Anyone looking for the key to ABBA's enduring appeal should look no further than "Voulez Vous" and "Gimme! Gimme! Gimme! (A Man After Midnight)" for their answer. There was an innocence to the Swedish quartet, even when they were singing about one-night stands and the invitations to them. Gold establishes that the band, while appreciated as campy, were actually multifaceted in their execution. "S. O. S. " has a raw urgency in its chorus, and "Does Your Mother Know" draws its energy from classic 1950s rock & roll. Likewise, you don't have to be Priscilla to swoon over "Mamma Mia" or "Dancing Queen". And when it comes to drama, those soaring vocals on "The Winner Takes It All" turn the song into a bitter anthem of every relationship that has ever fallen apart. The much-covered "Lay All Your Love on Me" is practically epic. [+]

Calling it a day in early 1999 was probably the best thing the Verve ever did, as it meant that they quit when they were at the pinnacle of their success, sparing their faithful followers an unsightly degeneration. Urban Hymns is a fitting final testament to Wigan's favourite sons, as Richard Ashcroft and Nick McCabe temporarily buried the hatchet and reformed one of Britain's greatest songwriting partnerships since Lennon and McCartney. From the unmistakable introductory chords of "Bittersweet Symphony" to the sheer pop perfection of "Lucky Man" via stoner rock-outs like "Weeping Willow" and the call to arms that is "Come On", every track justifies its presence by being part of a cohesive whole. Their previous album A Northern Soul was already marked down in the annals of rock history as a classic; Urban Hymns surpasses it and then some. -Helen Marquis.

Anyone looking for the key to ABBA's enduring appeal should look no further than "Voulez Vous" and "Gimme! Gimme! Gimme! (A Man After Midnight)" for their answer. There was an innocence to the Swedish quartet, even when they were singing about one-night stands and the invitations to them. Gold establishes that the band, while appreciated as campy, were actually multifaceted in their execution. "S. O. S. " has a raw urgency in its chorus, and "Does Your Mother Know" draws its energy from classic 1950s rock & roll. Likewise, you don't have to be Priscilla to swoon over "Mamma Mia" or "Dancing Queen". And when it comes to drama, those soaring vocals on "The Winner Takes It All" turn the song into a bitter anthem of every relationship that has ever fallen apart. The much-covered "Lay All Your Love on Me" is practically epic. [+]

Coldplay were faced with a difficult choice as they set to work on X&Y. They could either follow Radiohead’s lead and use their enormous success and financial security as a springboard to a brave experimental future-or they could play it safe, repeat the tricks used on the 16 million-selling A Rush Of Blood To The Head, and consolidate their position as one of the biggest bands in the world. In truth, despite the Tetris-inspired artwork and presence of teaser track "Talk"-which steals its melody line from electro-futurists Kraftwerk’s gorgeous "Computer Love"-X&Y is more the latter than the former. Fans will be delighted by "What If?", a piano elegy that takes flight on strings, and slowly builds towards a Beatles' "A Day In The Life"-style climax, while the likes of "Fix You" and hidden track "'Til Kingdom Come"-originally written for country hero Johnny Cash-proves Martin’s skill for simple, affecting songwriting remains intact. One development, however, comes through the judicious inclusion of some rather pleasant synthesiser work-see "White Shadows", where Martin gently beseeches "Come on love, stay with me" over a gentle Eno-esque keyboard wash. Fair enough: the experimental albums can come later. -Louis Pattison More Coldplay A Rush of Blood to the Head (CD) Parachutes (CD) Coldplay: Live 2003 (Limited Edition DVD with Live CD) Coldplay: Look at the Stars (Paperback) Find more from Coldplay.

Rush-released in secrecy, the story goes that The Raconteurs wanted their album to appear in shops without any fanfare, as if it had always been there. It didn't work that way, but Consolers of the Lonely can certainly lay claim to being an album that is at once familiar and accessible-indeed, it won't be long before it'll seem like an indispensable part of your collection. The two opening songs lay out the sonic blueprint with a loose, rocking feel exemplified by overloaded lead guitar lines, fuzz bass and huge drums, with plenty of dynamic interplay between the vocals. Like Lennon & McCartney at their best, it's often hard to tell who is singing until one or the other takes the lead, while their dual guitar playing approach is similarly twinned, all ably supported by a rhythm section that's both nimble and powerful. Despite the strong offerings throughout, the best is saved until last with "Carolina Drama", a Jack White-led murder story-song that threatens to collapse under its own weight until the singalong ending breaks the tension. In short then, a huge improvement over the slightly underwhelming debut, and as good as anything else produced by the band's individual components. -Thom Allot.

