I've done stranger things than reviewing music in 2004 supposedly released in August 1992. Far stranger things.

A long time ago, having fallen in love with Gail and The Corporate World, I planned to buy Rude Blue as soon as it appeared on my radar, in the early 1990s. Easier said than accomplished. Over a decade later in 2003, my quest got me a homemade CD-R, a medium non-existent at the original release date. Later last year, I bought a legitimate pressing of the British disc from an Australian chap. To my knowledge, Blue was never issued in the USA. Amazon claim it will be reissued by Lemon Records in March, 2004, but don't hold your breath. That promise has been broken consistently.

Ordinarily, the album could have gotten stiffed by Warner Brothers for departing from Gail's previous "sound," but while The Corporate World got good write-ups, it was poorly promoted, so one of the best albums of the last century slipped through the marketing cracks. It is unlikely many would have been outraged by Gail trying something different. Many were angered by its invisibility – mainly, those of us who love Gail's music based on her album and later, from her work with other artists, notably David Bowie.

In the four-year interim, Gail grew artistically. Taking nothing from The Corporate World, Blue is more sophisticated, Jazzier and, I'm guessing, more reflective of Gail's taste. The music sounds better with each listening, as its complexities are revealed. Gail's voice is distinctive and accessible, providing range without strain.

The title song, co-written with Steven Roberts, kicks off with that "something old, new, borrowed, blue" slogan, but develops from there, and the remaining songs are cliché-free. They actually expand on some of the themes (Time. Money. Greed) introduced in The Corporate World, notably on "Money," "More Than I Can Give," even "California," where Gail sings "time is a weapon, it used to be a gift." Time is also an under-appreciated commodity in our technological world.

The lyrics are great. The ballad "More Than I Can Give" is beautiful and deep. ("You want the angels to wash your hair in the stream of colours from the sun above.") And these aren't just poetic phrases, there is content. "Believe In Life" makes the political personal. Writing years before the recent Reality-TV assault, Gail says "everybody's praying by the tv screen light, while I try to believe in life."

Without falling into the "best" songs trap, "Candyland" blows me away every time I hear it. Catchy, beautifully-arranged and insightful. Another standout is the closer, "Farther Along," which reminds me of "Carry Me Off To Heaven," at least in scope. Beginning with an a cappella prelude, it switches gears to create a lasting impression, one of those songs you wish would continue, though you can remedy that by hitting the "Repeat" button. Technology has its advantages.

Rude Blue [Island 1992, 10, 50'11] was produced by the late Michael Hutchinson and, no, it sounds nothing like INXS, not that that would be bad. It was recorded in Manhattan at the beginning of 1992 and mixed in South Beach (Miami), so it's no wonder when pondering its absence from US stores I don't feel too good.

The band are smooth. Gail does most vocals and plays guitars; there is great guitar work by John Putnam, including a memorable solo on "Farther Along." Additional vocals by Adele Bertei on two songs, including a rocking cover of Dave Mason's "Feelin' Alright." Great percussion by Carol Steele, drumming by Carla Azar and some incredible horn work by The Miami Horns with additional brass, helping recapture the magic of groups like Ten Wheel Drive with Genya Ravan, The Blues Project, early Chicago and "Child Is Father To The Man" (BS&T).

On to tackling the big question: 'Which do you prefer, gt?' Without seeming indecisive, I love both albums. I'm partial to The Corporate World as an old friend, but sometimes I'm in the mood for a different sound, something new, Rude Blue. Luckily, we have both. Well, I do anyway.