Alice Cooper is one of America’s great songwriters. If you sift through his extensive catalog, there are tons of choice nuggets like “I’m Eighteen,” “School’s Out,” ‘Be My Lover,” and brilliant ballads like “You and Me” and “Only Women Bleed.” Even Bob Dylan has praised Alice’s uncanny knack for crafting a solid tune. But the Prince of Darkness can also be vastly inconsistent. On one hand he’s written some of the greatest rock songs of all time, is known to put on a riveting live show and is highly adept at making comebacks. Yet, every few years, he hits a bump, releasing lackluster albums and playing the county fair circuit. So it’s understandable to be a wee bit suspect of any new product of his.

After channeling his garage roots, Alice made a triumphant return to form a couple years ago with THE EYES OF ALICE COOPER. With kick-ass songs and strutting attitude in tow, that album returned many a naysayer to the fold. Thankfully, DIRTY DIAMONDS is also rock-solid. Seizing on the back-to-basics approach of the last album, this new disc harnesses the raw, garage aesthetic and adds a bit of polish to it. The results are not quite as effective as the last time around, but Alice still comes out shining.

The album kicks off with the rousing “Woman Of Mass Destruction,” featuring chunky riffs and Alice’s swaggering bravado. “Perfect”—the tale of a young lass living in an altered-reality—may well be the song of the year, with its T.Rex-ish riff, laid-back melodies and clever lyrics: “She’s perfect until the lights go on, and then it all goes wrong, and now she’s not so perfect.” “The Saga of Jesse Jane” is another instant lyrical classic, portraying the trials and tribulations of a cross-dressing trucker languishing in a Texas jail…yep, Alice’s wry wit is still as sharp as diamonds.

One of the album’s highlights is the inclusion of the semi-ballad ‘Pretty Ballerina.” Originally recorded by the obscure Left Banke in 1967, the eerily striking number—with its lush string arrangement—has long been considered a garage classic. I was a little concerned to see it listed as one of the tracks here, as the original version was so distinctive, but Alice pulls it off and then some. In entirely un-ironic fashion, Alice manages to perform the song his own way, while maintaining the integrity of the bemused fairy-tale. There are still plenty of strings, plus a harpsichord and flute to add to the bittersweet mood. It also sounds as if it’s played in a lower key, which also heightens the mysterious aura. Well done.

The album is not without its weaknesses, though. “Run Down the Devil” is a hokey nu-metal throwback, and the last track, “Stand” - featuring a guest appearance by rapper Xzibit - is ridiculous. Not sure what Alice was thinking of here, the song is silly with its sing-a-long-chorus and hip-hop posturing. Maybe Alice was trying to be post-modern, but I suspect he’s serious with this one. But, the album is chock full of other strong numbers, like the upbeat ‘Your Own Worst Enemy,” the Lo-Fi title track, and the haunting epic ballad ‘Six Hours” (which recalls his glory days of working with producer Bob Ezrin).

So it looks like Alice is back on track, and that makes two albums in a row. Let’s hope he stays the course and keeps doing what he does best—straight-ahead rock with a hint of sarcasm and a sinister twist.