The Lemonheads 2006 may not be breaking any new creative ground, but they couldn't sound in ruder health.

And while at first it feels like an unholy, unhummable mess, the same solid gold charm which powered lead single "I Don't Feel Like Dancin'" to Number One, lurks at the heart of every track, and by listen five it's refocused "Ta-Dah" into a strangely enticing nether world, where it's forever 1974 and a cheap thrill or soaring pop high lurks round every corner.

While passages are lovely, the work as a whole struggles to hold the attention.

There just aren't enough ideas or songs to make up for the overwhelmingly mean perspective.

Contrary to the way he's been perceived, Shadow has never been anything other than passionate about hip hop, and "The Outsider" is his love letter to the genre, revelling in all its myriad excesses.

"Empire" has an almost childlike energy and determination that makes it feel strangely charming.

An album so engaging it is impossible to pick one best track.

Arguably up there with his greatest achievements to date, "The Letting Go" is business as usual for Oldham, but also a brand new start.

Where the likes of [Gwen] Stefani and co manage to tie eclectic albums together with the strength of their personality, Fergie never actually comes close to showing what she really sounds like, leaving "The Dutchess" as an exceptionally random R&B mixtape.

Cut out vague Shindoa track, "The Instrumental", tired Gunter Kallmann Choir-retread "Daydreamin'" and the offerings here that are marred by warbled soul harmonies - consistently added as afterthoughts to choruses - and this would be perfect.

Their best album yet.

Take the time to squeeze inside, and you'll discover a startling, significant, endlessly inspiring album.

"Crazy Itch Radio"... is the sound of an act running out of steam as it settles for the lowest common denominator with a nonchalant shrug of the shoulders.

Even the lesser efforts are superior to typical chart fare.

All in, this is probably their best work.

[It] firmly places her at the cutting edge of modern pop.

"Modern Times" offers further evidence that this man remains more than capable of greatness.

This is not merely a good album, but a truly great one.

"Riot City Blues" starts fairly poorly and gets progressively worse.

Imperfect and absurdly oversized it may be, but only OutKast could have pulled off a crazy creative coup like "Idlewild".

"Damaged" is as nuanced, temperate and contemplative as its predecessor.

Here, the band do what anyone suffering from a knock to their confidence does - they revert to the safety of what they know best.

It's no pop masterpiece to rival The Beatles, Madonna or Michael Jackson's best. But then again, few things are. If however the bench marks are Aguilera and Pink, it's only fair to say that Ms Hilton or rather her album, holds its own.

Sliced in half, Kelis' fourth album would be twice as good. As an EP it would be perfect. But in it's current incarnation, it's one to cherry pick from your favourite download store.

No doubt the album of her career.

The fear was always that Dirty Pretty Things would resemble The Libertines with a vital ingredient missing, and that's surely what's transpired.

Overall, it's less chaotic and noisily rampant, the Comets' awesome creative fury now channelled into structures more obviously resembling tunes.

"Christ Illusion" for the most part consists of leaden, grinding sludge devoid of any urgency or malevolence.