Julia gives a 5 star performance as earthy Erin Brockovich, a woman committed to improving her life and those of her local community against the corruption of big business. It's a familiar theme but well handled by director Steven Soderberg, underplaying the obvious self- consciousness of Julia's transition from glamour queen to dramatic actress.

Young At Heart is an unusual film: it has sentiment, romance and superb music, but also an underlying sadness and sense of futility which is unsettling. This is due to the presence of Frank Sinatra, creating a classic lone wolf characterisation, who creates sparks with the mid-Western homeliness of Ethel Barrymore and Doris Day.

Doris' performance is sincerely affecting as she tries to instill confidence into Sinatra's fatalistic character. The juxtaposition of these two characters is the catalyst for an entertaining, and dramatic, film. The songs alone are worth the viewing (Someone to Watch Over Me, If I Give My Heart To You, One For My Baby).

At least Neil Diamond had the good sense (or was it the audience response?) not to pursue his film career after this effort, but the soundtrack is a solid effort. Possibly his last essential album.

After a take of "I'm Down" featured on Anthology Vol.2 Paul laments "plastic soul man plastic soul". This album reflects their attitude to the music, not being rock'n'roll anymore, and not yet fully fledged Art a la "Pepper".

The Beatles were astute enough (with George Martin's firm but gentle encouragement) to explore new musical sounds based on contemporary West Coast styles (the Byrds, Beachboys) and exotic Eastern offerings (Ravi Shankar). But this new musical foundation doesn't completely compensate for some below par songs - "The Word", "What Goes On", even "Drive My Car" (saved by a strong groove), weak lyrical "sampling" ("Run For Your Life"; see Artur Gunter's "Baby Let's Play House")and tired playing "If I Needed Someone" and "Wait". But its best are brilliant, opening the door to imaginative and inventive Rock structures which consigned the three minute format to strictly Top 40 pop.

Gaye's personal/political tract surprises with its mellow tones wrapped around stinging lyrics. He never sang or wrote better than this. A brilliant effort, and my nomination as the best album of the Rock era.

A strong set of standards and blues-soul tracks, adorned by the incomparable jazz-soul vocals of Diane Schuur and guttural blues inflections of BB King. King's molasses-thick tones contrast and complement Schuur's soaring scat-lines and soulful delivery, creating an edgy, hypnotic ambience which is best displayed on "Try A Little Tenderness", "At Last", "No One Ever Tells You" - and the album's highlight, the gospel fervour of Aretha Franklin's "Spirit in the Dark".

Oh, and there's BB's subtle fret work to balance Phil Ramone's exuberant production. This is a superb collaboration by two disparate talents.

From the opening Chuck Berry licks on Bobby Troup's jazz classic "Route 66" the Stones blazed their way through a dozen numbers which still represent one of the fieriest album debuts ever. Their blistering takes on Rufus Thomas's nursery tune "Walking the Dog", Marvin Gaye's funky discotheque hit "Can I Get A Witness" and Muddy Waters' electric blues classic "I Just Want To Make Love To You" are stunning.

Even this early in their career Jagger and Richards displayed a maturity to their songwriting craft on the album's sole ballad hit "Tell Me".

However it is the r&b numbers with their wild driving guitar and pumping harmonica/organ licks, which still excite.

Riley's blues tunes are irresistible, from the smoky organ-based funk of "Blues Boys Tune" through the mellow Ray Charles-styled "I'll Survive", to the bone-cracking jump blues of "Good Man Gone Bad" this set smokes.

"Tickle Me" remains one of the few Elvis pictures from the mid-60s which looks and sounds okay. Nothing great or startling here, just plenty of female flesh, a story of sorts about lost gold, complete with a haunted house, and some good, if recycled, songs.

Elvis looks good as a rodeo rider trying to impress Jocelyn Lane, while getting into romantic trouble with an older woman. The setting for "I'm Yours" is nicely choreographed. A good film for the kids on a wet Saturday afternoon.

This is actually better visually than on CD. Seeing some of the legends of Rock together is nirvana. The Dirty Mac is a knockout - "Yer Blues" extends into a riff jam, while Who's operetta "A Quick One" is a killer. Best is, surprisingly, "Whole Lotta Yoko", with classical violinist Ivry Gitlis accompanying Yoko on a an excursion into primordial musical terrain replete with Yoko's 'in-labour' sound effects. The effect, following "Yer Blues", is electrifying.

Taj Mahal, Marianne Faithful and Tull also perform above standard, but I felt the Stones themselves were a little loose, perhaps due to the pressures of the moment. "Salt of the Earth" was an appropriate sing-a-long conclusion.

John Lennon is deeply missed.