UB40

Hardened reggae fans would faint at the idea, but to most of the British public who were brought up with Culture Club or Aswad, UB40 are reggae to the max.

They're not. For the last 20 years, UB40 have made great pop-reggae, the best bits from the hard stuff made more accessible to British ears. So, they might not be Prince Buster, but they're certainly not Pato Banton either.

The new album Cover Up comes at a time when the autumn leaves appear to be falling on the band's career. So, although the 14 tracks effortlessly showcase the UB40 sound, they seem to have dispensed with the pop hooks that have made some of their most famous songs such big sellers.

The Day I Broke The Law and top 40 hit Since I Met You Lady are the only tracks that like they could appear on the next Now compilation.

But it's no bad thing - there are surprises in store. Something More Than This wouldn't sound out of place on a Roni Size album, and the gritty Write Off The Debt sees the band return to their political roots.

UB40 may not be troubling the upper reaches of the chart right now, but they carry on with their dignity firmly intact.

MANNY GRILLO

Boz Scaggs

Boz Scagg's biggest UK chart success was with the single 'What Can I Say', which was a Top Ten hit in 1977. His last album was in 1982 before retiring to open a restaurant. 'Dig' is his 2001 comeback album.

The opener, 'Payday', is a bluesy little number with added guitar work from a certain Ray Parker Jnr. (remember 'Ghostbusters' anybody?).

'Sarah', 'Desire' and 'Miss Riddle' sound well suited to chilling out on a summer's afternoon - oh dear, wrong season!

'I Just Go' see's Scagg's giving his best John Lee Hooker vocal along with a little bluesy guitar solo, while on 'Get That Love' he comes over all Robbie Robertson and on 'Call That Love' you could be forgiven for believing that you were listening to a new Eric Clapton song.

Throughout the album Monet provides excellent harmonies which are very easy on the ears but Scagg's vocals leave me cold, he only really let's himself go on 'Vanishing Point' - the album's only truly memorable track and it's a great shame because this shows what he could have achieved.

Having said that, there isn't really one real duff track on the 11 that's offered, it's just that the other ten are instantly forgettable.

One for the fans only, I'm afraid.

GRAHAM SCAIFE

Five

The boys from Five get raunchy on their third and last album, talking about girls in high heels and black leather or issuing commands like Let's Get It On and Lay All Your Lovin' On Me.

But don't worry girls, they don't have one-track minds on their 15-track album. There's room for them to Feel The Love. To implore Hear Me Now. Even to believe There's Something In The Air.

"Kingsize" - the band's swansong - offers a jukebox full of contradictions. One moment the lads are hanging around on the street corner, the next you can take them home to meet your mum.

What all the songs have in common are strong melodic hooks, beefy production and smatterings of originality. Almost enough to lift them above the average pop outfit.

DAVID KNIGHTS

Templum

Respected Irish composer Michael O'Suilleabhain has a long established working relationship with the Irish Chamber Orchestra, but this is the first time that he has also collaborated with the National Chamber Choir of Ireland.

Templum (the Latin for Temple) sets out to blend modern classical and Irish folk music.

However some of O'Suilleabhain's own compositions, such as Session and Maranatha, sound as though they belong in the discordant score to a contemporary ballet.

Those tracks based on traditional tunes are melodious although rather soporific.

Changing styles again, the tracks featuring the choir are monastic and meditative, at times almost ethereal.

For me, this album does not work, as it fails to merge styles seamlessly but jars badly as O'Suilleabhain's compositions sit uncomfortably amongst interpretations of traditional airs.

JULIA SILSON

Leonard Cohen

TEN NEW SONGS is Leonard Cohen's 12th studio album and first recording since 1992's "The Future".

The man with perhaps the gravelliest voice in music, probably created by smoking 20 fags a day, hasn't lost any of that rich basement club vocal magic.

The only thing that has really changed is the quality of the music. The man who influenced the likes of The Tindersticks and Nick Cave now performs songs like a cross between Robbie Robertson and Chris Rea.

This isn't entirely his fault. The production is sickly dismal, sounding like the lounge room-themed demonstration on a Casio Keyboard, complete with awful electronic drum rolls, whilst the melodies sound like they could accompany one of those late-night channel five movies.

Although it attempts to be dark and moody it just sounds tacky and middle of the road. Only the track A Thousand Kisses Deep makes any attempt to impress.

Leonard is still sounding great but he needs a new vehicle to carry his talents, and I'm sure there would be no end of eligible artists willing to help him out.

JAMES HEWARD

Hardball Official Soundtrack

The relatively non-descript packaging of this CD hides a thoroughly modern mix of rhythm and blues treasures that leave you helpless against the urge to move, dance and even sing along to the fresh beats and catchy lyrics.

With featured appearances of great R&B singers such as Lil' Bow Wow and R Kelly, it is a soundtrack that cannot cease to amaze and will never be far from my stereo at any time in the near future.

If this film - which stars Keanu Reeves - matches up to the quality of the soundtrack, then I can't wait for it to come to English cinema screens.

LUCY QUINTON

A*Teens

How do you follow up a hit album that consisted of covers of songs by Eurovision Song Contest winners Abba?

Easy - borrow 13 songs performed at past Eurovision competitions by other Scandinavian acts.

At least that's what Teen Spirit, the second album from Sweden's latest pop export, sounds like.

The songs are immediately catchy, almost-immediately annoying and within-an-hour-or-so forgotten.

A*Teens broke sales records around the world and won awards for the debut album Abba Generation. With Teen Spirit the group hopes to become a household name in England.

Like Vim once was?

DAVID KNIGHTS

Amelie

This CD is a gentle and relaxing collection of mainly instrumental tracks from the soon-to-be hit movie Amelie.

Composed by Yann Tiersen, a composer who already has the success of other French film soundtracks such as "The Dreamlife of Angels" and "Alice and Martin" under his belt, it is just as good, if not better, as you would expect it to be.

A light blend of the gentle, the romantic, the French and the recognisable (see if you can spot a zip-a-dy-do-da ending to one of the tracks) it is not only worth the money, but a delight to experience.

Lucy QUINTON