The Zuton's debut album was launched on a wave of publicity; but profile aside, Who Killed...The Zutons is crammed full of expert musicianship and licks.

The songwriting is not all it could be, but if any other
band in the U.K. has a female sax player, please raise your
hand now.

Perhaps the apogee of the 1970's punk movement; Nevermind The Bollocks Here's The Sex Pistols is still a huge throbbing brain of an album. The lyrics excoriate while the bass, guitar and drums still defy appraisal. Masterpiece.

Album number three sees a new label and a hot new
Producer. The act is more sophisticated than before
and sometimes the songwriting smacks of answering critics
rather than breaking new ground. The production values
are strong but often more bump and grind than the vocal
deserves.

Hard Fi's debut collection of songs about being young male
and broke in 21st Century Britain mixes red brick-dust with
desert sands to create an interesting blend of rock and reggae. Ardent vocals and strong instrumentation are off
set by an appalling marketing and design concept - get a
new label.

Talking Heads breakthrough album, on this side of the
Atlantic, walked off the shelves on the strength of its
album cover alone.

The collection of songs is inspired lyrically and the
quirky, choppy melodies equal the other three members of
this New York quartet.

Alanis Morissette's debut album of songs being the other
woman still raises the hair. There are cliches that warn
of offending the fairer sex but none of them give voice
quite so powerfully as Ms. Morissette; with a vocal delivery akin to white voodoo.

Ably supported by tremendous instrumentalists this album
stands out.

You will know these songs; the North London septet eulogise
London with a sound like rainwater on grey roof slates. It's an interesting world Madness created with trilby hatted rude boys, weary old lags and ASBO offenders singing
songs of redemption and despair. The lyrics are all picture perfect and the instrumentation evocative of the
sounds of London and its inhabitants.

Inspired electro pop from The The, a.k.a Matt Johnson, and
a loose ensemble of changing musicians. Soul Mining is technology heavy, which is a shame as the whirr and crunch obliterates some of the human touches. Johnson's cod psychology gets a little wearing at times - after all, it's not how you feel but how you feel - and looping drum patterns should be a crime.

Childhood toys have never been put to more devastating effect than in Siouxsie Sioux's 80's goth masterpiece,
Spellbound. Spidery guitars, straight and parallel drumming and a throbbing bass-line invoke dark scary childhood places that thrill and excite.

The twelve inch vinyl has an abysmal edit and we only hear
Siouxsie's voice again as a yodel; however the instrumentation excels - like galloping a black horse across a ploughed field.

Beautiful album from the Talkin' Loud label which introduced acid jazz into the E-Fuelled dance scene of 1991.

Expert scratching, mixing and playing from the K-Creative;
with the mellowest rapping this side of Brooklyn.

Colour permeates the album; as so does soul and jazz licks
and chops. A must buy for anyone into early 90's dance music.