Noise as purgative: Tool shove their iron-spike riffing and shock-therapy polemics right up the claustrophobic dead end of so-called alternative metal in the name of a greater metaphysical glory — something along the fuzzy lines of Jungian cyberoccultism. That's all very admirable and even a bit impressive; anyone who tries to elevate heavy music above cock-rock clown time is to be encouraged. Still, the best parts of Ænima come when Tool just let the music rip and dip with the broiling, avant-metal ferocity of Led Zeppelin's Presence. Also, let us call a moratorium on concept CDs that come with lightweight "Intermission" instrumental tracks. If you need to take a piss in the middle of the record, just hit the pause button.

“1999”

“I don’t consider myself a great poet,” Prince told Rolling Stone. “I just know I’m here to say what’s on my mind.” In the case of the apocalyptic party anthem “1999,” he was worried about then-president Ronald Reagan’s foreign policies. The song’s melody is based on a riff borrowed from the Mamas and Papas’ “Monday, Monday,” and Prince originally envisioned the first verse with three-part harmony but later split the vocals between himself and members of the Revolution. Because Warner Bros., with whom Prince was locked in a contractual battle, owned the original’s masters, Prince rerecorded the song and appropriately released that version in 1999.