Guns N' Roses - Appetite for Destruction

Already a legend in its own meagre lifetime, this startling debut shrouded itself in controversy, from its original Robert Williams artwork to Axl Rose's unblinking accounts of LA's underbelly. This mawkish storytelling, combined with a brattish collective swagger and a surprisingly mature approach to their songs, guaranteed Guns N' Roses a speedy notoriety that was to serve their legend brilliantly. From the laconic "Paradise City" to the achingly beautiful "Sweet Child O' Mine," or the furious "Welcome To The Jungle," the record brims with a brutal integrity. An album they could never surpass even if they had stayed together.

The Carpenters - The Singles 1969-1973

Now deleted in the US, this import collection features the same 12 tracks that appeared on the US edition. Includesall the hits that garnered them world-wide acclaim, 'We've Only Just Begun', 'Rainy Days & Mondays', 'Top Of The World', 'Only Yesterday', 'Ticket To Ride', 'Hurting Each Other', 'Close To You (They Long To Be)' & many more. 1991 Universal/Polygram release.

Kate Bush - The Whole Story

The Whole Story is a sampler of the early tracks that show the promise of Kate Bush, who never contented herself as an ordinary singer/songwriter. The always-experimental Bush had a knack for populating her songs with peculiar characters. There's Catherine of "Wuthering Heights"; there's Peter Reich of "Cloudbusting" (an extraordinary track in every way); there's the mother in the lilting "Army Dreamers"; and there's also the womb-confined baby who documents a nuclear blast in the moving "Breathing."

Bush also looks to eclectic sources for inspiration. "The Dreaming" was inspired by Rolf Harris's "Sun Arise" and the Aboriginal song "Aeroplanes, Aeroplanes." "Hounds of Love" took its inspiration from the film "Night of the Demon." This compilation covers the first decade of Kate Bush's career (until 1986) and is a great place for discovering her myriad talents. Many have followed in her footsteps, but few have matched her.

Kylie Minogue - Body Language

On her umpteenth album, Australian diva Kylie Minogue continues to dish out the dance-floor-ready tunes. Following up her international hit, "Can't Get You Out of My Head," Minogue isn't content to rehash that song; instead, she wraps herself in a luxurious robe of electro-beats and dreamy synthesizers. Body Language starts off with the sensual "Slow," a remarkably spare song that glides along on simple synth lines, bubbling beats, and, of course, Minogue's airy coo. This formula works well on other tracks, including the saucy "Secret (Take You Home)," the celebratory "Sweet Music," and the Bjork-like "Someday." Minogue also dips into past decades on certain tracks, such as the 1980s-inspired, vocoder-laced pop of "Still Standing" and the '70s guitar-driven funk of "I Feel for You." Throughout the album, Minogue works her Body Language with giddy pleasure, easily putting most of her contemporaries to shame.

Jay Z - American Gangster

Following up his crossover-ridden return from retirement Kingdom Come, Jay-Z presents a concept album, American Gangster, inspired by the Ridley Scott movie of the same name. Contentwise, Jay is in his element, spinning street corner imagery and tales of the drug trade in the same spirit as the film, while, on the production end, 1970s R&B and soul samples dominate. The production team of Diddy, LV, and Sean C accounts for much of the record's cohesion, providing six beats built on loops from the likes of Marvin Gaye, Barry White, and Rudy Love & the Love Family.

Jigga finds plenty room to get jiggy on tracks like "Roc Boys (And the Winner Is)," "Party Life," and "I Know," a Neptunes-produced gem that sounds like a tricked-out "It Ain't Hard to Tell." Undoubtedly Jay's tightest effort since 2001's The Blueprint, American Gangster features a few choice guest verses from Lil Wayne, Beanie Siegel, and Nas.

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Ryan Adams - Love is Hell

The confusing, complex saga of Love is Hell--initially rejected by the label, then begrudgingly issued as two EPs before it finally saw the light of day as a full album--would be just an interesting footnote if not for the shockingly high quality of the material itself. In between his incarnations as alt-country troubadour and Strokes-friendly garage-rocker, Ryan Adams turned out what just might be the best record of his career. A beautiful, bittersweet journey through heartbreak, it's a ballad-heavy album that bears echoes of Jeff Buckley and Britpop acts from the Smiths to Coldplay. Perhaps unsurprisingly, Smiths producer John Porter is on hand to assist the formerly earthy Americana artist in his transition to fragile, melodic, Anglo-adoring balladeer. While the original EPs were weighty documents in and of themselves, Love is Hell's full-length version bears an even greater emotional impact, as the mood is allowed to establish itself gradually and dramatically, pulling the listener into a very personal world of gorgeously observed romantic tragedy.

