The prolific princess of pop has thrown together a mixture of contemporary and traditional holiday favourites, bordering on too-cute and kitschy only on the intro to "Feliz Navidad". For many, Dion is an acquired taste, but even nay-sayers may enjoy her rare moments of restraint on a smoky version of "Blue Christmas". "The Prayer," a duet with Andrea Bocelli, is set to become the "Time to Say Goodbye" of the future, but it will have to battle it out with the R. Kelly duet, "I'm Your Angel", first. -Rebecca Wallwork.

The world can't get enough of Madonna, and with CD/DVD sets like The Confessions Tour dropping regularly, it's little wonder why. As a thrower of fantasy dance parties, she is peerless. As a physical role model for the 40-ish women who grew up on her music, she rules. And as an arbiter of what's going to sound shockingly original in any given decade-well, duh. The Confessions Tour rounds up songs from way back-"Ray of Light" and "La Isla Bonita" make the DVD, and "Lucky Star" and "Like a Virgin" are on the CD as well as the DVD-but this concert, filmed in 2006 at Wembley Arena, aims its sturdiest spotlight on Confessions on a Dance Floor, Madge's 2005 disco disc. You could argue, then, that unless you're in it for the sheer DVD spectacle (and what a spectacle it is), there's no sense in owning this package. Only you wouldn't be right. Because as any on-the-ball Madonna fan knows, what she's doing musically is telling a story-you may already know the characters, but that doesn't mean she hasn't completely reworked the plot. To that end, "I Love New York" gets its rock on, "Let It Will Be" has a musical temper tantrum, and "Hung Up" goes for the drama queen award. You've heard these songs before, but you've never heard them quite like this, to borrow a bad informercial phrase. [+]

George Orwell's classic tale of totalitarianism, 1984, was the inspiration for a project that David Bowie hoped would further solidify his standing as a rock visionary. Bowie was a natural artist to helm a musical companion to Orwell's allegory, since his own music exhibits an innate alienation. The concept ultimately broke down, but the music didn't. "Rebel Rebel" has become a rock staple, while "Sweet Thing," "Candidate," and the forthright yet experimental title track (Bowie as puppet master) offer additional highlights. Still, despite such benchmarks and its conceptual flaws, Diamond Dogs is best listened to as a thematic collection. -Rob O'Connor.

Among the legions of rockers who died way too young-including Jeff Buckley's father, Tim-few have approached the artistic range and seemingly limitless potential on display here. In the decade since Buckley's death, there has been such a flood of posthumous releases that it might be hard to remember that he issued only a four-cut live EP and a studio debut album while he was alive. This anthology serves as an effective introduction for the initiate, showing how Buckley could rock with the slash-and-burn intensity of Led Zeppelin on "Eternal Life (Road Version)," turn rapturous with the reverie of "Lover, You Should've Come Over," and cover the likes of Edith Piaf ("Je N'en Connais Pas La Fin") and Leonard Cohen (his by now iconic transformation of "Hallelujah"). Completists will need this for the live versions of "So Real" and The Smiths' "I Know It's Over," previously unreleased commercially. Whether Buckley would ever have been able to balance the control that mature artistry requires and the ecstatic abandon that distinguished him, such raw talent continues to startle. -Don McLeese.

A major artist in Ireland, David Gray has a loyal but somewhat smaller following throughout the rest of the world. Since his 1994 debut album A Century Ends, he has consistently produced quality, folk-tinged songs that showcase his one major talent-a raw yet melodic voice. White Ladder marks something of a departure from his usual fare, as it sees him embracing a more modern sound, adding interesting beats and electronic sounds to the more traditional acoustic guitar and piano. In trying to widen his appeal, he risks alienating his fan base, but tracks like "This Year's Love" and "My Oh My" should keep everybody happy. -Helen Marquis.

With valuable assistance from producer Rick Rubin, the Peppers find just the right blend of punk, funk, and hip-hop. Even with a running time of 74 minutes, this 1991 breakthrough has continuity and cohesion both within and across the 17 cuts. Riding Flea's surging bass, Anthony Kiedis delivers his explicit lyrics with a rapper's flair, extolling the virtues (and outlining the dangers) of sex and drugs. Plaintive ballads such as "Breaking the Girl", "I Could Have Lied", and the hit "Under the Bridge" give the album depth and provide contrast to the raw energy of "Mellowship Slinky in B Major", "Funky Monks", and "Give It Away". Rubin masterfully fuses John Frusciante's raunchy guitar with the irresistible grooves. -Marc Greilsamer.

The success of her first international hit, Watermark, confirmed Enya as less a singer or songwriter than a sonic architect: working with producer Nicky Ryan and his wife, lyricist Roma Ryan, the classically trained pianist built vaulting cathedrals of sound, framed by luminous piano, shimmering synthesizer orchestrations, and, above all, the seemingly infinite layers of vocal harmonies she applied to every song. The deeply romantic Celtic pop on its 1991 successor, Shepherd Moons, sustains the same spectrum of hushed reverie and surging, rhapsodic releases, as well as its mix of ballads, floating midtempo pieces, and forays into Celtic and Latin- and it's every bit as seductive. The terminally hip will sneer, but it's no accident that "Caribbean Blue", the best known song here, managed to sneak onto modern rock, top 40, and adult-oriented radio playlists. -Sam Sutherland.

