Make no mistake - pop stars read their own reviews.

There are only a few exceptions. Sheryl Crow claims she doesn't read anything. Her press is mainly positive anyway. Stompin' Tom Connors saves every scrap written about him, even passing mentions of his name in unrelated articles. Hi, Tom!

It is said that Billy Joel used to burn his negative reviews during concerts, which might have caused a problem with the fire marshall.

Pop stars say this a lot: "Don't believe your own press."

That's if it's positive press. Rock 'n' roll rule No. 3: Avoid a dangerously inflated ego by ignoring constant praise.

Negative reviews hurt like hell. I know because I've had "backlash" from one or two recording artists. Tom Cochrane banned me. Amanda Marshall called me obnoxious, condescending, arrogant and ill-mannered. We got off on the wrong foot.

Subsequent interviews with a previously panned artist, if they are granted at all, can be, shall we say, awkward. And hey, it's no picnic for the critics, either. Imagine being forced to give your opinion even if you don't want to. Besides, there's no evidence that carving Neil Diamond's latest dreck in a daily newspaper will prevent people from buying it. Hey, if I can reach just one person ...

If you've read this far you must be thinking: where is all this self-indulgent claptrap going? Nowhere. It's the end of the year. I just thought I'd try an experiment.

I've always loved the Watchmen without being able to put my finger on the reason why - until the band's latest album, Slo-Motion. It sounds like the band is tired of rock 'n' roll and trying to find fulfilment in sequencers and drum machines and turn into Depeche Mode. Or Radiohead. Now the Watchmen just sound like they're tired of themselves. Since the set includes a greatest hits CD, Slo-Motion offers a splendid opportunity to compare the old with the new. It's night and day. Good and not so good.

That's not just my opinion. I'm right, damn it!

The Watchmen is still a formidable live unit. It should be a good show when the band plays New Year's Eve at the Shaw Conference Centre for The Bear's Children's Fund. (The original Dec. 14 was not selling well, so The Bear picked up the gig and things worked out for everybody.)

Anyway, rather than skulk around the bad review during a recent interview with guitarist Joey Serlin, like I'd usually do, I decided to face it head on and get right to the heart of the matter. I think it's healthy.

"I read your review," he says. "I don't agree. We wanted to stir things up and reinvent ourselves. If I recall correctly your review of Silent Radar (the Watchmen's last album), I think your criticism was that we didn't take enough chances. We were feeling the same way."

Damned if you do, damned if you don't.

Serlin explains that the band had already been tinkering with drum machines and loops when drummer Sammy Kohn quit.

He may not have been pleased with seeing his role slip away, Serlin suggests. Kohn's departure only accelerated the change in direction.

"It was something we needed to do," Serlin says. "And we're very happy with this record. We're very proud of it. I think this band's gone to the next level."

Fair enough. Change is good. However, I argue, it's hard to adjust when you're a fan of a rock band that makes the hair on the back of your neck stand up, and then they go all artsy and soft. I feel the same way about Radiohead. It's more than just about the style of music or the instrumentation. It's about power, about how great rock 'n' roll can make you feel, not in the brain, but lower. Nope. Lower. Lower ... there, that's got it. Slo-Motion doesn't do it for me.

"That core substance of the Watchmen is still there, it's just dressed up a little bit," Serlin says. "Give it a few listens."

I promise I will. If I have the time.

There. That wasn't so bad, was it?