This is a reviews page based on my own collection, which just keeps growing despite itself. If it isn't listed here, it's because I don't own it yet, or I haven't gotten around to it yet.

Also, bother your local "new rock" radio station and make sure they are playing "new rock" and not "I Melt With You," which is not new.

note: entries in red text indicate my pick for the artist's best available album. A gold numeral indicates the POPocalypse winner of the year's best album; second- and third-place winners are in blue. Green lettering indicates an obviously exploitative record company compilation without apparent artist input.

PAUL QUINN & THE INDEPENDENT GROUP: Will I Ever Be Inside of You (1994, ****)
This is one of my favorite "albums nobody knows." Quinn, a sort of vampiric cross between Bryan Ferry and Nick Cave, has worked with firey Scottish acts like Orange Juice and the Soup Dragons. For his 1994 spotlight act, he assembled a top band of sessioners and managed a very painful and tortured look at love, propelled by synths, strings and some awesome guitar. The nine-minute opener consists of only a brief pair of verses and a tiny chorus, but hurts like hell and was stuck in my head for weeks. "A Passing Thought" is a dark and powerful reworking of a song he wrote with Edwyn Collins that had previously seen release as "Means to an End." Very highly recommended.

RAIN TREE CROW: Rain Tree Crow (1991, UK #24, ****)
A 1991 reunion of Japan, using a new name since the new material doesn't sound a bit like Japan. Stunning improvisational work, directed by David Sylvian, who seized control of the project after their budget ran out. As a result, it sounds like another logical step in his own solo career than any 80s nostalgia. Half vocal and half instrumental (though not split down the middle like David's Gone to Earth), key tracks include "Every Colour You Are," the truly brilliant single "Blackwater" and the almost silent "Cries and Whispers." Interestingly, Virgin sued Cindy Crawford's production company after the lead track, "Big Wheels in Shanty Town" was used on her exercise video without permission or credit.

RAIN TREE CROW: "Blackwater" CD single (1991, UK #62)
Wrapped in a pretentious little arty folio, you'll find the lead, two other CD tracks, plus the unavailable instrumental "I Drink to Forget."

EDDI READER: Candyfloss and Medicine (1996, UK #24, ***)
The former Fairground Attraction singer works wonders on this 1996 set, and the title reflects the two shades of the album, from aggressive and oppressive moods like "Candyfloss" and upbeat pop like "Medicine" and the wondrous opener, "Glasgow Star." Easy to love.

RECOIL: Bloodline (1992, ***)
Depeche Mode's Alan Wilder made his first steps towards a commercially disappointing, but artistically superior solo career with this 1992 touch of hardcore techno. Using guest vocalists like Curve's Toni Halliday and Nitzer Ebb's Moby, the result is a dark, oppressive, claustrophobic success.

LOU REED: Transformer (1972, UK #13, US #29, ****)

LOU REED: Coney Island Baby (1976, UK #52, US #41, ****)

LOU REED: Walk on the Wild Side: The Best Of (1977, **)
Some studio songs, some live. A perfunctory, detail-free cheap compilation, worthwhile only to start up your collection.

LOU REED: Set the Twilight Reeling (1996, UK #26, **)
A dark, moody attack of guitars from 1996. Lou has occasionally given a few quarters to his audience. Not here. Lowdown, angry, uncompromising rock and roll.

REPUBLICA: Republica (1997, UK #4, ***)
Incredibly upbeat, intelligent Britpop, led by an agressive singer called Saffron. The lead singles included the spectacular car commercial "Ready to Go" and "Drop Dead Gorgeous." I'm a big fan of "Get Off" myself.

STAN RIDGWAY: "Calling Out to Carol" CD single
This great song, which I believe is the second single from 1989's Mosquitos (a wonderful album I definitely need to buy one day), is paired with good live versions of "Can't Stop the Show" and "Drive, She Said."

WALLACE RONEY: The Wallace Roney Quintet (1996, ***)
Roney admits in his sleeve notes that the jazz he plays has been pioneered before, and that he hopes at best to add his own sensibility to it. He's set himself a thankless task -- after all, it's impossible to speak of him critically without mentioning Miles Davis -- but he rises to the occasion well. The ten pieces on this very good album, recorded in February 1995, move beautifully along, propelled by Clarence Seay's bass and punctuated by his sensible and sensitive use of his trumpet.