Ably backed by bassist Michael Cotterman (ex-the Loved Ones) and Andrew Black on drums, if there's any flaw to the Title Tracks formula, it would be that they could make a few moments more flawed. But that's just the Q And Not U fan talking.

Like vintage B&S, this Glasgow group's sound ranges from full-blown orchestration to tunes on which a lot of musicians make very little noise. [Mar 2004, p.94]

Taken alone, these six tracks are fascinating enough from a conceptual standpoint, and listening to a band audibly restraining themselves is quite scintillating. But it's hard to shake the feeling that these pieces would likely have a significantly greater impact when connected with the entire Testimony performance.

Everlast hints at a hip-hop amalgam of Johnny Cash and Howlin' Wolf, but only when being chased. [Jan 2001, p.88]

It's virtually impossible to listen to Show Me Your Tears from start to finish; but individually, each song is a dark, delightful peek at Black in the throes of therapy. [Nov 2003, p.108]

There's enough patented 'Pusher weirdness here to tingle your noggin. [Apr 2004, p.100]

Marks a slight improvement from 1999's Bury The Hatchet. [Nov 2001, p.79]

The hue of the proceedings feels significantly dialed-down and stark and the result feels more like a Jollett solo album and less like a great band flexing its myriad abilities. [May 2011, p.92]

Offers yet more fun funk/blues-rock mashups for unpretentious gatherings of all sorts. [Nov 2004, p.156]

It's still a blast to listen to Hot Hot Heat when they sound like they're having fun, even if they have to fake it. [Sep/Oct 2007, p.169]

The recording quality is awful, but the glee with which these legends dust off forgotten gems like "Never Been In A Riot" easily makes up for it. [Feb 2004, p.76]

Sound[s] equally as interesting, but rarely as essential, as the studio material from which it's drawn. [Feb 2006, p.120]

The Menzies score big about half the time. [May 2014, p.93]

It's a moody composition with occasional moments of brilliance that will ultimately leave most listeners as confused as they are content. [Oct 2009, p.114]

It has a hard time hitting the kind of peaks required to make a singer-songwriter disc truly memorable. [Jun 2006, p.180]

Face Tat demands remarkable attention from its listeners; if only Hill would have challenged himself as much during its creation. [Nov 2010, p.112]

Channels the spirits of no wave via clinks and clanks, doomy vocal chants, ominous tribal thumps, abstract guitar scraping and jarring haunted-forrest samples. [Mar 2004, p.110]

Pariah isn't without its merits, and diehard fans will likely find few flaws anywhere. But for the casual listener, the album might seems a little less "Of The Room" and a little more "Rent." [Jul 2009, p.126]

Undoubtedly his catchiest record so far. [Feb 2007, p.122]

Even if this Boat doesn't always stay afloat, Cook's eager-to-please melodic sensibilities can still get jaws a-smilin'. [Mar 2009, p.116]

A feel-good collection of (mostly) poppy songcraft. [Aug 2001, p.103]

Much of the album reflects a tension between melancholia and euphoria that sounds more like an epic battle between Fischerspooner's love for New Order and Pet Shop Boys--but with beefier, disco-fied beats. [May 2005, p.174]

The bulk of the album's 14 tracks find her playing it safe with a helium-voiced squeak reminiscent of (take your pick) Gwen Stefani, Santigold, Kate Bush or Cyndi Lauper. [Nov 2011, p.97]

Alternately maddening and enlightening. [Jun 2003, p.110]

Their fourth album, Right Thoughts, Right Words, Right Action is just as resolute as the title. [Sep 2013, p.88]

There's a bit more quiet time on this effort. [Nov 2004, p.149]

At times, Iwrestledabearonce could almost pass for In This Moment. Whether that's a compliment or not is your call. [Sep 2013, p.90]

Occasionally, Roderick gets in the way of himself and makes the proceedings more difficult than they should be. [Sep 2006, p.214]