Down To Earth has drama, poise and energy, but not sure its use in a film about a lonely rubbish-collecting robot in the future adds or subtracts anything, to be honest.

Hynde's fire is undimmed as she tackles love's drug-like addiction, tears up a roughshod storm on the rockers and delves into surf-guitar reggae on Lightning Man. [Jun 2020, p.88]

Suitably weathered by age and experience, [Dion's voice] hardly gathered rust and has retained its lustrous power and soulful richness. Co-producer/multi-instrumentalist Wayne Hood wisely pins that voice to the centre of this fabulous record, with A-listers very much in supporting roles. [Summer 2020, p.86]

Louris is nonetheless still on top form with Homecoming and his sublimely resigned Then You Walked Away is the pick of the three bonus tracks on the physical formats of the album.

Tail-chasing indie adequacy. [Summer 2020, p.89]

Even when exhorted by chanting fans, Liam's solo hits can never quite match Some Might Say's enduring emotive appeal. [Summer 2020, p.89]

A torrid tumble of greatness. [Summer 2020, p.89]

Forget the bolt cutters, Apple's already shed her last shackle. [Summer 2020, p.87]

Danzig mostly avoids the obvious greatest hits, favouring instead reverb-heavy lo-fi treatments that faithfully reference the originals without shooting for all-out mimicry. [Summer 2020, p.85]

This si the sound of lost Los Angeles; of excitement; of wildness; of a deep-rooted passion for biting rockabilly riffs, for life itself. This is beautiful, urgent and, frankly, unlooked for. [Summer 2020, p.84]

Ever the magpie with a love for shiny trinkets, Weller slips in West Coast Santana-style guitar, Middle Eastern drone, hand claps and honking tenor. References are introduced and then discarded at will. ... Intriguing, to say the least.

Eight short, sharp shocks in 30 minutes provide a perfect stun-blast soundtrack for today’s shattered society.

Clever without being too clever, but only just. [May 2020, p.83]

Homegrown was strong enough to have been released in 1975 and Young is right to exhume it now. But that doesn’t mean he was necessarily wrong then. He may have been baring his soul, but he was smart enough to know just how rotten that soul had fleetingly become.

Supple but robust at 50, Bowie's power glows undimmed. [Jul 2020, p.93]

Cohesive, diverse and swollen with hidden depths. [Jul 2020, p.88]

Even if Earle occasionally falls back on roots music autopilot, the power of this work is undeniable. [Jul 2020, p.89]

Overall it's a psychedelic delight. [Jul 2020, p.89]

Whether he's musing insightfully over alcoholism or parenthood, his band are blazing and Isbell takes a tired format and charges it up with passion and perceptiveness. [Jul 2020, p.88]

A Steady Drip, Drip, Drip is still a heartening example of a truly original and who continue to enjoy success on their own unique terms by refining and amplifying their youthful weirdness instead of mellowing with age. [Jul 2020, p.88]

Classic don't need varnish. [Jul 2020, p.87]

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

Delivering the goods with considerably more venom than you might expect at this stage in the game, Lamb of God remain hard to b(l)eat. [Jun 2020, p.89]

Bags of melody, plenty of light and shade, and great songs. A cosmic triumph.

While Larkin Poe are worthy, though, they’re never dull. [Jun 2020, p.87]

Music-wise there’s little not already on the 2007 box set 1977, including the alternative mixes of Dum Dum Boys, Baby, China Girl and Tiny Girls placed among assorted singles edits on the new collection’s Demos & Rarities disc, or the London Rainbow gig on another.

An hour of sheer roar-along brilliance. ... Stupendous. [Jun 2020, p.88]

They rely on their own successful turbo-operatic formula for large sections of this 80-minute-plus double album, and from the moment five minutes in when Music gets over its overtures and bursts into anthemic flame, the blend of guttural riffing, machine-gun bass drum and Floor Jansen’s perennially startled soprano is always captivating.