This slick trio from Dripping Springs, Texas add cloying twang to yacht-rock tropes to asset-stripping effect. [Sep 2019, p.87]

The clunky title track aside, swagger and confidence distinctively enhanced by the likes of Garth Hudson, Joan Wasser, Jim Keltner, JA keeps it all alive and diversely tuneful. [Oct 2013, p.89]

Here he duly revisits his own past, on an album that blends new material with covers of his old work and that of others.

Oddly archaic yet thoroughly modern. Which is to say he still sounds pretty timeless. [Apr 2026, p.80]

Redeemer of Souls is irrefutable prof that Priest are still a force on the metal scene. [Aug 2014, p. 204]

C’mon You Know itself is a bit of a cracker, finding a ‘repentant’ Liam (‘I admit that I was angry for too long’ – choir-enhanced opener More Power) gleefully infuriating his usual detractors (with Diamonds In The Dark’s ‘Now I know how many holes it takes to…’ hook), delivering catnip ballads (Too Good For Giving Up), hitting all the right Liam Gallagher buttons (Don’t Go Halfway) and occasionally kicking hand-me-down Stonesy arse (Everything’s Electric).

Its 10 songs are bombastic, unabashed boogies, each one stacked with layer upon layer of symphonic volume. [Summer 2025, p.73]

Classy but strangely sterile. [Sep 2022, p.77]

X – No Absolutes is the sound of Prong feeling comfortable in 2016; still underground and recognisable as the band who snapped our fingers and necks, but also adding essential modern detail.

Wild Cat does get samey with 11 songs, but it’s a whole lotta fun and fans will lap it up.

There’s a demo version of The Ramones’ Rockaway Beach included here, which is as scratchy and worn as you might imagine and, remarkably, lacks any of that patented, and much missed, Motörhead kick. Much better is their gnarly version of Metallica’s Whiplash; if you didn’t know any better you’d swear it was one of their own. Ditto Twisted Sister’s Shoot ‘Em Down.

Legend Of The Seagullmen is inventive, eclectic and gleefully unhinged, but if there are any criticisms to be made it’s that it’s over too soon.

It’s a fine mix of odds and sods to stave off the hunger for the next sonic feast they cook up.

Reassuringly awkward. [Jan 2021, p.87]

Their sugar-coated badass swagger might be toothless and adolescent, but sometimes teenage dreams are hard to beat. [Mar 2021, p.87]

Hi is a renewed statement of intent. [Jul 2021, p.87]

Four discs of heavy-lidded, slope-shouldered, shoe-gazing aural opioids. [May 2023, p.89]

It's the sixties end of the nineties again, yet repurposed with significant flair. [May 2023, p.81]

It's occasionally elegiac, delicate and whimsical on a song like Real Again, with an occasional side of the epic. [Summer 2023, p.75]

This isn’t completely terrible – duets with Willie Nelson improve anything – it’s just frustratingly unessential. [Dec 2024, p.75]

Long on delicately gauzy, seductively shoegazey atmospheric, but short on whup-ass. [Apr 2025, p.77]

Play fast and loose with notions of Americana. [Aug 2025, p.77]

Tasteful and eloquent. ... minus the killer tunes. [Nov 2018, p.85]

The record is rivenwith angst, strife and remonstration. Which makes it sound like a knotty proposition. But actually it’s quite the opposite.

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

On a record full of sprawling, guitar solos, textural acoustics and steady drums, J Mascis's plaintive howl of a vocal tops off everything, adding one more layer of poignancy. [Mar 2024, p.81]

Here they're more rock than folk--or, to be exact, more prog than folk, extending the jams and minimising the survivalist backwoodsman imagery for more obtuse bong-flavoured lyrics. [Dec 2013, p.103]

If the music's a bit uniform, it'd sound great scoring a scene in Sons of Anarchy. [Nov 2014, p.91]