Juliette Lewis's third shot at crossing over from award-winning actress to respected songwriter appears to br gatherng pace. [Oct 2009, p.98]

Typically eclectic, off-kilter and irreverent. [Feb 2019, p.90]

A frustrating listen. [Jan 2006, p.119]

The results is mixed, but at times instinctive and powerful. [Apr 2010, p.93]

The first out-and-out dull R.E.M. album. [Oct 2004, p.97]

By and large, though, Cajun serve up a smooth, folky breed of indie-rock, only rendered unlovely by Blumberg's histrionic yelping. [Jun 2008, p.103]

Specialists in Transatlantica hone their songcraft. [July 2011, p. 100]

Starts promisingly soulful, but soon descends into faux gangster bullshit and lazy, dumb-ass sexism. [Feb 2005, p.100]

Spiky-sounding pop dominates with abrupt or obtuse song titles the rule not the exception. [Apr 2008, p.110]

It's hard to fathom what such a talented songwriter needs to indulge her inner karaoke quite so far. [Mar 2017, p.97]

With Tek on growly vocals, Two To One feels closer to Birdman's hypermelodic chug than any Stooges explosion. [Nov 2020, p.88]

The more successful versions tend to be of recent, less iconic songs--John The Revelator, Fragile Tension--but, despite the invention throughout hours of listening, not one version matches the original. [Jul 2011, p.112]

Thankfully Slash doesn't lack guts, tunes, potent solos or giant-slaying riffage. [May 2010, p. 92]

There's little dry about old guy jokes. [Jun 2018, p.97]b

A record, which, though obviously heartfelt, never sounds unified. [May 2015, p.98]

A festival friendly selection of gossamer reggae-lite that even jacks a riff from U2's Bad On I'll Be Waiting, although the mood is more a love up, unplugged Boomtown Rats, with Franti carefully to ensure his unflinching positivity doesn't become too wearing. [Jun 2011, p.104]

Those Libertines comparisons are a distant memory on Emergency, an album that ditches any tentativeness felt on last year's "Wait For Me," the band and producer Stephen Street going for Yorkshire-patented, Kaiser Chief-sized choruses, and Arctic Monkeys' kitchen-sink philosophising in the verses. [June 2008, p.102]

This collection of rarities includes songs from their "mystery year" of 1998, an MOR cover oof Toni Braxton's Unbreak My Heart and on, Turn Up The Radio, a song written as a YouTube collaboration with fans, yet is still stronger than most albums in the current mainstream pop/punk realm. [Jan 2011, p.110]

Only a fraction of the songs here reach a truly memerizing apex. [Sep 2008, p.110]

They come across as a self-contained, insular studio band, with tunes aching to break free of the driving wall of guitars. [May 2005, p.96]

An endearingly petulant collection of nasty hardcore guitar tunes.

Aloe Blacc swaggers with a charming insouciance on C'est Bon, which is an accurate description of Red Lips itself. [Jan 2017, p.94]

[Painting] loses momentum. [Mar 2013, p.98]

Their pop-rock posturing comes studded with lyrical yearning but lacks real emotional weight. [Mar 2014, p.96]

What stands out most about Give More Love is that Ringo's vocals have matured stylistically from his trademark amiably blokeish tones, and are stronger and more expressive now. [Oct 2017, p.90]

A vapid yet relentlessly self-regarding solemnity prevails. [Feb 2004, p.95]

A very fine record. [Feb 2003, p.86]

It's funnier than the Crue. And that's no mean feat. [Jul 2009, p.106]