If you really liked 18 Til I Die, then at first you might be a little disappointed with this album, or make that a lot... that's how I felt. It just didn't have that same melodic edge or the songwriting as the previous one. But for some reason it really grew on me, to a point where I actually like this one more. Songs like "How Do Ya Feel Tonight," "C'mon C'mon C'mon," and "On a Day Like Today" are simply amazing, and get even better the more you listen. Buy this CD and if you don't like it right away, listen to it while you drive at night and it will really grab you. It's a perfect album for the road.

Bryan Adams' "On A Day Like Today" again marked a new chapter in a legendary career. In the 80s, Bryan did some great work on albums such as "Cuts Like a Knife", his signature album "Reckless", his deep album "Into the Fire", and his commerically successful "Waking Up The Neighbours". Following that string of 4 albums, Bryan released "18 Til I Die" which really didn't achieve the glory of those past 4 albums. His next Studio album was this one and unfortunately, this album keeps Bryan Adams stagnent and makes me wonder if he will ever achieve the heights he had in the 80s.

Like "18 Til I Die" this is not a terrible album, but it just doesn't reach the high standards set by Bryan Adams in the past. Unlike "18 Til I Die" which was an album in which Bryan Adams had a "Mid Life Crisis and Youthful resurgance", this album goes back toward a more mature Bryan Adams. I can best describe this as his "Adult Contemporary Album". Most of the songs could easily be played on an "Adult Contemporary" or "Mix" station. A big change on this album is the absence of Robert "Mutt" Lange (Mr Shania Twain). Lange was a major contributer from a musicianship, songwriting, and production standpoint on the last 2 albums. Lange was never able to achieve the great songwriting that Bryan had with Jim Vallance in the 80s, but didn't do a bad job. The replacement for Lange was producer Phil Thornalley. Thornalley also co-writes some songs with Bryan. The other main co-writer with Bryan is Gretchen Peters whom Bryan worked with on the "Unplugged" live album. As for the Adams Band - Mickey Curry, Dave Taylor, and Keith Scott are all back. Gone is keyboardist Tommy Mandel.

So what doesn't help this album reach the bar that Adams has set. My big feel is that many of the songs lack the personal passion that Bryan brought on all of his albums up until this one. There are 4 songs ("Before the Night Is Over", "I Don't Wanna Live Forever", "When You're Gone", and "Cmon Cmon Cmon") on this album that do show the old passion, but for the most part it does lack the personal passion. Especially the title track "On a Day Like Today" - I thought one of the weakest tracks on the album was picked as the title song. The song does nothing to stick in my mind. It is really the four songs I list above which really carry the album as a whole.

"Before the Night Is Over" has almost a feel from "Reckless" to it. It is the strongest song on the album. Just from the opening chords and lines "Hey Baby". If I were the record company and Adams, this would have been the single I released. "I Don't Wanna Live Forever" quick tempo to it and has some great raspy vocals and harmonies, although it doesn't quite have a feel from "Reckless" (this song really stands more on its own as opposed to comparing to past works. "Cmon Cmon Cmon" has a very 90s feel to it and it almost reminds me of "Rock On" and kind of reminds me of a much softer and more mature version of Michael Damian's "Rock On".

"When You're Gone" is the most interesting and eye-catching song. The reason is that Melanie C from the Spice Girls (better known by her Spice Girl persona 'Sporty Spice'). This song starts with almost a retro Beach Boys start. Don't let the Spice Girls connection shy you away from this song. Melanie C holds her own in this song and blends her harmonies beautifully with Bryan on this song. Melanie C basically does background vocals for the entire song and my only complaint is I would have liked to hear her get a little more of a solo (she does get a couple of solo lines). I give Bryan credit for not being afraid to put a Spice Girl on one of his albums.

So Bryan Adams will go the Adult Contemporary Route marking another chapter in what is sure to be a Hall of Fame Career. This won't be one of his albums that gets him into the Hall of Fame, but it won't prevent him from getting in.

