Jazzy, soulful, philosophical and intimate, Jones seems to have found a poetic lyrical voice to match her sensuous voice and sensitive piano phrasing.

Giles Martin (son of George) has created an immaculate remix but all it really does is separate and boost sounds so that they can punch their weight alongside modern recordings on digital streaming platforms. It sounds good, but then it always did. ... What this painstakingly assembled 50th anniversary release demonstrates is that you can’t improve on perfection.

The Overload is a very fine debut from a group that sound like they think they are smarter, funnier and fiercer than all of their peers, and just might prove to be.

The mix of trap grooves and synth balladry is perfectly of the moment, lacking the boldness of a truly original talent. Yet there is something appealing in the sweet melodies and sour attitude of a singer who sounds like she might actually be starting to enjoy herself.

Her uncompromising, June Taboresque alto and imaginative, original material--from ye olde narrative ballads to modern love songs--are enduringly seductive.

For all Byrne’s other endeavours, music is the forum where his quirky, zany, challenging ideas achieve emotionally satisfying expression. American Utopia is another glittering offering from an old master.

A genuine treat, probably the best thing he has made since his debut.

Nothing you’re hearing here is particularly cutting-edge, but it’s delivered with such ebullience and pomposity that you almost forget that this isn’t the first time you’ve heard an 808 beat.

The songs Memphis Women And Chicken, Tuscaloosa, 1962 and Foolish Heart are highly enjoyable, but the highlight is the complex and moving Errol Flynn.

It’s certainly delightful and delicious – as they croon on opening track De-Lovely – although also decidedly undemanding.

The Death of Slim Shady is funny, shocking, contradictory, utterly outrageous, offensive, sentimental, clever, dumb and occasionally even (whisper it) wise.

Playing piano and acoustic guitar, the 44-year-old takes listeners on a bittersweet journey balancing the melancholy of the medium with a healing message. Stand out songs Closer and Lose My Way have a meditative sadness but there is real warmth in choral backing vocals, subtle grooves and Brun’s melodic instincts.

There is a clutch of fine songs here written for Nelson by some of Nashville’s leading contemporary tunesmiths, including the title track (a celebration of life on the road) and elegiac ballad Dusty Bottles that are surely destined for classic status.

Hypnotically compelling.

This is a vast superclub of an album. But for all its inventiveness, its flavours exist within fairly narrow parameters. Still, these songs will be blasted out of cars, at house parties, in hotel rooms and on dance floors for years to come.

It is a little daunting at first approach, but stylistic breadth and dynamic shifts make up for the stark brutality of their sound.

It’s only once you can give this album a little time and space that you begin to realise that the low-slung 20/20 Experience is really a rather refreshing and assured kind of a sit-down.

Midnights represents Swift at a turning point. I am not sure if it is the sign of a curtain falling on her imperial phase or a new pop dawn.

It’s fair to say there is nothing groundbreaking on offer, just another set of beautifully constructed and performed songs of soul and meaning.

There’s a range, ambition, confidence and accomplishment on display.

This debut switches effortlessly from r&b ballads to punchy rap tunes. With her big voice and ballsy attitude, is she Ilford's very own Pink?

Ilo Veyou is a magnificent, kaleidoscopic oddity, unafraid to risk ridiculousness in pursuit of the sublime, fearlessly unlike anything else you'll hear this year.

What meets at this particular crossroads is good old-fashioned blues, soul-stirring gospel and a funky, Hammond-organ-soaked sound.

They have done Ray Charles proud.

From the arresting cover (a comically unsalacious shot of a semi-naked Hackman holding a piglet to her breasts) to the startling contents, Any Human Friend signals Hackman’s coming of age as an artist with real purpose and 
star power.

The range of the album is impressive.

They are beautifully crafted songs, sung with feeling and subtlety and with lyrics full of honesty.