grouped with the phrases about runways and honky tonks it's understandable why he didn't. With his harmonic and acoustic guitar, Forbert has attempted a peaen to Dylan but it fails embarassingly because his lyrics can't match the poetry of the old Dylan. Harmonica riffs not withstanding "Highway 61" never sounded so good.

Another Forbert lyrical gem is the tune "Complications"--a song so syrupy that despite its definitive beat, hardly deserves to be classes as reggae:

Hey complications

Complications going down

Complications in your lifetime

Complications all around well I say

Hey complications

The dull and uninspiring music makes Forbert's attempt at eclecticism a disaster.

The saddest, thing about this album is that Forbert does have talent. He showed it in his first album and reveals glimpses of melodic and instrumental imagination in this one. His voice on both albums is a classic rock voice--a rasp both palatable and effective.

THE SCENARIO is almost too obvious: record executives hear the energy-packed Alive on Arrivaland construct the plastic formula enabling Forbert to become the Barry Manilow of the street-punk-rocker crowd. Alive on Arrival is an uncut gem. Unfortunately the attempted refinement of Jack Rabbit Slimmarred the original stone. Maybe next time Steve Forbert can restore it.