So tagged, the Stone Roses debuted on the independent Silvertone label in 1989. The Roses were fun: groovy guitar awash in moody psychedelic effects and airy pop choruses. College radio embraced them; dance clubs then dominated by acid house played them heavily. Five years and a lawsuit later (the band successfully extracted itself from Silvertone), the Roses finally return with a follow-up mischievously entitledSecond Coming.While that title is meant to be a sardonic reference both to the time they've been away and to the great expectations resting on their return, it also bears witness, along with the mostly uninspired music, to a band too soon grown jaded.

Second Comingis a surprisingly self-indulgent affair. Most of the tracks are tuneless retropsychedelic grooves bloated to six-plus minutes in length. The opener "Breaking Into Heaven" sets the tone, entering with enough pomp and circumstance to rival "Also Sprach Zarathustra." "Driving South," "Daybreak," "Straight to the Man" and "Good Times" are equally po-faced, late '60s/early '70s-style bottom-heavy jams sorely lacking melodies and fresh twists.

The briefer, more buoyant numbers are more engaging. "Ten Storey Love Song" is a charmer; frontman Ian Brown's keening voice is a perfect fit for three-chord pop anthems like this one. "Your Star Will Shine" is a hushed, acoustic ballad that generates most of its power fromSgt. Pepper-era effects, accenting the track's simple, pretty melody. "Begging You" is a rave – a hyperkinetic rhythm wedged tightly against Brown's wild, chanting vocal.

The Roses are capable of producing magic – even this disappointing effort contains proof of that. Perhaps next time out, with lawsuits and hype fully behind them, the Stone Roses will take some enjoyment from the idea that they have to do more than show up to generate excitement.