. While preferable to the slow stuff, these tunes are not distinguished by anything – other than the fact that they have been overproduced and overlayered like crazy. The single "Missunderstanding" rocks with a radio-friendly backbeat, as does the rappified "Channel J." Throughout listening, you'll say to yourself, "Who does he sound like? Where have I heard this before?" Having influences sure ain't no crime, but what should be criminal is exhibiting so little individuality, being so adroit that all that is left are soulless exercises in technique. Somewhere behind all the programming is the heart of a performer who is ballsy enough to go for unlikely covers. Al B. Sure! should check him out. (RS 596)

AMY LINDEN