A rather more satisfying record than their second.

An energetic, intelligent and fairly modern rock album - not exactly cutting-edge, but not entirely anachronistic either.

"The Looks" throws up more sure-fire dance starters than anything [we've] heard in a while.

Our suggestion: embrace the bizarreness of it all. It's all good fun, and let's face it, even though Christmas In The Heart is unlikely to invoke a last minute panic in Best Of The Decade list makers, it's way better than Slade.

A supreme return to form.

Miraculously, given the similarity of the design, 'Meteora' avoids being a stagnant retread of 'Hybrid Theory'.

Warm and welcoming.

The latest in a long line of frustratingly hit and miss solo efforts.

"Sexor" is one of the more diverting and consistent dance records of recent times, and certainly one of the most fun.

Three albums in, their belief that success and integrity don’t have to be mutually exclusive, is finally starting to pay off.

A great straight-down-the-line rock 'n' roll album.

The first truly great rock band of the 21st century.

As much as Nelly likes to portray himself as everybody’s favourite fun-filled club star, “Suit” suggests that writing thoughtful, intelligent and enduring R&B is where his heart really lies.

Although it is an immensely enjoyable experience featuring often breathtaking dexterity and turntable trickery, it rarely deviates from a strictly old school template.

In drawing on rock, hip hop, electro, drum 'n' bass and early electronic artists, Van Helden mirrors the developments dance acts have been making in the UK and Europe, rather than US artists.

It's when Diddy adopts the role he's really good at, the executive producer - bringing together and overseeing the real talent - for the closing stages, that "Press Play" moves from being another chaotic and bloated stab at a rap career to being something approaching a great album.

Sweet, vibrant and sunny songs with just as much invention and passion as 2000's buzz-building early EPs.

Way more consistent than your average over-long US R&B release, whilst still being stuffed with just as many potential singles.

David Gray might not fit most people's definitions of a revolutionary artist, but he's effected his own startling transformation here.

If anything the songs might be less hungry than on their debut and less nimble than its follow-up, but it is sure-footed and firmly directional and they have no trouble reaching the benchmark they'd previously set themselves.

Although Bombay Bicycle Club can't quite hold a torch to the all-conquering returning Maccabees, they're an armful short of effortless anthems for that, but they prove themselves worthy of operating in their shadow.

Walk it Off is certainly not for everyone; but if you tire of quick fix indie and are craving something a little more cerebral to get your teeth into, it requires immediate investigation.

Alanis is back on course and heading in the right direction.

At its heart there is a beautiful record in there for anyone with the time and patience to find it.

The Frat pack are back with the impressive, Here We Stand, a confident, storming, guitar-driven rollercoaster of an album with more hooks than the North Sea fishing fleet, all bobbing along on a blitzkreig of overdriven, pop guitars.

Overall, 'Road Rock Vol 1' is a tad sloppy and definitely no match for 'Live Rust', still Young's finest live album. That said, it's crudely compelling and with the exception of disappointing newie 'Fool For Your Love', further affirmation that this grizzled vet remains at the pinnacle of his considerable powers.

Still, if not perfect, there's plenty to like on Discipline, and while none of it is exactly vintage Janet, there's enough here to keep the Jackson name on pop's A-list for a little while longer.

As exhilarating as it all may seem on the surface, there's little here that we haven't heard before.