Music doesn't come more touching than Parachutes. With their debut single alone, the emotion-fortified "Shiver", Coldplay proved they could shift between elated and crushed in a breath as singer Chris Martin poured out music's oldest chestnut (unconditional yet unrequited love) with the shakiest of voices and a backdrop of epic guitars that rouse and tug at the heart strings. For 10 tracks on Parachutes, he comes out with these, adding new-found meaning to the most tired and overused rock sentiments-love found, love lost, love unrequited, hurting the ones you love and the struggle that is life-over acoustic guitars and emotionally fraught rock. And for once, all the clichés ring true, thanks to Chris Martin genuinely sounding like a man picking over the bones of his life and soul, coming up with equal parts reasons to be cheerful and seriously depressed. Not that Parachutes is a depressing album; there's too much conviction to the guitars and hope in Martin's words for that. Instead it's a beautifully tender balance that comes as close to perfection as anything that's come before it. -Dan Gennoe.

If, like most of the pop-listening public, you heard Timbaland's chart-topping remix of OneRepublic's single "Apologize" before you heard the original, you may be mildly confused about what kind of music the band makes. Timabaland's signature electronic swizzles and "eh-eh-eh"s leave the impression that OneRepublic is a style-heavy outfit a la Maroon 5, but frontman Ryan Tedder's plaintive words and woebegone themes don't fall far from forerunners Keane, Coldplay, and the Fray. Dreaming out Loud chisels away at the dichotomy. "Apologize", stripped of its swizzles, is a gorgeous modern rock song made all the more gorgeous by the urgency in Tedder's striking, unscuffed voice, and a lot of the songs on this record stack up similarly. Which is to say that, although tracks like "Tyrant" and opener "Say (All I Need)" wrap themselves around some seriously stylish production, substance is really this band's thing. A piano played by turns ferociously and tenderly drives the point home, and so do some choice lyrics; if you are inclined to choke up at feelings laid bare, check out "Goodbye, Apathy" and "Come Home" at your own risk. -Tammy La Gorce.

What once seemed Queen's greatest liabilities-a preening flamboyance and pompous, overwrought theatricality-have ironically become their most enduring charms in a grey, postmodern pop-music landscape. While it eschews the glammy, pre-punk hard rock of live faves such as "Stone Cold Crazy" and "Tie Your Mother Down" for the band's more quirky club-beat string of latter-day hits , this 51-track triple-CD anthology goes a long way toward documenting the true dimensions of the band's music and fame. It even includes some solo work by Brian May and Freddie Mercury, whose duet on "Barcelona" with diva Montserrat Caballé transcends boundaries of both time and genre. A previously unreleased live performance of "The Show Must Go On" featuring Elton John on vocals is also included. -Jerry McCulley.

Seventh Tree unveils an Alison Goldfrapp quite different to the one we saw on her career highpoint to date, 2005's Supernature. Whereas that album was grandiose, glammy, and almost aggressive in its brash, thrusting sexuality, Goldfrapp's fourth album is no less sensual, but rather more subtle in its approach. Recorded with longtime collaborator Will Gregory out in rural Somerset, Seventh Tree feels like an attempt to fuse the pagan folk of cult English horror classic The Wicker Man to a lush backdrop of woozy electronics and a restrained orchestral sweep reminiscent of '70s-era Serge Gainsbourg. In practise, this means much of Seventh Tree goes where earlier Gainsbourg disciples such as Air have gone before: chilled-out, soporific electronica with a light organic edge. Luckily, Goldfrapp remains a compelling enough figure to keep matters on the right side of ethereal: the gorgeous "Clowns" imagines the Cocteau Twins' Liz Fraser guesting on some long-forgotten Nick Drake out-take, rustic folk with an all-but-indecipherable vocal and an undercurrent of desolation, while "A&E" shows Goldfrapp's pop urge has not deserted her, uplifting electronica with a warm, bucolic twist. -Louis Pattison.

It's very likely that even if you haven't heard the contents of Radiohead's seventh album, you'll be aware of its existence. Released as a digital download by the band themselves before a CD release was even considered, In Rainbows was lauded for innovation before a note of music was heard. Luckily, the music matches the hype-it takes the best part of Radiohead's previous works and advances the formula even further. While the opener "15 Step"-all skittering drum patterns and dub-style bass-may hark back to the electronica of Kid A, the sound soon gives way to a more guitar-based sound. Whilst not as musically heavy as previous albums, the tunes are far more focused and passionate-"Bodysnatchers" is based around a hypnotic, distorted bass riff, while the beautiful string-drenched "Nude" is a true Radiohead classic. Lyrically, like Thom Yorke's solo album The Eraser, the lyrics are sketches of suburban paranoia, and the eerie sense of things no! t being quite right. This is especially true on the piano-based closer "Videotape", which poignantly details a man watching his life's achievements in his final moments. In short, In Rainbows is another masterpiece from the Oxford quintet. -Thomas Allott.

