The Wallflowers make some of the best radio-friendly hooks and melodies around. [Mar 2003, p.112]

Rodgers' fealty to rhythm is still unquestionable from opener Till The World Falls through the emphatic beats that drive Boogie All Night and single Sober, which are clearly less subtle than "old" Chic. [Dec 2018, p.90]

Eerily pretty if a little ponderous. [Jun 2014, p.98]

Lavish second release from Welsh synth-pop artist Rod Thomas. [Aug 2014, p.96]

All in all, this is an unqualified triumph. [Nov 2015, p.86]

[A] soaring yet engagingly earthly first album. [Nov 2015, p.96]

Rattle's haunting weird-pop stands out like ghosts in the daytime. Spread over an album, truthfully, it's a trying listen. [Sep 2016, p.93]

There’s quite a variety of country musicians here. Most tend to play their selection pretty straight, though Rhiannon Giddens has an interesting take on Don’t Come Around Here No More. ... It’s the old school who provide this collection’s highlights. [Aug 2024, p.89]

Strong mastery of mood and era, but the overcast ennui palls before the album's close. [Aug 2020, p.94]

No one sounds like they are having much fun on this follow-up and his rearrangements of the classics on piano add nothing new to the songs. [Jun 2013, p.84]

Jared Artaud and Brian MacFadyen pack a pummeling version of cultural vacancy, though they're a tad predictable. [Sep 2014, p.93]

[The] material [is] often so simple in construction that a check of the enclosed lyric sheet is sometimes necessary to ensure the songs really exist. [Jan 2003, p.102]

[A] breezy conflation of Beta Band-esque jollity, default indie guitar chime and High Llamas-style retro melody. [May 2003, p.95]

Nelson sounds edgy while Ali Jackson's percussion solo probably looks good on TV but bores aurally. [July 2011, p. 107]

It's a fine - if eccentric- album, but a bit of extra tinsel wouldn't have hurt. [Jan 2012, p.98]

Frustratingly, that search [for plaidits] and presumably producer du jour Ethan Johns--has led them into the uncomfortable territory of bombastic, charmless "October/War"-era U2. [Oct 2007, p.92]

A coffee table record. [Jun 2007, p.114]

While Harvieu's voice shows she's got potential, the material tends towards the bland and boring. [May 2012, p.84]

On a basic, gut-punching level they deliver with inarguable aplomb. [Feb 2016, p.92]

Almost every track plays nice sweet-and-sour tricks on the ears. But maximum, piercingly intelligent, heartfelt Crow comes through only in Sending A Letter To God. [Oct 2005, p.98]

Only By The Night is best viewed as a transitional record from a band who have quite literally done their growing up in public. [Oct 2008, p.98]

Whatever they're called, Sabbath still rule. [Jun 2009, p.99]

This Family album goes toward capturing the band's undeniable genius, in music that lingers like the most terrifying dream. [Feb 2016, p.91]

The frat-boy humour is wearing a tad thin. [Oct 2011, p.97]

The album is engagingly eclectic, always melodic, sometimes hard and storming, but never quite so sublime [as single "Good Boys"]. [Nov 2004, p.132]

A vast, often splendid affair that recalls the lavish expanse of Roger Waters-era Pink Floyd alongside the psychedelic crash of The Who. [Dec 2003, p.122]

At once as snug as a velvet quilt in a log cabin, yet as challenging and testing as modern architecture, VII is a signpost to a whole new direction for Americana. [Jan 2014, p.100]

There are mimics here but actually surprising few for a tribute. The best salutes to the famously fragile songwriter reincarnate his work in new guises. [Nov 2016, p.87]