Moby - Go: The Very Best of Moby

Issued in 2006, GO is the first Moby compilation to include both the New York City-based electronica artist's early-1990s singles and material from his '99 mainstream breakthrough album, PLAY, and beyond. In addition to an update of the rave-steeped title track, the collection presents fan favorites such as the soulful "Honey" and the shimmering ambient composition "God Moving Over the Face of the Waters." The two-CD set also includes the previously unreleased "New York, New York," featuring vocals from Blondie's Debbie Harry, and an entire disc of remixes by club luminaries such as Timo Maas and Mylo.

Goldfrapp - Supernature

Arguably Goldfrapp's most accessible and immediately engaging album, SUPERNATURE features the British duo mixing sensual electronica with catchy pop to wonderful effect. Sounding like the result of Ziggy Stardust crash-landing in Prince's studio during a session with Kylie Minogue, this outing sparkles with willful decadence and glamour, opening with the T. Rex-like techno-stomp of "Ooh La La." Alison Goldfrapp's voice often recalls both Minogue and Kate Bush, with the music generally veering towards the dance-floor furor of the former. Though the record does present slow and/or mid-tempo tracks, most notably the shuffling "You Never Know" and the dreamy "Let It Take You," Goldfrapp and Will Gregory's synth-soaked textures are frequently employed to a clubby, crowd-pleasing end, as on the sassy "Lovely 2 C U" and the raucous "Satin Chic." Although much of Supernature lacks the moody, overtly cinematic atmosphere of earlier Goldfrapp releases, most listeners will be too busy careening around the room to care.

The 2006 U.S. edition of Supernature features the bonus track "Beautiful," a surging techno-tinged tune on a par with the album's best songs.

Seven Mary Three - Day and Nightdriving

Basement Jaxx - Kish Kash

Any album that features both boy-band vet JC Chasez and goth-punk icon Siouxsie Sioux calls for a double take, and once Basement Jaxx have your attention, they pull you into the non-stop house party of Kish Kash. On their third album, the UK duo of Simon Ratcliffe and Felix Buxton joins the ranks of the Chemical Brothers and Fatboy Slim by including a remarkable roster of high-profile guest artists that extends to soul/funk diva Me'Shell NdegeOcello and up-and-coming British rapper Dizzee Rascal.

Kish Kash opens with the energetic "Good Luck," which presents the buoyant, Motown-influenced vocals of Lisa Kekaula against a loopy backdrop of distorted synthesizer and a full string section. Other standout tracks include the two Prince-inspired numbers that feature NdegeOcello ("Right Here's the Spot" and "Feels Like Home") and cockney lyricist Dizzee Rascal's delirious Eastern-inflected contribution. The true highlight, however, is the driving, fuzz-bass-fueled title track, which features Siouxsie Sioux's unmistakable vocals over the surging sonic assault. A fun, clever, and always unpredictable outing, Kish Kash is house music for people who don't think they like house music.

Keane - Under The Iron Sea

The Knife - Deep Cuts

Reissued after the success of 2006's SILENT SHOUT, the Knife's '03 album, Deep Cuts, is more dance-oriented than its dark, moody successor. While the wonderful quirks of the Swedish brother/sister electronica duo--namely distorted vocals and prominent synth lines--are present, they are often used in shimmering, club-ready contexts, as on the vibrant "Heartbeats" (later covered by indie-folk performer Jose Gonzalez) and "You Take My Breath Away," which skates along nimbly on a sheet of icy beats. If Deep Cuts is a night out on the dance floor, SILENT SHOUT is the chilling, shadow-filled walk home, making the former the more accessible and lighthearted of the two albums.

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Rogue Wave - Descended Like Vultures

On its second Sub Pop album, Descended Like Vultures, the San Francisco quartet Rogue Wave makes a notable departure from its debut, Oout Of The Shadow. While the earlier disc has an airy, lo-fi sound that's enhanced by subtle electronics, much of Vultures is amped-up indie-rock bolstered by dense arrangements. "Publish My Love" features alternately chiming and driving surges of guitars, while "10:1" careens along on layered keyboard lines and a propulsive beat. Frontman Zach Rogue often sounds like a less troubled younger brother of Elliott Smith, particularly on the record's mellower moments, including the folk-tinged "California" and the dreamy "You." Although Rogue Wave fans may initially be perplexed by Vultures, the album reveals a more ambitious aspect of the band, and repeated listens reveal its many charms.