From the opening question, 'Is there anyone out there?', I was instantly captivated by this album. Perfect for long-time listening, with a steady and rhythmic beat throughout, this is ideal for long and lonely journeys. On a day like today, should introduce more listeners to this artist's music, as Waking up the Neighbours did in 1991. It was well worth the wait.

I miss Bryan's 80s works, where you could never see him with out his electric guitar in hand, pounding out simple but effective songs much to my delight..,well he still has his guitar, its here on the cover of the album, but unfortunately, that's where it stays.

There are some fantastic mood music songs on here. "C'mon C'mon C'mon" has a great relaxing vibe to it, that you may hear playing in the background of a cozy room on a bleak day or rain-soaked night. It's perfect. "Fearless" is a nice uptempo ballad about cheating, its a nice song though and it works well. "How Do you Feel Tonight" gets things going pretty good but is a little lacking compared to the aforementioned tracks, still a nice song.

A duet with a Spice Girl? Uhhh, I don't know how smart that was, its a good song ("When You're Gone") but I guess ol Bryan was just trying to capitalize on the mainstream power, the THEN power, of the Spice Girls..either way, it too, is a decent song.

But towards the end of the album, things just fall apart and I'm sorry to say that there is nothing special on the album after "Inside Out" which is the last decent track, mixing a nice and steady rhythm with a good beat for some good down-tuned enjoyment. I guess you may consider it a ballad, but to me it isn't quite because it has too much of an upbeat feel for it...might have even sounded better had it been done on a simple acoustic guitar.

For the most part this album has a very soft adult-comtemporary feel to it a la Sting or Rod Stewart, and he has worked with these individuals in the past. When I first heard this album I loved most of these songs but as the year's have gone by (Well, since 2001 when I first got it) I enjoy it a little less and less. The tracks above that I mentioned are always going to be classics to me, but I used to find much more to like about this album...

Stick To Your Guns Bryan. Pull out the guitar and let us hear you rock! 6/13

I was expecting a downturn since 18 til I die was a disappointment but I am surprised! Considering that Bryan Adams is now 40(!) I thought he'd just release a VERY toned down album and fade away into obscurity just like many other rock musicians. Instead of sticking with Robert 'Mutt' Lange in order to stick with an AC-DC/Def Leppard formula, Bryan Adams took some risks. Opening for the Rolling Stones in recent years must have rejuvenated him. Overall, these events made this album sound great!

How Do Ya Feel Tonight? is definitely a twist: a mixture of a Canadian rock style with British 90s guitar pop. On A Day Like Today follows an Oasis/Cure formula but with strings! in the background. The fun sing-a-long When You're Gone could have sounded better with Courtney Love, Sheryl Crow or the like. Yet, Mel C does a decent job.

Not to disappoint longtime fans, Adams presents a Summer of 69 like song in Before the Night Is Over and a happier, faster One Night Love Affair song in I Don't Wanna Live Forever.

For those who are searching for slow songs Inside Out and Where Angels Fear to Tread sound ok although they don't grab attention or last like Adams' past slow song hits.

Unneeded are Getaway and I'm a Liar.

In lieu of Lange ex-cure member and Natalie Imbruglia collaborator Phil Thornally and country performer Gretchen Peters put a different spin on Adams' songs as the current co-writers. The lyrics are more mature than in previous albums. Fellow Vancouver musician/producer Bob Rock puts a different twist in the overall sound. A surprise since Rock usually works with metal/heavy guitar musicians.

The album is better than 18 til I Die. Just don't get bogged down by radio stations who are unwilling to put Bryan Adams' upbeat new songs and want either his new slow songs or bad music, usually performed by the carpet bagging bubblegum pop crowd---the reason why all other quality songs from classic pop/rock musicians, especially the older ones, don't get more airplay. Overall, this experimental album met its test.

Buy this album!