Now, 35 years on, her voice is as resonant, lachrymose and strong as ever.

At 35 minutes long, Object 47 is the perfect length: short, to the point, and boasting some of Wire's most vital music.

Wry, understated and occasionally heroically sorry for itself, his fourth--and best--album mixes folk, pop, country and rock to superb effect.

Spun-out psychedelia, world-weary Appalachian bluegrass and soulful blues make up his first solo album, proving that in the right hands, nostalgia can become a delicate, authentic rediscovery rather than the clunky retread that so many settle for.

It's to Lewis's credit that he can credibly convey the romantic notion of hopping on a Greyhound while also moaning about the leg room.

The darker, more mischievous mood at work is perfectly complemented by arrangements that are as inventive as they are austere.

While their coming-of-age tales entertain some, it's their 'us versus the world ' spirit that makes this such an enthralling debut.

The production is glossed to within an inch of its life, the mood is cheerfully upbeat--or 'festive' as Carey might put it herself--and the entire confection rings out with bold, sassy, brutally executed intent.

His third stint as the Fireman, his partnership with producer Youth, finds the pair on inspired form, ready to take risks while knocking out a track a day.

I'm New Here might turn out to be a footnote rather than an American Recordings-style new chapter, but this is as striking a return as we're likely to hear all y.

Reliability is the Hold Steady's calling card, and on Stay Positive they don't stray far from the tried-and-tested combination of orthodox guitar rock and gritty, observational lyrics.

Standards given a sensual bossa makeover

The Future Crayon isn't the 'new Broadcast album', but it might actually be their best album.

Lowe pulls it all together with warmth, wit and searing emotional honesty.

It's an inventive reimagining of hip hop with huge basslines underpinning the otherwise cinematic atmosphere.

Though it may occasionally be a little too skittish for its own good, Which Bitch? confirms that the View are a band with a vibrant imagination and an abundance of ideas. For that reason alone, their return is very welcome.

Homme's ever-catchy formula remains, but the mood is uneasy and brooding, with tracks such as 'Sick, Sick, Sick' revealing a venomous new band that's finally learned to separate business and pleasure.

For all American Gangster's conceptual flair, the purest joy comes from 'Success', a tune which could have slotted into any Jay-Z album.

AC/DC have stuck to their guns with electrifying results.

Sometimes the rough edges have been over-smoothed: there are all kinds of strange, cheap synthesised noises buried under the layers of polish that I'd like to hear more clearly. But this is a minor gripe, for despite its dark heart, there's a real joy about this debut.

Of all the 32-minute concept albums inspired by Paul Auster to come out of Sunderland this year, it's comfortably the best.

The synth-punk shout-pop of this boy/girl duo was cobbled together in a Salford arts complex for a budget of zero pence. And--in a totally great way--it sounds like it.

Something a bit crunchier that's been boiled up with producer Josh Homme in the Mojave Desert, but with the sweetener of Alex Turner's words.

Quite addictive.

While Narrow Stairs may scale down the melody-assaults of previous efforts, with their fresh groove and whiff of rebellion, Death Cab announce themselves as genuine rock stars.

Part-Incredible String Band, part- Lal Waterson, but mostly magnificently unique.

Roots and Echoes is a brighter, considerably more settled record than previous outings, less inclined to meander skittishly into dub, mariachi and sea shanties.

Mostly band and producer Mark Ronson have done what both parties needed to do in late 2008: avoid the ordinary and obvious, namely glossy stadium-indie and retro-soul horns respectively, and aim for the extraordinary.