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1 NIRVANA Nevermind (DGC) What kind of world is it in which a bratty Seattle- area band can sign with a major label, go into the studio, and instead of playing the usual recycled Led Zeppelin riffs common to many Northwest rockers, pound out a hook-filled mix of alternative rock and metal? And stuff each song with lyrics about '20s-generation malaise and deranged loners? And wrap it in a gorgeous (if somewhat twisted) album cover depicting a completely adorable baby underwater, grasping at a dollar bill on a fish hook? And actually get the whole quirky, infectious shebang into the Billboard top five, selling over a million albums in a little over a month? A pretty good world, + actually. -David Browne 2 GUNS N' ROSES Use Your Illusion I and II (Geffen) The music, first of all, has real breadth. But the main thing is that Axl Rose is struggling to cure himself. The two albums are a fascinating document of someone who is really screwed up and is looking for a way to escape his persona as a rebel and be healed. -Simon Reynolds
3 PUBLIC ENEMY Apocalypse 91 The Enemy Strikes Black (Def Jam/Columbia) A very ambitious album that tries to do what nobody else in pop music is trying to do: figure out how to rebuild the black community and convince young people to follow through with a real political agenda. And for the first time, Public Enemy have created music that works on the feet as well as it does on the mind. -James Bernard
4 P.M. DAWN Of the Heart, of the Soul and of the Cross: The Utopian Experience (Gee Street/Island) This record is almost a miracle. It does everything right: the singing, the arrangements, the wordplay, and the shrewd sampling. The group takes a step forward by bringing not just funk but blues and gospel into the hip-hop mix-and somehow winding up artier than the artiest rap group so far, De La Soul. -Dave Marsh
5 METALLICA Metallica (Elektra) From these headbangers, you expect another slab of bulldozer rhythms and stern-faced rhetoric, and you get them. What you don't expect are a surprising maturity in the lyrics and a clean, sculptured production that makes their previous records sound like worn-out cassettes. -DB
6 SAM PHILLIPS Cruel Inventions (Virgin) A singer-songwriter who veers on the edge of falling apart-but who knows enough to keep it in check, thanks to smart, taut arrangements that will echo in your head for months to come. -DB
7 NEIL YOUNG & CRAZY HORSE Weld (Reprise) This live album captures the delicate quality of Young's guitar, which you might not notice until you've recovered from his waves of feedback: It's a sonorous sound like a cello at the bottom of the ocean. Young's version of ''Blowin' in the Wind'' is perfect for an unsettling time: questioning, inquisitive, and uncertain. -Stephanie Zacharek
8 MARTY BROWN High and Dry (MCA) Brown's stunning honky-tonk debut scared the hell out of Nashville and mystified radio programmers-how could they sell a genuinely mournful old country sound, devoid of pretense and guile? With deep Hank Williams roots, Brown is pure hillbilly poetry, his crying-heart vocals a sure connection to the soul. -Alanna Nash
