It's undeniably infectious, maddeningly so at times. [Oct 2011, p.120]

While elegantly arranged and rendered with passion, this is unlikely to convert those deaf to formulaic Americana. [Apr 2007, p.117]

The mood is a celebratory, the vibe relaxed and one-time socially conscious hip hopper Franti makes like he's the happiest guy on the planet. [Jun 2011, p.124]

Emergency is a confident second dose, not a lazy repeat. [June 2008, p.139]

The Temper Trap are touched by the brilliance of Dougy Mandagi, a vocalist with a set of pipes so extraordinary he could emote a Twitter feed. [Jun 2012, p.112]

As bland as paint. [May 2005, p.110]

It's not for everyone. It's certainly not for Blur fans of Country House vintage. Nor is it the best dinner party album in the world ever. But it's no knottier than 13 and in its own noisy way, great fun.

The pleasure rapidly dissipates over 17 formulaic numbers, some of which come with an accordion. [May 2004, p.98]

With stylistic echoes of The Kinks, Pixies and non-dancing Stones roses, the songs' themes of social isolation, romantic frustration and other junior Dylan-isms suggest a talent yet to mature. [Feb 2009, p.113]

There's no doubt they're here to carouse, but beware the hangover. [Jan 2017, p.104]

All this introspection wouldn't be so bad if Stained put a bit of oomph behind it, but the musical changes lack dynamism and frame the groaning vocals almost reverentially. [#180, p.111]

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]

Too much else here is a plodding, monochrome take on '60s psychedelia, lacking in originality or imagination. [Mar 2013, p.108]

The Internet still feels like an important first step, not only for its willingness to test the limits of current hip hop/R&B, but as proof that Odd Future is more than just a one-man show. [Mar 2012, p.108]

Its pleasures lie almost entirely in the storytelling, bolstered by Mueler's between-songs narration. [Dec 2012, p.110]

A sleek collision of burbling basslines, adversarial vocals and downtuned brutality. [Mar 2006, p.109]

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

Bursts of corrosive techno that have all the instrumental variety of a car alarm. [Sep 2016, p.108]

Combining Koretsky's electro throb, Rourke's funky bass and O'Riordan's distinctive, albeit newly toned vocals. It particularly works on the uptempo and lush The Moon and the more hardcore Gunfight, enhancing everyone's reputation. [Oct 2016, p.107]

[Mangini's] speed is not in much evidence on A Dramatic Turn of Events, though, where prog-metal riffs give way far too easily to pianos and technical indulgence. [Oct 2011, p.120]

Throughout, Man Of The Woods seesaws brilliantly between pop and country. [Apr 2018, p.116]

This is wishy-washy music for moody goth-lite teens. [Apr 2014, p.112]

The forgettable radio-pop of Laughable or Show Me The Way suggests a musician with nothing to prove having fun with his friends. After five songs, though, Give More Love nosedives into by-numbers country rock. [Oct 2017, p.111]

McLachlan's gorgeous voice has always been her strength, and even Pierre Marchand's soft-rock production can't diminish its power. [Mar 2004, p.107]

Some rubbishy funk aside, Robinson sounds more energised than he has in ages. [Nov 2002, p.113]

Enjoyment of this LA tribute act's wilfully non-PC parody of '80s hair metal entirely correlates with one's familarity with Poison and Faster Pussycat's liking for double--often single-entendres. [Jul 2009, p.117]

When countless Miracles anthologies exist, anyone who reaches for this is a bigger clown than the weepy one in Smokey's song. [Dec 2014, p.116]

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