1991 was definitely a year where shock rock segued neatly into hip-hop, as groups like N.W.A., 2 Live Crew, Public Enemy, and Ice-T were all over the news for one reason or another. The Geto Boys put the grotesque image of Bushwick Bill's wounded eye on their album cover, just to give you an idea of how far the envelope was being pushed. But I'll be damned if I can think of anyone who pushed it as far - and to no avail, for whatever reason - as New Orleans' Bust Down with "Nasty Bitch". This is gritty, no-nonsense hardcore rap with a few party jams thrown in, which makes me think the hardcore tracks were something of an act. Unfortunately, there never was a Chapter 2.

This might be the capper in a long line of DAC tearjerker records, but then again, it can be difficult to distinguish one from another. This is the one with the "Happy side" followed by the "Su-I-Side".

I would imagine this short-lived 80's detective show would interest Columbo fans, as it was created by Levinson, Link, and Peter S. Fischer, who had written many Columbo episodes. A interesting but failed attempt to bring together magic, crime fighting, and two long time sit com vets - Hal Linden and Harry Morgan. Linden is a dud in the lead role, as famous illusionist turned amateur detective Alexander Blacke (silent "e"). This was a role tailor-made for famed Columbo villain Jack Cassidy, which sadly never came to pass. Morgan is his usual deadpan charming self in the role as Alex's con-man dad Leonard, but then again he's playing with house money. The bottom line was Blacke's Magic was a quirky hodge-podge of clichéd knock-offs, destined for the dustbin of TV history.

One of the main complaints about Winwood is how pliable a character he has seemingly been, somehow surviving and even thriving through plenty of years of bands where other colleagues quickly burn out. His second solo album heralded yet another resurgence, with consistently strong material backed by a curious blend of burgeoning technology and traditional sounds. The obvious centerpiece is the lead-off track (and hit single) "While You See A Chance", and the general positive mood carries through the entire record through a series of deep grooves and ballads. Definitely one of Winwood's stronger records.

Reasonably similar to Peter Gabriel's debut in that both had emerged from long spells with their former groups with solo releases that were more in line with contemporary tastes, while retaining flashes of earlier, freer explorations. But unlike Gabriel, Winwood's debut went completely under the radar, with no hit singles (unlike Gabriel's "Solsbury Hill"). It's simply a competent, well-crafted set of soul-tinged soft-pop music that is going to please fans and leave doubters unconvinced.