Back catalogue: All genres

Review: Seal's self-titled debut album, especially in its deluxe reissue, showcases a diverse range of influences from soul and r&b to dance and even hints of country. While standout tracks like 'Killer' and 'Crazy' remain timeless dance floor classics, other songs have aged quite well. The production, helmed by Trevor Horn, still stands out today, with tracks like 'Whirlpool' displaying layers of gospel and soul. The deluxe edition offers a glimpse into the late 80s and early 90s dance and offers some great bonus material. Seal's debut album remains a compelling listen, especially for those interested in exploring the musical landscape of the early 90s.

Review: Simply Red's Love & The Russian Winter is one of many great modern soul albums from the flame-haired Mancunian and one that really captures his band's signature blend of soul, pop and jazz styles. Released originally back in 1999, the album is now a full quarter of a century old and features smooth melodies and rich instrumentation with Mick Hucknall's emotive vocals shining throughout. Tracks like 'The World and You Tonight' and 'Love Is a Long Road' highlight the group's ability to weave heartfelt lyrics with infectious grooves while the lush arrangements and sophisticated production create a warm atmosphere which makes it perfect for both relaxed listening and intimate gatherings. Overall, this one still sounds great and is a great testament to Simply Red's enduring appeal.

Review: The Sisters Of Mercy's enduring album Floodland presents an 80s throwback; this was a time in which many bands were experimenting with gothic and shadowy musical and visual themes, and the Sisters were no exception, having been progenitors of this trend in their native Leeds since as early on as 1980, only shortly after the term "gothic rock" was coined. Floodland followed a much-mythologised tour fallout in June 1985, after which the band effectively split up; dusting themselves off, and/or rising from resurrective Transylvanian mists, they soon returned with Floodland in 1987, albeit with a revised lineup. Still aided by the trusty Doktor Avalanche, lead brain Eldritch would this time hire former Gun Club and Fur Bible bassist Patricia Morrison for performance duties; packing the hit singles 'This Corrosion', 'Dominion' and 'Lucretia My Reflection', this is a caliginous cascade of doomy sound, tempered by both lonely moments of piano catalepsy and high moments of hellish hysteria.

Review: Rod Stewart's voice has always sounded like it's just crawled out of a Soho bar fight - gravelly, charming and faintly ridiculous. But somehow, it still gets you. This new compilation, spanning everything from his 70s barroom soul to recent swing experiments, is a reminder of just how strange and compelling his career has been. Few singers could convincingly move from 'Maggie May' to 'Da Ya Think I'm Sexy?' to 'Rhythm of My Heart' without seeming like a novelty act. Fewer still could make it all hang together with any sense of emotional truth. Born in London and once a failed footballer, Stewart turned rascal energy into stadium-filling charisma. The early material - with Python Lee Jackson, with the Faces, or solo - still feels beautifully tossed-off, full of unfiltered ache. Later tracks lean into gloss and schmaltz, sometimes to great effect and sometimes less so. But taken as a whole, this is a portrait of a singer who never quite gave up on the idea that pop music could be both daft and devastating. It's not cool, and it's not trying to be. That's the charm. If you're not moved by something here, you're either too young or trying far too hard.

Review: Mike Skinner is surely deserving of National Treasure status by now, is he not? From mischievous young MC upstart to garage innovator and now the voice of the nation, his journey has been remarkable and as this album shows it isn't done yet. He said in the built-up to it that for the first time in his career, he has allowed himself to be more loose with his lyrics, to say enigmatic things, make odd references and use stranger metaphors that might not always make perfect sense but that feel right in the moment. That makes it a great listen, as well as all the usual catchy hooks and compelling beats.