A disappointment.... While the voice still burns, the lacklustre songs cannot bear his weight. [Apr 2006, p.113]

The beats simply aren't up to snuff. [Feb 2013, p.103]

Most of these versions bear only the scantest similarity to the originals. [Jun 2016, p.116]

He's never that far from plunging towards obviousness. [Jun 2004, p.108]

It feels awkward. [Oct 2006, p.119]

Lacking the chutzpah of Beyonce or a signature voice to rival Mary J Blige, it's another curiously polite mix of soul and pop hip hop. [Dec 2007, p.118]

Whether that relatively small selection of highlights justifies buying this package is a moot point. It may depend on whether there is something of interest in the sound of great talent stuck in a deep rut. [Nov 2016, p.116]

There's is much self-dramatising talk of "crazy dreamers," but no magical thinking in the music. [Mar 2013, p.102]

Thier latest mixes elements of ambient, post-punk and psychedelia. Often a recipe for a mess, there are moments of coherence. [Mar 2010, p.97]

The wait for the first great Frank Black solo album continues. [Sep 2002, p.100]

You're left with a decent retro rocker who's treading water when he should be kicking up dust. [Dec 2012, p.110]

This crosses the border from homage to mimicry. [Dec 2013, p.108]

It all feels empty, like they're striking a pose without knowing why. [Jul 2013, p.104]

Sadly, bra-burning rhetoric and gospel warbling make poor substitutes for addictive songs, and nothing here rivals her previous best, Genie In A Bottle. [Jan 2003, p.112]

Gibb's style is frustratingly monotonic. [Sep 2004, p.119]

It's all resolutely urbane and largely unmemorable. [Dec 2013, p.110]

It's audacious, sure, but it neither makes sense nor sounds good. [#180, p.102]

Enclosure, his 11th solo record, is uncomfortably disjointed. [Jul 2014, p.107]

Memory reverts to his early-noughties down-tempo incarnation as OCS, which only illuminates his frailties as a singer/lyricist. [Dec 2017, p.109]

A feeling of "not a lot happening" pervades. [Apr 2006, p.118]

Beneath the distractingly high-pitched, multi-tracked vocals and tastefully tribal drama, there's nothing more threatening than a synthesized Florence + The Machine. [Jul 2012, p.107]

Now remastered from the UK tapes, these albums are utterly pointless. [Mar 2014, p.123]

A Fool For Everyone is serviceble moan-rock that only splutters to life when he slips into angular, Tom Verlaine guitar-playing mode. [May 2009, p.119]

They've unfortunately discovered dance music several years too late. [Dec 2002, p.112]

A less spirited affair, with little spark or enthusiasm. [Mar 2003, p.102]

As it stands, the lack of genuine emotion here does the musical invention shown on Turbines a disservice, and ultimately delivers Tunng's least satisfactory album to date. [Aug 2013, p.107]

The relentlessly summery mega anthems sound identical. And exhausting. [Sep 2013, p.109]

Clapton sounds exactly like what it is: the work of a musically satisfied 65-year-old. [Nov. 2010, p. 106]