Young Lust is a collection of Aerosmith tracks from the Geffen years, a period that saw them come back from the brink of obscurity (or worse) and rise to world-conquering megastardom. Aerosmith's reign as America's greatest hard-rock heroes seemed all but over at the end of the 1970s, the victim of internal squabbles, drug abuse and a cocooned, decadent environment. Set against that backdrop, their 1980s' label switch and resurgence-and an eventual iconic, widespread acceptance even more pervasive than during their "prime"-was initially as gratifying as it was unlikely. This double-disc, 34-track compilation of the Geffen years chronicles a not-so-young band clawing their way back to the top with a hungry frenzy that shamed many upstarts half their age. With all the high points intact (including their groundbreaking rock-rap redux of "Walk this Way" with Run DMC, "Rag Doll", "Dude (Looks Like a Lady)", "Love In an Elevator", "Janie's Got a Gun", "The Other Side", Cryin'" et al), this compilation offers up the expected live extras (a handful of old hits and 1990s' staples), soundtrack cuts ("Deuces are Wild" and the Doors' "Love Me Two Times") and sundry rarities (including the non-album cuts "Don't Stop" and "Can't Stop Messin'", B-side "Head First" and Japan-only "Ain't Enough")-though, sadly, no "Theme to Wayne's World". But by its waning tracks, it also documents the encroaching influences of hired-gun tunesmiths such as Desmond Child and Glen Ballard, and the band's troubling tendency to hew ever closer to the middle of the road as their fame burgeoned. Younger listeners may well treasure this album as a history of Aerosmith's golden years, BD-as in before Diane (Warren). -Jerry McCulley.

The full-tilt blues album that Clapton had been promising for years, From the Cradle proves the guitarist's enduring devotion to a form he had long relegated to merely a flavour in his music rather than the main ingredient. Clapton's singing on the album is somewhat mannered; he tries to compete with original versions of these songs by Muddy Waters, Charles Brown, and others, and there's no way he's going to win that battle. Still, you can feel the emotional connection Clapton has with these songs, and guitar aficionados will swoon over his fretwork on songs such as "Third Degree", "Someday After a While", and the incendiary "Groanin' the Blues". -Daniel Durchholz.

One of the best entries from Elton John and Bernie Taupin's remarkably successful mid-1970s run, this album still holds up well over a quarter of a century after its release. Even casual fans will recognise "Daniel", "Elderberry Wine", and "Crocodile Rock", but "Teacher I Need You", "Have Mercy on the Criminal" and "I'm Going to Be a Teenage Idol" are equally good. Elton's backing band at the time (guitarist Davey Johnstone, bassist Dee Murray, and drummer Nigel Olsson) was easily his best, and producer Gus Dudgeon and orchestral arranger Paul Buckmaster bathed the tracks in a warm and enticing glow. The only complaint is that, due to its size, the CD reissue doesn't remotely do justice to the colourful packaging of the original album. -Dan Epstein.

Recorded in the spring of 1991, Trompe Le Monde became the final album recorded by the Pixies. Allegedly inspired by Ozzy Osbourne's presence in a neighbouring studio, this album has a distinctly harder edge than their previous releases, mirroring the growing dissension within the band's membership, while sacrificing none of the band's trademark pop sensibilities. The whole thing is buoyed along by a frantic rhythm; beneath the screaming, distorted guitars and Black Francis' surreal yelpings, one can faintly make out bassist Kim Deal's soothing harmonies and punchy rhythms holding the whole thing together. Lyrically, Black Francis continues to explore his obsession with aliens ("Motorway To Roswell") and the environment ("Distance Equals Rate Times Time"), while still allowing space for an inspired rendition of the Jesus & Mary Chain's "Head On". Although not as immediately accessible as Surfer Rosa or Doolittle, Trompe Le Monde is nevertheless as essential as any of the studio albums by the Pixies-arguably the most influential American indie band ever. Soon after this release, Black Francis began his solo career as Frank Black, while Kim Deal found success in the Breeders. -Robert Burrow.

No stranger to covers, Bryan Ferry has often opted for classics from other times and places. As Time Goes By focuses on music largely from the 1930s and 40s and conjures that era's aura of fine cigars, satin gowns and gentlemanly romance. The opening title track summons images of Bogie and Ingrid and is one of the finest moments in the collection. The swanky versions of Nina Simone's signature "Love Me or Leave Me" and "I'm in the Mood for Love" (which has a faint Martin Denny overtone) are perfectly suited to Ferry's low-key vocals (he's no real crooner, let's face it). His talented band swings with fervour, especially on the upbeat tunes "The Way You Look Tonight", "Lover Come Back to Me" and "Just One of Those Things". There are a number of intimate, romantic moments, but the highlight is Ferry's take on "Falling in Love Again", first made famous way back when with devastating sadness by Marlene Dietrich. Ferry's version is almost as moving. -Lorry Fleming.

Dialogue on a soundtrack album is normally a huge mistake. You smirk maybe the first few times, then grow rapidly frustrated having to programme out the offending tracks (if possible). Then there are those rare few where it would be impossible to imagine one without the other (Pulp Fiction for example). Thankfully Flash Gordon belongs in the latter camp ("camp" being entirely appropriate in this context). The idea of using Queen for this sci-fi hokum was both daring and inspired. On the other side of the universe-friendly title chant of "Flash!" is a remarkably varied score. There are five principal themes ("Flash", "Love", "Ming", "Vultan" and "Battle"), yet there are plenty more. In fact, there are yet more in the film that didn't make it to the album-this is a straight digital master of the 1980 LP. Clap your hands to the Football game in Ming's Court, attempt the high notes in "The Kiss", find a keyboard that can emulate "Ming's Theme" today or just enjoy screaming "DIVE !" with Brian Blessed. Incredibly the band were only once called upon in a similar capacity again for Highlander. [+]

Not to be confused with his equally eponymous but rather less fine second album. Seal towered briefly over the scene in the early nineties-latecomer to pop, he co-wrote and sang on Adamski's sublime "Killer", bringing a rare touch of Marvin Gaye-style gravitas to the otherwise E-driven and perishable techno scene. His debut album was equally stately, benefiting from producer Trevor Horn's trademark epic flourishes and funky bombast, with Seal's hoarse vocals and impassioned lyrics taking on the entire, broken world. "Deep Water", for instance, was a spiritual/eco-lament inspired by the fate of some dolphins who found themselves washed up in the Thames where the water pollution killed them. This conscientious cri de coeur was echoed in "The Beginning" and "Crazy", pop music that dared to shed a serious tear. After this, unfortunately, Seal went all MOR-shaped. -David Stubbs.