Chris Rea's been happier to cruise along the information superhighway than many of his contemporaries. With a definite case of technolust burning up his veins, Rea never made any secret of his love of new technology, particularly automotive technology. Now, 10 years after his first foray down the route of the automotive concept album, he's back on the same road.

The Road To Hell Part 2 is as autobiographical as any of his past releases. Lyrically, it hinges on the hegemony of the motor car in most people's lives, and in Rea's in particular. There are occasional breaches of the rules though, with some fiery forays into the hipper arena of ecstasy.

"E is for comfort/You give to me/E is for peace inside, I feel inside/E is for the good times", he croons, his creaky middle-aged voice a disconcerting antidote to the barenaked topic it explores.

Trend-setting placard-titled songs aside, The Road To Hell Part 2 only reaches its (not inconsiderable) zenith when Rea's jazz sensibilities are given room to breathe. 'Coming Off The Ropes' is loping, Waitsian stuff, all whispered nuance and ponderous backbeats. The kind of music that'd happily soundtrack a Clint Eastwood movie, its cinematic potential virtually shouts from the speakers.

And that's where Rea's spiritual home really is. Straddled between gauloise-soaked, piano bar jazz and sweet soul siphoned from the heady waters of Muscle Shoals and Detroit.

Road To Hell Part 2 is what critics like to call an accomplished collection but whether it'll attract new listeners to an established format is a moot point. Classic hits radio will love it, though. And those DJ's brave enough to let the jazz moments prosper will air a couple of real gems.