Though rockier in parts than any of his previous work, this 12-track set houses some of Johnson's most impressive songwriting to date.

New Favorite is pretty much the usual, if still wonderful, music from Krauss and Union Station. [Sep 2001, p.110]

It seems hard to believe that the man who made this album is the same one responsible for the 1984's still splendid Rattlesnakes.

This is complex, dense music that yields a little more with each play. [May 2003, p.106]

While One By One starts like the best Foo Fighters album ever it doesn't deliver track-upon-track. [Nov 2002, p.110]

Throughout, the bouncy enthusiasm of old has become heavier, louder, faster and stronger. [Jan 2003, p.113]

The sort of glorious record Greenwich Village beatniks would make if they'd been hibernating for 40 years. [Feb 2004, p.102]

A smart mixed bag. [Oct 2002, p.106]

Mature rather than groundbreaking. [May 2002, p.122]

Their stall is pretty clearly set out then, yet... Mind Fuzz's most enduring quality is the overriding, Technicolor sense of fun that runs throughout. [Jan 2015, p.128]

A swinging selection ranging from Lonnie Johnson to The Milk Carton Kids, from folk, country and blues to rollicking R&B, stripped down, hot and sweaty. [Dec 2015, p.108]

It's a mode that has little time for novelty or subtlety but plenty of potential to crowd-please on both sides of the pond. [June 2019, p. 108]

Noel Gallagher-approved Alberta Cross's first offering fulfils the promise of 2007's "The Thief & The Heartbreaker" EP. [Oct 2009, p.105]

Overall, there are more steps sideways than great leaps forward. [Oct 2018, p.112]

Her sense of foreboding remains intact, as does her way with a spooked Portishead-esque rhythm and a keeningly intelligent lyric. [May 2011, p.119]

Full of melancholy instrumentals rich in strings and percussive weirdness. [Mar 2005, p.104]

It's defiantly idiosyncratic and at times genuinely bonkers, yet despite that, Crab Day never once feels willfully obtuse or--that dreadful work--"kooky." [May 2016, p.105]

Joan Baez seems unshakeable on her 28th album. [Oct 2008, p.139]

MTMTMK is even more propulsive than their debut. From Kondaine's digitised kwassa kwassa to the deep-house swell of Rudeboy and Mghetto's dub throb, it thumps with worldly street rhythms. [Aug 2012, p.110]

Retro, sure, but all the better for it. [Oct 2019, p.109]

This 11-song Lp is less freak folk than freak scene, as the trio balances lo-fi guitar crunch with Chris Weisman's adenoidal vocals. [Jul 20120, p.93]

This is a swig of all that's gone before, chased down with much warmer production. [Jan 2013, p.107]

This is music to get lost in. [Dec 2015, p.106]

With the exception of I've Got Reason, the ripsnorting garage rock that enlivened his earlier work has disappeared. Instead, the likes of Shelter and Show Me veer towards ponderous MOR. [Dec 2019, p.109]

It's a richly textured record. [Jul 2015, p.109]

What stops it from feeling like an exercise in arch, vintage chic fancy dress is the warmth of their tunes and the lively untidiness if the execution. [Sep 2020, p.109]

It's a lush and elevating experience. [Dec 2012, p.109]

What TEEN have fashioned here is heady stuff. [May 2014, p.117]