At least Rod Stewart is consistent. Long accused by critics of selling his considerable interpretative talents short and playing it safe for the trappings of fame, Stewart revisits the font of his latest career revival here. But while 2002's It Had to Be You at least turned on the novelty of hearing raspy Rod the Mod tackle Broadway standards with a boozy, world-weary tone that sometimes reinforced the originals' intent with cross-generation flair, the rock icon has unfortunately reverted to form on this 14-track sequel. Set against the laconic, cocktail-friendly productions of vets Richard Perry and Phil Ramone, Stewart's performances seem strangely detached throughout. Even when offered the chance of some real human interaction on a pair of ill-conceived duets with Cher (who at least attempts to bring some dramatic flair to "Bewitched, Bothered and Bewildered") and Queen Latifah (whose recent turn in Chicago informs the title track), Stewart seems almost blissfully unaware of their presence. These are songs that virtually demand to be acted out, not phoned in. Brilliant vocal performances often reinforce the notion of "the singer, not the song"; here that old adage sounds more like a suggestion of where to place the blame for this album's disappointments. -Jerry McCulley.

Subtitled "Rare and Unreleased 1989-2006", Tell Tale Signs, the eighth of Dylan's long running Bootleg series of officially approved outtakes, comes in two formats. The two-disc version consists of 27 tracks, including alternate versions of songs from his last three studio sets: Oh Mercy, Time out of Mind and Modern Times. Even non-obsessives will be seduced by the highlights here. A lovely sparse solo version of "Most of the Time", just Dylan strumming guitar and blowing a wheezy harmonica, outdoes the Daniel Lanois-produced original. The bleak, stately "Can't Escape from You", the sad and beautiful Civil War epic "Cross the Green Mountain", "The Lonesome River" a bluegrass standard with vocals from Ralph Stanley and a great, lo-fi live version of Reverend Gary Davis's influential "Cocaine Blues" are all standouts. Two versions of "Dignity"-a piano demo that reduces it to an oddly naked state and an unexpected rockabilly take-neatly capture the idea behind these volumes-to expose dedicated fans to the overlooked and underestimated parts of Dylan's constantly shifting oeuvre. -Steve Jelbert.

Hatful Of Hollow presents the raw and yearning performances of the early Smiths at their best, with Morrissey singing "'the sun shines out of our behinds" on the iconic "Hand In Glove", his tongue firmly in his cheek. For many Smiths devotees, this is the band's alternative debut album, containing vital Smiths recordings like the John Porter produced "How Soon is Now?". Other less well-known delights include a beautifully mordant acoustic rendition of "Back to the Old House" and the kitchen sink melancholy of "This Night Has Opened My Eyes". Hatful Of Hollow is a sixteen track collection that is taken in the main from BBC Radio 1's cutting edge John Peel and David Jensen evening shows in 1984. Like The Beatles at The BBC, The Smiths radio sessions sound both timeless and epoch defining, and there is no better introduction to the band's beguiling talent than on Hatful Of Hollow. -James Littlewood.

The youthful faces that stare out from the cover of this latest collection of singles from Irish rockers U2 suggests that the focus of the album is, perhaps, their lauded yet under-represented early days. A quick glance through the tracklisting shows that not to be the case, however. There are examples of their rawer 80s sound - "Pride", "I Will Follow", "New Year's Day" - but where, older fans may well ask, are songs like "The Electric Co", "Gloria", "I Threw A Brick", "Fire" from Boy and October? Similarly, songs like "With Or Without You", "I Still Haven't Found What I'm Looking For" and "Where The Streets Have No Name" were on The Best Of 1980-1990, whilst "Beautiful Day", "One", "Mysterious Ways" and "Stuck In A Moment You Can't Get Out Of" were all on The Best Of 1990-2000. U218 does have the advantage of featuring more recent tracks, including their collaboration with Green Day, "The Saints Are Coming" and a new song, "Windows In The Skies". Whilst dedicated followers of the band may see this as a missed opportunity to offer fans some genuinely rare gems, it still remains a collection of mighty pop music masterpieces. -Danny McKenna.

It became increasingly apparent during 1995 that the answer to the question "Blur or Oasis?" was, in fact, "Pulp". Different Class was the sound of a band so on "it" that they defined "it". Thirty years of fury, frustration, sexual longing, class angst and observations about girls' skirts was rammed into the grand Brechtian/Brel-like drama of "Live Bed Show", "I Spy" and, of course, "Common People"; and sure enough it has the impact of crashing head-on into someone's entire sordid, suppressed secret life. When Jarvis hisses "I can't help it / I was dragged up / Grass is something you smoke/ Birds are something you shag / Take your 'Year In Provence' and shove it up your ass," it sounds like mustard gas escaping over the trenches in the class war. And he wins. If music had a class system, this would be our ruler. -Caitlin Moran.

Watershed is the first major project from celebrated Canadian chanteuse k. d. lang since 2004's Hymns of the 49th Parallel. Where Hymns explored the music of fellow Canadians such as Ron Sexsmith, Neil Young and Joni Mitchell, Watershed represents the first set of original songs from lang in around eight years. Self-produced and arranged by musicians she has worked with a lot in the past, the most striking aspect of the album is its intimate, homely feel. Adding to the cozy ambience is the fact that Watershed brings most of lang's musical passions and influences-jazz, country, folk, bossa nova-under one roof, lending the project a dreamy, mellifluous coherence. But if the musical landscape is mellow and easy to traverse, Lang's lyrics can be less comfortable. Using her laid-back, often ethereal arrangements as sugar-candied coating for thornier topics, the singer serenades with stories of broken love, occasionally harsh self-analysis and the obligatory forays into existential angst. These contrastive elements only serve to make the album stronger, adding emotional weight to the airless arrangements of "Once in a While," and the delicate "Close Your Eyes," and conjuring up images of beauty on the string-laden "I Dream of Spring," and the wonderfully lazy "Sunday". Intelligent, mature and sophisticated, Watershed is the kind of perfect pop album it's difficult not to fall in love with immediately and forever. [+]