Sadly, this follow-up shows signs of premature ageing. [Mar 2006, p.109]

Crass, brash, open freeway excess at its best. If only he didn't spend half the album apologising for them. [Jul 2004, p.118]

The drab orchestrations offer tepid schmaltz, not romance. [Dec 2002, p.112]

This kitchen-sink hybrid works remarkably well. [Nov 2008, p.117]

The majority of tracks scream "poor old bored celeb." [Nov 2006, p.139]

It ditches classic thrash for bland classic rock. [Aug 2013, p.96]

Like the rock equivalent of an SUV, All The Right Reasons is huge, polished and ultimately pointless. [Dec 2005, p.155]

Another dollop of rock sludge with a remarkably honest title. [Aug 2003, p.115]

Essentially, it sounds exactly like each of her four previous albums. Sure, she's consistent, but does she never tire of forever sounding the same...?

As warmly irresistible as the Feeling, the impossibly catchy 'Best Of Me' nods to Elton John's 'Your Song' and it's the finest moment here. [Oct 2008, p.150]

Embarrassing. [Dec 2003, p.134]

A nice enough idea, but being much quieter and more pastoral, it is also somewhat anti-climactic. [Aug 2005, p.128]

The former Verve leader attempts urban crossover. Look away now. [August 2010, p. 114]

It clings too rigidly to its electronic template and sorely lacks the breezy pop iinventiveness of old. [Apr 2010, p.115]

Anyone believing that Bush betrayed grunge's punk promise will feel like reaching for a shotgun. [Aug 2008, p.135]

They cook up an almighty storm, but as winds go, it's rather hollow. [Feb 2004, p.105]

Nine Track Mind whimpers like a sick kitten. [Mar 2016, p.113]

Tulisa struggles to get to grips with the predictably generic R&B ballads, but when the pace is upped and she shouts along to Young and the feisty M.I.A.-lite Live It Up, the personality that has turned her into a phenomenon of out times transcends her obvious limitations. [Jan 2013, p.112]

There are no highlights. Appalling. [Sep 2011, p.110]

There's little experimentation to interrupt the drive-time friendly tunes. [Nov 2004, p.119]

Middle-age is no excuse for such an unforgivably bland collection of over-emoted love songs. [Dec 2002, p.102]

Recent name change can't save disappointing debut. [Sept. 2011, p.105]

A far more rounded proposition than 2000's water-treading Chocolate Starfish. [Dec 2003, p.132]

Ultimately, this 11-track LP is nine songs too long as the rest swill around the bottom of the indie-rock barrel like thin gruel. [Apr 2014, p.121]

Fatally it offers nothing to suggest a band moving forwards. [May 2013, p.109]

A single 47-minute long track, subtitled An Electronic Night Ceremony, it begins with a slowly unfolding dystopian bass rumble to which a pulsing beat and subtle layers of electronic soup are laboriously added. Sounding more like the hum of a car factory (they still have them in Germany) than the celestial sphere of the title, it's a querulous throb of a record which, once heard, hardly invites repeated listening.

There's something truly peculiar going on here, and worth pursuing. [Sep 2002, p.110]