Having achieved the improbable by redeeming traditional soft rock as a chart-friendly genre, are the London quintet challenging their audience a touch too much by titling their second album Join with Us? After all, wasn't recasting the terminally unfashionable likes of Supertramp and other so-called 'guilty pleasures' already a rather big ask? But it transpires that Dan Gillespie Sells and band, probably the first and only successful band to have perfected their chops as après-ski Alpine entertainers, have eschewed the vulnerability of 2006's hugely successful Twelve Stops and Home. Instead Join with Us is an unashamedly loud record, confidently full of stadium fillers in the best British tradition of Queen and Electric Light Orchestra. The thumping disco-rock of opener "I Thought It Was Over" leads the way, but "Without You", wetter than a waterfall, and the hysterical title track with its long build to a fearsomely slick chorus are similarly singleworthy. Less predictable are the downright odd "Don't Make Me Sad"-imagine a dream team of Chas'n'Dave'n'Brian May-and the lush, rueful ballad "Conor" where a string section and ethereal Beatles-esque harmonies add depth. "The Greatest Show on Earth", rather reminiscent of Kate Bush's bleaker moments, fails to live up to its title, pretty much the lyrical intention. But it's only the jaunty hidden track "We Can Dance", presumably aspiring to McCartney at his most jovial but in fact nearer to Chris De Burgh, that misses completely. The Feeling's brash new style may lack some of their previous charm, but Join With Us is undeniably effective. -Steve Jelbert.

The title Songs to Sing in A&E isn't simply a reference to Jason Pierce's chords of choice on this, the sixth album from Spiritualized. Rather, it's a blackly comic reference to the events that preceded this album's creation-specifically, a bout of pneumonia that saw Pierce fighting for his life from a hospital bed. Spiritualized, however, have always specialised in transforming personal travails into great art, and there's something morbidly compelling about a song like "Death Takes Your Fiddle", a chilly blues song accompanied by the wheeze of an artificial respirator. There may be some unfortunate repercussions from Pierce's illness: his voice sounds somewhat frail in comparison to the brave soul we found on 1997's Ladies and Gentlemen, We Are Floating in Space, and this rather seems to expose occasional shortcomings in his lyrics (to follow a song called "I Gotta Fire" with "Soul on Fire" and then "Sitting on Fire" suggests wells of inspiration may be running low). One thing's for sure, though, Pierce is a fine arranger. Lush strings, choirs and flourishes of percussion flesh out simple acoustic songs into impressive symphonies. Meanwhile, "Yeah Yeah" proves Pierce still has a way with an itchy, strung-out blues stomp. -Louis Pattison.

Neil Diamond is one of a rare breed. As a songwriter, his music has been covered successfully by artists as diverse as the Monkees, Deep Purple, UB40, and Smash Mouth. But Diamond used that three-chord alchemy to build an unparalleled career as a performer as well. The 38 tracks on these two discs address those interlocking legacies in the most comprehensive manner yet, gathering his material from Bang! Records (including such pop staples as "Solitary Man," "Cherry, Cherry," "Kentucky Woman," "Red, Red Wine," and "I'm a Believer"), Universal (highlighted by "Sweet Caroline," Song Sung Blue," "Holly Holy," and "I Am. I Said"), and Columbia for the first time. And if Diamond has veered toward the middle of the road on those latter recordings (such as "September Morn," "Heartlight," and the Streisand duet "You Don't Bring Me Flowers"), there remains a remarkable consistency throughout his work. As if to underscore the point, a number of mid-period hits (including "Shiloh," "Brother Love's Traveling Salvation Show," and "Soolaimon") are featured as live recordings from fall 2001. These performances show that the sweet roughness of his voice has only grown in power and drama; it's small wonder that Diamond remains one of the top live draws in the business. [+]

