It's Tripp's devotion to short, snappy expression that lends this album mist character. [Apr 2026, p.77]

At three hours-plus, it’s a lot of breadline bluster, but it’s life-affirming nonetheless.

While we can probably do without his appropriation of You Are My Sunshine, the covers of Edgar Winter's Dying To Live and Tell 'Em I'm Gone are both moving and powerful. [Dec 2014, p.104]

Old timers and newcomers are invited to reconsider latter-day entries in the Stones hall of infamy. While Doom And Gloom and the sparring couplets of Rough Justice warrant rehabilitation, Streets Of Love’s overblown gaudiness typifies the quality dip that closes disc 2.

The album is a monument to an eccentric, indefatigable, indestructible spirit who refused not to rock on. [Jul 2018, p.88]

Pretty fine on record, this kinetic quartet sound like they would probably be explosively exciting live. [Aug 2020, p.87]

As a craftman's final flick on old canvases, it makes for a fine late Blue period. [Nov 2018, p.85]

These lush ambient soundscapes mostly make great backdrops to the 62-year-old crooner's pithy musing and archly allusive lyrics, especially on more widescreen numbers. [Summer 2023, p.75]

A dream experience, Born Horses canters at a fine pace. [Sep 2024, p.75]

The techno-noir sonic palette here is as eclectic as ever. [Oct 2013, p.90]

A gentle fleshing-out of tracks might’ve boosted it, but this is as close as the ever-youthful 74-year-old has yet come to doing an American Recordings. Autumnal, rather than valedictory.

The title and lyrics may scream apocalyptic gloom - Living is Killing Us, Doomscrolling, Born Again Pessimist - but there is an increasingly bright, infectious, power-glam polish to the band's sound. [Dec 2022, p.74]

Playing Favorites lacks the career-defining standout that will catapult them into a bigger league, and sometimes the whole is less than the sum of its intriguing parts. They're well on their way, tough. [May 2024, p.73]

Willfully off-kilter after all this time, The Used are still marching defiantly to the beat of their own drum. [Jun 2020, p.87]

It bursts with the wide-eyed, childlike wonder that has underpinned so much of his work, interwoven with his uniquely kind, gentle and spiritual voice of wisdom. [Summer 2023, p.79]

Sequel lacks any major melodic cornerstone in the vein of Kilimanjaro or Down In Abion but it's also without the dreary, narcotic ska rambles that made previous Babyshambles efforts only half-listenable. [Oct 2013, p.90]

It sounds like just another FFAF album. [Mar 2015, p.91]

Marlowe’s Revenge proves that his creative well is far from dry.

While a valuable document for nostalgic attendees, is, unsurprisingly, a hit-and-miss affair. [Summer 2023, p.74]

Yes aging is difficult but Elton and Bernie seem to be making a good job of it. [Oct 2013, p.91]

Throughout, Williams walks the line between tough and tender, just as she cleverly negotiates the path dividing heartland American music and the alternative, counter cultural variety. [Dec 2014, p.106]

Perhaps not the new studio recording some were hoping for, but a fascinating and compelling deep dive into Young’s past. [Mar 2024, p.80]

The four-piece have lost none of their bite. [Jul 2018, p.86]

Ann Wilson knows her music history, and it resonates powerfully throughout this fine album. [May 2022, p.82]

There is still enough here to inspire hope for the band in the future, but this album is not quiet there yet. [Dec 2014, p.106]

Two plays in, as with this utterly endearing tenth, you will overlook its flaws and follies and fall for their gentle angst massages and relentless power pop melodies. [Nov 2019, p.84]

Primus are an acquired taste, but a taste worth acquiring. [Dec 2014, p.107]

Kane's appeal remains in relishing the retro. [Mar 2022, p.80]