A droll, tender-hearted and richly rewarding album.

The album tells you everything about what the recently renamed Theory Of A Deadman represent, one thing being class. [Mar 2020, p.87

Showcases an undeniably more varied sonic palette, even if that just means there are more classic bands that its 12 songs remind you of. [May 2021, p.84]

Bashed out between gigs, this music is vulnerable and diverse enough to be essential. [Dec 2013, p.108]

Sound-wise there's a gravelly, mature, post-punk bluesiness about The The in 2024, some of the blackness of Johnny Cash. But there are silvery moments of hopelessness. [Sep 2024, p.71]

Everyone has done their bit to honour the music and the man. The result is a record that hums with excitement and does Miller proud.

If you don't have [the original Live At The BBC set], get it. If you do and want more, here it is. [Dec 2013, p.109]

This is essentially raw, acoustic, heartfelt, a 21st-century blues, but heavily treated, clouded with atmospheres, immersed in dub, stretched across the skies, ground finely into the soil. [Sep 2018, p.86]

This is primarily a curio, but a fascinating one as it indicates directions Young could have taken if the weather had been different that day. [Oct 2023, p.91]

The ballad Love Grow Cold has a hazy, 80s sheen and the rest of the album has its feet planted firmly in the 70s, but this is nevertheless a slick and timeless collection of songs.

The results rock with dynamic, dramatic vigour on Put It Right and Rubicon, while Soord’s ability to tug melodically at heart strings remains in emotive evidence when the storm clouds part on Now It’s Yours and To Forget. [Apr 2024, p.80]

This, almost surreally, is only their seventh album and contains not a dull moment. [Sep 2019. p.83]

This album takes Graveyard into a new realm, marking them as modern blues-rock craftsmen par excellence.

For fans of Big Star (particularly their third album) or Gram Parsons, this album offers a similar unadorned beauty. The Super Deluxe Edition of this reissue includes a bonus disc with 12 previously unreleased early renditions of the album tracks. .... Some of the acoustic versions are quite the equal of their finished counterparts.

There's a lot to love here. But there's an awful lot of attention paid to the Life House concept, when the actual key to Who's Next enduring brilliance is Riger Daltrey attaining his ultimate incarnation as an exemplary rock vocalist. [Oct 2023, p.92]

Behind all the autumnal rumination and elder-statesmen tastefulness, thankfully, Eno's experimental ethos endures. [Nov 2022, p.75]

Arnold's new tunes are belters. ... This album should do the business. [Sep 2019, p.85]

Their hooks seem to call to you from misty, far-off shores, promising mystical rave-ups. Drift in. [Oct 2019, p.91]

Great riffs, great rides, great album. [Apr 2015, p.101]

Goat's best album. [Nov 2022, p.70]

Guitarist Dan Hyndman's Marmite vocal could be a stylisation too far, but there's plenty else t love on this assured third album. [Summer 2022, p.79]

Jawbone is not only accomplished, it’s also occasionally stunning.

The lone misstep is Bernard Butler's Not Alone, which without soaring strings loses much of its defining defiance. Caveat aside, this is an album of warmth and depth. [May 2026, p.74]

Making few concessions to 21st-century noise but equally never sounding old, Egypt Station is up there with Paul McCartney’s best solo work.

The result is a minor wonder of wit, weight and emotion - the Horses back to full gallop. [Feb 2022, p.82]

An inspirational fusing of avant-garde, jazz, skronk, clattering drums, blurting saxophones, heartfelt lyrics and stellar guest vocalists. [Sep 2018, p.93]

Well worth refreshing with its delights, Big Pink is a marvel of a debut.

The best thing about Royal Tea is that every track could easily drop into Bonamassa’s live show – which is more than you can say for Redemption. Back on track in every sense.