The lack of a linear structure results in the individual songs banging against each other logjam-style, with the unfortunate effect that 'Fab Four Suture' begins to grate.

There's way too much power balladry, rawk guitar, Steven Tyler and MTV-by-numbers to make a genuinely stand-out record.

'Love Is Here' actually manages to deliver on all that early promise and, more than any of the singles that preceded it, completely conjures up the giant-hearted beauty they're capable of live.

'5:55' is a welcome addition to the Gainsbourg family's musical legacy, and we can't give any higher compliment than that.

This is an album of gin-fuelled laments, uprisings and battered beauty: such dignity and sharp proficiency shows he can only do better.

Make no mistake, 'Don't Be Afraid Of Love' is so much more ambitious and downright joyful than we had any right to expect that it's a flooring jolt to the system long after the first listen.

'Come With Us' sounds immediately familiar, but this is often problematic, redolent of prior work by both themselves and others.

It's slinky, suave chill-out music, gently exotic, best listened to lounging on throws amongst cushions.

Consistent and cleanly sexy stuff.

We don't dislike anything on here, and each time we listen, we like what we hear even more.

It's a clever, chic and defiantly underground record, alright, but it's guilty of trying too hard when clearly it doesn't need to.

To be honest this album has been down the pub all day; it doesn't care that you have to go to work in three hours time; it has just burst into your room and demanded the keys to your car and that bottle of Bombay Saphire you were saving for your birthday.

The choice, folks, is all yours. Would you like The Thrills? Or would you prefer some excitement instead?

At least 'Musicology' reunites us with that trademark Prince sound, that regal sparkle that’s influenced many and been matched by none.

There is no doubt [Martin] has talent, but there are just too many retreads, too many regurgitated ideas, and no fire, no raw anger, no big hairy bollocks.

The 'Idlewild' experience is mostly regrettable and one that will leave you feeling cheated.

'Black Cherry' is a record that, like Lemon Jelly's sophomore effort, 'Lost Horizons', consolidates rather than defines but, when Alison gets her honeyed tonsils into the warm duvet-textures of the title track, the world can happily stand still for 5 minutes and we'll gladly give them another bite.

There is no New here.

'Absolution' is Muse's most accomplished album to date, and kicks their - at the time - excellent debut album 'Showbiz' into the ground.

Many tunes possess an open, spacious quality, as if waiting for the jigsaw’s last piece.

While 'You Are The Quarry' is a very good album it's not the earth shattering masterpiece many had hoped for, nay, expected.

There is, undoubtedly, something impressive in the craft and detail of Plaid’s labours, but the whole lacks an intangible something to lodge their 'Spokes' securely in our hearts.

The production is simplicity itself, and by the end you won't remember 'Remember Today' from 'Every Stitch', and you won't know whether 'End To Begin' is at the beginning or the end, or even in the middle.

Despite their reputation for distinctiveness parts of 'The Tipping Point' feel distinctly under par by the Roots own high standards suggesting that the departures of MC Malik B (Slacks) and human beatboxers Scratch and Rahzel have, in some ways, led to a successive narrowing down of the range of the Roots' previously loose and eclectic sound.

The sound is small scale, but the bewildering range of styles shows he thinks big -­ listen with your brain plugged in.

Given how many of their contemporaries have attempted to xerox a winning sound and got it so far wrong, the fact that the Kings can still turn their hand to such magnificent lost hits as 'Misread', spin out obtuse, imaginative imagery as they do in 'Surprise Ice' and sculpt such tender ruminations as 'Stay Out Of Trouble' is cause for serious celebration.

The record is littered with highlights.

A very slickly produced record that's practically unlistenable.