First of all, hats off to Bon Jovi for trying something different with This Left Feels Right-a selective collection of their most popular songs with a twist. That twist isn't a purely acoustic reworking, MTV unplugged style-anybody looking for that experience will be sorely disappointed by what's on offer. What Bon Jovi have done is re-record these songs in a completely different way while maintaining the original lyrics, melody and song structure. What's different then? Well, quite a bit actually. Check out the almost trip-hop beat and distorted vocal of "Wanted Dead or Alive", or the lazy soul of "Livin' on a Prayer". "It's My Life" is a beautiful piano-only standout, almost worth having the whole album for. The tracklisting isn't perfect, concentrating largely on their 1980s period (there's nothing from These Days, for instance). As such, the venture works as an effective cheese-extraction exercise, keeping the elements that made the originals so great, but removing shouty, hairspray-fuelled "whoa-yeahs". What we get is something that is closer to Jon Bon Jovi's last solo offering-the criminally underrated Destination Anyway. It doesn't always work ("Bed of Roses" just sounds like a warbling cover of the powerful original and by the time they reach "Always" it's obvious they've run out of new twists), and no doubt there will be legions of bemulleted faithfuls who will denounce this as blasphemy of the highest order. [+]

Upon its release in the mid-1990s, Pantera's Vulgar Display of Power proved that, even in an era of alternative rock supremacy, heavy metal fans were still a force to contend with. Blending eerie, surging grooves with thrashy speed metal riffs, Pantera created a bleak, oppressive disc that captured both ends of the speed spectrum without resorting to clichi, abrupt tempo shifts. Guitarist Diamond Darrell plays with as much crunch as the best Metallica, while vocalist Phil Anselmo screams loud enough to satisfy any GBH fan. Coupled with Vinnie Paul's insistent, double bass-drum onslaught, you're left with an album that'll shake the fillings out of even the strongest teeth. -Jon Wiederhorn.

One of the few truly bigger-than-life rock bands, Led Zeppelin continues to cast a giant shadow over contemporary rock two decades after the group's break-up. The slickly packaged set offers a solid introduction to the band's work, with two discs of remastered, sonically upgraded album tracks, plus a third disc of interviews with surviving band members Jimmy Page, Robert Plant and John Paul Jones. Hearing all these Zep classics-"Stairway to Heaven", "Whole Lotta Love", "Dazed and Confused", "Rock and Roll", "Kashmir", "Immigrant Song", "Black Dog" "Good Times Bad Times", "Heartbreaker", "Houses of the Holy" and "The Song Remains the Same"-assembled in one package is an impressive testament to the group's pervasive influence. -Scott Schinder.

If you are considering divorcing a rock star, let Hello, I Must Be Going! serve as fair warning of what you're likely to face once the papers have been signed and the settlements made. Collins got the last word on sundering his relationship with first wife Jill (he actually addresses her by name on the album!) and managed to deliver it to millions of homes via this album, which contains one blistering diatribe after another: "I Don't Care Anymore", "I Cannot Believe It's True", "Do You Know, Do You Care?" and "It Don't Matter to Me". The mood is tempered a bit by a lively remake of the Supremes' "You Can't Hurry Love" and "Like China", a sprightly rocker celebrating new love. Yet as listenable and engaging as it is, Hello, I Must Be Going! has to be regarded as one of the angriest albums in mainstream rock history, which is great stuff, when you're in the mood for that sort of thing. -Daniel Durchholz.

Rap metal has been around ever since 1986 when Run-DMC and Aerosmith joined forces for a remake of "Walk This Way", but it took nearly a decade for Rage Against the Machine to bust the floodgates wide open. Soon after, a stream of percussive hellraisers including Korn, Downset, and Deftones infiltrated the metal market, and they, in turn, sired a new breed fronted by acts like Snot and Limp Bizkit. Three Dollar Bill Y'All, Limp Bizkit's debut album, is a tempestuous collection of divergent styles. Unlike metal acts that try to get "dope", but lack the hip-hop background to legitimately fuse the two genres, Limp Bizkit-which features Wes Borland and House of Pain member DJ Lethal-have the know-how to groove and grind. And instead of launching a one-dimensional Blitzkrieg, Limp Bizkit mixes up its rhythms and tempos to keep its listeners guessing. -Jon Wiederhorn.

At the vanguard of hardcore's evolution stand Glassjaw: five Long Island-born straight-edgers sporting a firmly progressive approach to punk-rock, and a fantastic second album in the shape of Worship and Tribute. Frontman Daryl Palumbo is the band's immediate touchstone: on lyrically adventurous songs like "The Gillette Cavalcade of Sports" and "Trailer Park Jesus" he wages war on American cultural orthodoxy, his rocky, undulating vocal morphing between a raw-nerve croon and a tortured shriek sharp enough to cut glass. Where the band truly differs from their nu-metal and conventional hardcore peers is in the arrangements, however: tracks like "Mu Empire" and "Cosmopolitan Bloodloss" combine Faith No More-style anthemicism with a complex post-hardcore structure that could put Fugazi to shame, while "Ape Dos Mil" reins in the pure noise, guitarist! s Justin Beck and Todd Weinstock turning down and wringing twisted melodies and shimmering walls of ambience out of their instruments as Palumbo weaves a tale of obsessional love in a high, shivery vibrato. They're a thoroughly uncompromising band, but Glassjaw are as fearlessly individual as At the Drive-In, and every bit as good. Worship and Tribute presents the new hardcore heroes-in-waiting. -Louis Pattison.