Incubus - S.C.I.E.N.C.E.

I love this album. I love it for its creativity and experimentation but most of all for never letting up. The album never lets the great energy fade. The first song to the last, it just totally sucks you in. Brandon Boyd has amazing vocals and lyrics are thought provoking. His band touch on music that is absolutely genuine. Love it. Don't forget to listen the song Summer Romance first!

Beck - Odelay - (Deluxe Edition)

After his 1994 indie single "Loser" accidentally crashed the mainstream, Beck realized he liked it up there and decided to ham it up with a shameless pop record. So for Odelay, he hooked up with the Dust Brothers to play around with punk, hip-hop, acoustic folk, bossa nova, Latin soul, mainstream R&B and line-dance country — there's as much Babyface as Bob Dylan on this record, and as much Billy Ray Cyrus as Biz Markie. The grooves are so funny, Beck had fans rolling in the aisle before he opened his mouth.

On this two-disc deluxe edition, the greatest moments still come from the original album: "Where It's At," "Jack-Ass," "Lord Only Knows," "Hotwax." But the rarities and B sides are so good, they'd add up to Beck's third- or fourth- best album on their own. "Electric Music and the Summer People" is one of his best; "Gold Chains" and "Inferno" are worthy outtakes; "Burro" has the album's best song, "Jack-Ass," sung in Spanish with a mariachi band. It flows into a summary of Nineties rock & roll wiseassery, a sonic version of the sensibility that would turn into Johnny Knoxville and Owen Wilson. "Hotwax" was never a hit, but it still sounds like Beck's theme, because it means (among other things) stolen music — the sound of a very shrewd kid stealing his way onto the radio like a burglar in broad daylight.

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Yeah Yeah Yeahs - Fever to Tell

The Yeah Yeah Yeahs' music explodes in a sea of overt sexuality and frenzied emotion, hinting at hooks and sometimes even getting totally enveloped in them, as on the disarmingly charming "Maps." On the other end of the spectrum lies the raw MC 5 full-on punk-blues of tracks such as "Man" and "Tick." On FEVER TO TELL, the Yeah Yeah Yeahs prove their ability to stand out in a crowd, offering perhaps the most original recording to be hailed in the '00s garage-rock revival.

The Chemical Brothers - Exit Planet Dust

Exit Planet Dust is a record concerned more with the urban jungle than space-time continuums, although there's no shortage of tripped-out effects, stereo panning, reverb, and a healthy amount of studio gimcrackery. Mobile fidelity is the nucleus here, so anyone expecting ambience need look elsewhere. With this record, one of the first to break so-called "electronica" mainstream and on Main Street, USA, The Brothers have assimilated so many dancefloor ideologies that their stance within the "big beat" genre should ultimately get them through the next musical revolution--and beyond. To many, this is the possible future of pop: Spock & roll, anyone?

Beirut - Flying Club Cup

Joni Mitchell - Wild Things Run Fast

Britney Spears - Oops I Did It Again

Given the phenomenal success of Britney Spears' debut, ...Baby One More Time, it should come as no surprise that its sequel offers more of the same. After all, she gives away the plot with the ingenious title of her second album, Oops!...I Did It Again, essentially admitting that the record is more of the same. It has the same combination of sweetly sentimental ballads and endearingly gaudy dance-pop that made One More Time. Fortunately, she and her production team not only have a stronger overall set of songs this time, but they also occasionally get carried away with the same bewildering magpie aesthetic that made the first album's "Sodapop" -- a combination of bubblegum, urban soul, and raga -- a gonzo teen pop classic. It doesn't happen all that often -- the clenched-funk revision of the Stones' deathless "Satisfaction" is the most obvious example -- but it helps give the album character apart from the well-crafted dance-pop and ballads that serve as its heart. In the end, it's what makes this an entertaining, satisfying listen.

The Cardigans - My Favourite

The Smiths - The Queen is Dead

Audio CD (October 25, 1990)
Original Release Date: June 1986
Number of Discs: 1
Label: Warner Bros / Wea

1. The Queen Is Dead/Take Me Back To Dear Old Blighty (Medly)
2. Frankly, Mr. Shankly
3. I Know It's Over
4. Never Had No One Ever
5. Cemetry Gates
6. Bigmouth Strikes Again
7. The Boy With The Thorn In His Side
8. Vicar In A Tutu
9. There Is A Light That Never Goes Out
10. Some Girls Are Bigger Than Others