The best tracks on Panic of Girls have some edge and bite... though the all-points-of-the-compass eclecticism makes [it] sound somewhat disjointed and schizophrenic. [Aug. 2011, pg. 99]

Any ad creatives hoping for mobile phone campaign music will be disappointed. [Oct 2005, p.102]

Quietly turn[s] into a rather good record as it goes along. [Jun 2004, p.116]

A Fool For Everyone treads a similarly disconsolate path [as "The Sky Behind The Sea"]. [Apr 2009, p.101]

It's a voice that dictates the tone and timber of every other element: the clipped, bass-driven, soulful blues dances delicately around those molasses tones and,at times, you can almost feel his breath in your ear. [Apr 2011, p.98]

Occasionally, the buoyancy veers into pop, the clever lyrics verge on trite. [Sep 2013, p.88]

Stereophonics jab at the same buttons that previously scored them six number 1s without breaking the mould. [Dec 2017, p.86]

Some of it is tough and unforgiving... and some is pure pop plastique. [Apr 2005, p.89]

The effete Norwegian's music is becoming too unobtrusive for its own good. [Apr 2009, p.103]

[Their] first [album] to sound authentically beaten up. [Jun 2007, p.101]

This is a collection of melodic, quality pop songs that lean to the grown-up side of things. [Nov 2006, p.100]

Stewart still has the voice and, on the gravelly rocker Please and the Steve Harley/Jim Cregan co-write A Friend For Life, the songs. But the rest is best avoided. [Dec 2015, p.86]

Tellingly, Al Jardine and David Marks return here, their harmonies shining in the gorgeously dreamy Whatever Happened. [May 2015, p.93]

Sov's downfall is the occasional repetitiveness on songs like 'Pennies,' where cyclical beats and lyrics begin to grate. [May 2009, p.96]

For better and occasionally worse, it feels effortless for listener and writer alike. [Apr 2003, p.112]

Certainly, Live On I-5 proves Soundgarden weren't covered by grand stadium stages. [May 2011, p.125]

Versions of Jon i Mitchell's Don't Interrupt The Sorrow and Bob Dylan's Only A Pawn In Their Game are surprisingly persuasive. Elsewhere, it's like being imprisoned in the teenage Moz bedroom/brain. [Jun 2019, p.89]

Coup De Grace may not radically change skeptics' perception of Kane as Turner's lesser-half. ... But dig deeper and you'll find Kane's finest work so far. [Sep 2018, p.86]

This new album is as quixotic and wilfully idiosyncratic as his previous oeuvre. [Jan 2016, p.88]

It intrigues more than satisfies. [Apr 2005, p.100]

Topped off with lo-fi synths and Victor Truicard's taut riffology, PSY are fresh, fiery, top fun. [Mar 2011, p.101]

What it lacks, however, is the quality of songwriting in his best best work from the '70s. [May 2015, p.90]

Clapton's guitar still sings, howls and weeps, but this is for the staunchest God-heads only. [Jan 2019, p.90]

An enjoyably bad-ass record. [Feb 2002, p.102]

There's no joker in this kind of casual big top tourism, and the album flatly perches in the middle like some neutered, latter-day Green Day. [Jan 2011, p.100]

Unreconstructed rock thrills (produced by Jeff Lyne). [Nov 2015, p.96]

While hats should be tipped for the sentiments expressed, with less urgency to make his point and more time spent on making it listenable the message might have stood a chance of reaching a few more ears. [Jan 2017, p.96]

She's lost track of almost everything that made her music marvellous. [Jun 2004, p.101]