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]

An inspired madman's tribute. [Dec 2014, p.105]

F.E.A.R. is so overripe it's fermenting. [Mar 2015, p.91]

It's on those spiritual slowies that this crew rakes the biggest steps to creating the 21st-century southern masterpiece they are obviously capable of. [Mar 2015, p.94]

Overall, too much of The Endless River is suffocated by prog-normative dreariness and a high, conventional varnish. [Dec 2014, p.98]

Their most convincing album since 2000's sickness. [Nov 2018, p.80]

The Fall, in the same old, and very different hands, remain freshly formidable. [Dec 2014, p.99]

While it's infectious, it tends to miss as much as it hits. [Sep 2014, p.95]

On 33 Crows he channels his inner Dylan, giving it lots of nasal drawl. Holy Flame brings things up to date, recalling Dandy Warhols. If you fancy some 60s-centric pop-rock, this might work.

Finely balance between rock and pop, Blood Red Roses showcases some of Stewart's best work in decades. [Oct 2018, p.82]

Clapton's guitar work [is] sizzling and defiant where elsewhere it merely simmers. [May 2013, p.88]

Citizens of Boomtown is a startling selection of classically punchy songs. [Apr 2020, p.87]

Cockily adventurous, By Default is a plasma grenade lobbed out of the blues rock trenches.

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]

The additional CDs redeem the era. Every B-side here is superior to half the record.

Hexed isn't a repetition of what's gone before, and sounds reasonably fresh. [Apr 2019, p.89]

Rise is long, sprawling, rather unfocused record that could have done with editing down to the strongest points, but when Hollywood Vampires are good they distil the spirit of classic rock as effortlessly as you’d hope from men of Cooper and Perry’s calibre.

Affecting rather than affected, Grinning Streak sees cerebral craftsmen who've always refused to take music too seriously drop the winking and discover the pleasure of passion. [Summer 2013, p.90]

When they play to their traditional strengths, most exhilaratingly on anthem-to-be Cryin’ In Your Beer and the breezy Caught By The Wind, they’re all walloping choruses and galloping guitars, but when they take chances things get really intriguing.

The Kingdom is Bush at their most confident. [Jul 2020, p.89]

His joy at being reacquainted with his music is obvious right from lively opener One More Time. [Dec 2021, p.74]

Double down on revitalising their music while finding new logs to throw on the philosophical fire. [Oct 2023, p.81]

His new album is also self-penned, with mixed results.

A competently executed, if indulgent. [Jul 2019, p.85]

Magnetic may veer close to Maroon-5-at-their-very-best territory, but let's not get sniffy. It's a life affirming, joyful record. [Jun 2013, p.91]

You'll find much to love on Global. [May 2015, p.102]

Admittedly, it still shines and chimes, the charming Yesterday Was Just A Dream is a highlight, as is the swaying Brand New Day, but the opening skiffle of You Belong To Me and the indifferent Go Down Rockin’ (as inspired as its title might imply), are Bryan Adams by numbers.

While it may not be the most musically involved album of his 50-year career, it’s persuasive evidence that Young still has a lot to offer.