Restored and mixed by Giles Martin and Sam Okell – who worked wonders with The Beatles’ Get Back footage – it’s a pristine listening experience, with little between-song chat. It showcases Creedence Clearwater Revival’s many strengths.

It takes a few listens, but once it swims into focus it's another knockout. [Oct 2023, p.82]

Loneliness has rarely felt so uplifting. [Jun 2018, p.92]

All in, it’s superior stuff, brimming with self-effacement and fun that belies the quality and seriousness from which it’s constructed.

On sturdy, soulful vocals, Richard Watts is again Trower's mouthpiece for these well-observed songs (his concerns include culture wars and the clock's now-deafening tick). But the truest expression comes from the guitarist's extended freeform solos. [Jun 2025, p.77]

Steadily onwards through a flawless second side worth of classic, never-more-accessible Libertines in excelsis, before Songs They Never Play On The Radio causally encapsulates everything The Libertines were and, thankfully, still very much are. [Apr 2024, p.79]

The result is the most varied album that Gov't Mule have made, and certainly the most concise. There is no room for noodling, even when the tracks go over the seven-minute mark. [Summer 2023, p.76]

This is a fine monument to Sonic Youth's undimmed, anarchic, arthouse rock'n'roll fury. [Oct 2023, p.82]

The Vaccines' retro rock'n'roll clearly suits this kind of next-generation upgrade. [Oct 2021, p.79]

While nothing quite matches the brutalist stomps of your youth, there’s a savage intensity at work here.

Guitarist Russell Lissack counters the intoxicating synthetics with some of his most powerful work yet. ... Elemental. [May 2022, p.80]

It gets a touch ploddy in the middle, but the motorik of Shanty and electric pulse of Chained To A Cloud channel sanguine sunshine. Thriving. [Oct 2023, p.85]

Only the plodding White Lightning and an unadventurous 20th century Boy drag, but they're easily outweighed by the new-wave buzz of Youth Quake and Parachute's godlike glam Beatles chorus. [May 2015, p.102]

They continue to show a maverick character of their own while sharing Parker’s ear for a heady, swirling prog-pop soundscape.

As you'd expect, musically they're full-tilt melodic punk rallying cries, with the warmth of Greg Graffin's vocals contrasting beautifully against Brett Gurewitz's barbed riffs to suggest there's still a chance for redemption if we stand up and fight. [Jun 2019, p.86]

A brilliantly put-together collection from one of popular music’s most important cities.

It's to Gill's credit that the band have retained their venom, spitting out terse rhythms and thick squirts of electronica. [Apr 2015, p.95]

This fine album could have been recorded at any time in the past 60 years, yet also could only have been recorded by this particular man at this particular stage of his career. [May 2015, p.107]

From Metal Box faves Public Image and Socialist to themes from Midnight Cowboy and Get Carter, it’s an utter cheek-tonguing joy from start to finish.

Punchy, confident debut. [Nov 2021, p.76]

Blood On The Tracks is rightly considered to be one of Dylan's masterpieces, and this exhaustive collection shows why. [Jan 2019, p.95]

He's dancing to the beat of his own drum, and it's hard not to want to join him. [Jul 2018, p.86]

Regardless of the personnel on it, this album sounds like the Stranglers: both nice and sleazy. [Sep 2021, p.81]

Repetitive chants and moments of unfettered melodic joy further bolster or confuse the situation, depending on your mindset. [Jun 2013, p.93]

There's a sort of crazy idealism to their music which brings them tantalizingly close to such sources, while becoming increasingly indomitably themselves. [Apr 2019, p.84]

Marred only slightly by a couple of scrappy tunes, the album feels like a life-affirming reminder of anarchist Emma Goldman's celebrated maxim that the only worthwhile revolution is one you can dance to. [Apr 2015, p.96]

Detroit Stories is his most concise bolt of precision-tooled heavy rock in 50 years, enhanced by Ezrin’s robust production and Alice on lethal form, vocally and lyric-wise.

Coathangers drives home the prevailing sense of compositional attitude meeting musical affirmation. Bravo! [Nov 2013, p.88]