Apart from the non-release of Smile, the biggest lament of hardcore Beach Boys fans is that Bruce Johnston aside, none of the non-Brian Wilson solo albums are available on CD. But now, for fans of late drummer Dennis Wilson, there's reason to celebrate as his only-released solo album gets the reissue it deserves. Widely acknowledged as the finest Beach Boys solo effort, it's now presented with clarity, allowing the full sonic palette-the punch of opening "River Song" for example-to be heard in its intended glory. Wilson's raspy vocal may have been past its prime, but it's still affecting and ably supported by the sumptuous production values he gave the album. With high quality tracks such as the funky "Dreamer" and the poignant "Farewell My Friend", this will appeal to anyone with even a passing interest in The Beach Boys, as well as a delight for hardcore fans as the unreleased tracks (from the unfinished follow-up Bambu), easily match the original's quality. While the disappointing absence of earlier singles ("Lady" or "Sound of Free") prevents this from being a definitive career anthology, this is as essential a Beach Boys artefact as Pet Sounds or Sunflower/Surf's Up. -Thom Allott.

Is there anything which screams the 1970s most indelible pop cultural clichés-more than the Swedish pop phenomena Abba and their Definitive Collection? While many a pundit snootily dismissed them during their prime as some sort of prefabricated aberration, their worldwide popularity peaked somewhere just south of Beatlemania. Indeed, Abba's music was as finely tooled and crafted as anything to come from a Volvo or Ikea factory -if occasionally more economically potent. This double-disc, 37-track anthology comes neatly on the heels of Mama Mia, the smash, if unlikely, stage show based on the band's hits, and documents every single released by the band's Polar label in their home country was as well as key tracks released as singles elsewhere internationally. When you hear the term "Europop," this is the canon from whence the term sprang. With a continental sense of vocal neo-classicism, informed by just the right ethnic clichés (and oft wed to the era's insistent 4/4 disco beat) to make songs like "Mama Mia", "Fernando", "Chiquitita" and "Voulez-Vous" work on a global scale, the writing team of Bjorn Ulvaeus/Benny Anderson and their respective partners in music and life, Agnetha Faltskog and Frida Lyngstad, developed the seamless, wall-of-sound productions contained herein. Definitive Collection features a rare single remix of "Ring, Ring" and a 1979 promo-only extended mix of "Voulez-Vous" as bonus tracks, as well as a concise, illustrated history of the band and each track. -Jerry McCulley.

It's hard to imagine someone even younger than 19-year-old Laura Marling making a splash on the music scene, but 16-year-old Australian singer Gabriella Cilmi is doing a pretty good job. Having smashed apart stereotypes of innocence with her killer single "(There's Nothing) Sweet About Me", Cilmi (pronounced "Chill Me") now offers a debut that's not only lyrically and emotionally mature, but boasts the kind of potent musical content guaranteed to propel you towards the dancefloor. Lessons To Be Learned is a diverse bag. Produced by Xenomania (Girls Aloud, Sugababes) it's seemingly influenced by everyone from Stevie Wonder and the Kings of Leon, though it'll inevitably draw the most comparisons to Amy Winehouse, thanks to Cilmi's soaring vocals, the record's modern-Motown feel and Xenomania's bright, punchy production. Opener "Save The Lies", though, is nothing like Winehouse-a big, in-your-face disco-stomper with a massive irrefutable chorus. The record drops from there into sultry soul territory with tracks like "Sanctuary", "Einstein", and "Safer", and more upbeat fare such as the electronic "Don't Wanna Go To Bed Now", rocky tracks like "Messy" and the bluesy "Cigarettes And Lies". These stylistic diversions set Cilmi apart from the rest of the 'new soul' brigade, and help give her a voice of her own. -Danny McKenna.

To say there has been a lot of anticipation for Coldplay's fourth album, Viva La Vida, is an understatement. Having enlisted legendary leftfield producer Brian Eno, borrowed their album title from a painting by renowned Mexican artist Frida Kahlo and made tantalising remarks about sonic reinvention, the world has been curious (to say the least) to hear what the `new' Coldplay might sound like. Viva La Vida definitely makes some departures from the band's usual formula, which happens to be one of the most commercially successful rock-pop blueprints of recent years. The plangent chords, emotive melodies, stadium-rock rhythms and universal lyrical concerns remain, but Martin and co. have gone out on several limbs here, incorporating instrumental tracks ("Life In Technicolour"), using subtle North African and Latin elements ("Yes", "Strawberry Swing"), and overhauling previously strict verse-chorus-verse structures in favour of slightly more avant arrangements. The old Coldplay still shine through (see tracks like "Violet Hill" and the title song) but even their classic sound feels more muscular and confident. The band's new flourishes, cosmetic and self-conscious as they may be, are enough to make Viva La Vida a welcome break from the old routine-Danny McKenna.