[It] mines a similar seam of hard rock to that pursued by countrymen Wolfmother, only without so many Black Sabbath influences. [May 2007, p.129]

Luna is pleasing rather than groundbreaking. [Oct 2008, p.139]

It's annoyingly catchy. [Sep 2016, p.113]

The Straight Hits! feels so unlike 2011's exquisitely miserable Last Of The Country Gentlemen. Pearson wrote the LP according to five songwriting "pillars" and the constraints, paradoxically, have freed him up. [Jun 2018, p.114]

Good pop needs light and shade to grow up, it seems, and so does Example. [Jan 2013, p100]

As ever, his lyrics are oblique yet thought-provoking, if sometimes unwieldy. [Sep 2012, p.112]

Sex Change is the sound of a band having fun. [Mar 2007, p.117]

The faithful will be overjoyed: despite the optimistic title there's nothing new here, only a distillation of trace elements from previous outings. [Oct 2002, p.106]

Astonishingly good. [Jul 2004, p.127]

The rumble of My God's bigger Than Your God offers some respite, but can't save a disappointing return. [Oct 2010, p.121]

The fact remains that Take The Crown is a disappointment. [Dec 2012, p.99]

There's a lightness of touch from Turner and his band (and producer Catherine Marks) that makes No Man's Land a welcome diversion. [Sep 2019, p.116]

Storm & Grace is a likeable record if not a startling one. [Nov 2012, p.92]

There are moments of glorious burning distortion on Solara and Marchin' On, but its real riches are much more subtle. [Dec 2018, p.115]

A handsomely crafted affair of aching sincerity and a light pleasing soulful touch. What's missing are a couple of standout tracks to get the ball rolling. [Feb 2011, p.124]

The lack of any overt passion, energy and fresh ideas makes a numbing and sadly all too predictable listen. [Dec 2008, p.128]

Anyone unfamiliar with Sheffield's rich musical heritage could be left thinking the city's main legacy was maudlin ballads for the Saga set. [Dec 2008, p.128]

As a kind of '90s bedsit atmosphere plug-in, it works perfectly. [Jan 2012, p.124]

At times, this records triggers the vision of Ivor Cutler fronting Pet Shop Boys, the barrage of synths and layered vocals making for a mostly exhilarating experience. [Jul 2016, p.112]

California Hymn pulls something out of the hat at the end, but Anyway.... is so addled and confused it will likely be in the bin long before then. A real shocker. [Sep 2016, p.111]

Wolfmother 2.0 are as retro as before, at least there's a refreshing variety to the bludgeoning. [Nov 2009, p.115]

Speed Of Darkness dishes up more of the same. [July 2011, p. 120]

Too often, though, his eagerness to please sees him tumbling down to earth. [Oct 2012, p.93]

On Word Of Mouth he's finally built a viable path between those old and new worlds. [Mar 2014, p.115]

Best Of Times lacks the spark of the melodically blessed and, even though there are regular nods to Krautrock, there's a cloying wimpishness that too often derails them. [Apr 2014, p.115]

Powerful, atmospheric, but not for the fainthearted. [April 2012, p.94]

Across Planet Earth’s brisk and varied 10 tracks, he is once again doing it pretty well, from cocky rock strut ('Guitar') to Chic-style, pumped-up funk ('Chelsea Rodgers') and knicker-loosening R&B beats ('Future Baby Mama').

Regrettably, Williams fourth album continues her "progression" from convincing acoustic confessional to mild, gutless rocking with sessioneers who lack inspiration. [Nov 2001, p.130]