Imagine David Axelrod producing The Beatles, and you get an idea of The Earlies' ambition and musicality. [Mar 2007, p.111]

Further proof of Hersh's glittering place in the rock firmament after two decades of making music. [Mar 2007, p.112]

Not the easiest of listens. [Feb 2007, p.98]

Predictable, but not unpleasantly so. [Feb 2007, p.105]

An odd mix, but a perfect setting for George's intoxicatingly sweet voice. [Apr 2007, p.117]

While The Sweet Escape is not as garishly over-the-top as its predecessor, Stefani maintains an admirably off-kilter sound, catchy yet electronically edgy. [Feb 2007, p.106]

A superbly consistent R&B collection. [May 2007, p.123]

Pusha T and Malice are deft wordsmiths who deliver lean, whip-smart couplets. [Mar 2007, p.111]

An admirably muscular and direct effort. [Jan 2007, p.145]

This superior debut from Alberta rapper Roland Pemberton cuts adroitly from Oliver Square's booty shaking electro to the spare funk of Black Hand. [Oct 2007, p.101]

Flabbergasting... a genuine revolution in the head. [Dec 2006, p.133]

A long, sometimes hard, often inspired haul, this could easily have been pared down to a uniformly excellent double disc. [Dec 2006, p.138]

The good news is Songs For Christmas isn't the self-indulgent folly it may appear. [Jan 2007, p.152]

[Curator Paul] Morley's selection is generally spot on, but those who already own 1998's more concise retrospective Endless Love won't need this. [Dec 2006, p.150]

Utterly entrancing. [Dec 2006, p.141]

The sound of a maverick band raging against the dying of the light. [Dec 2006, p.132]

A remarkable balancing act. [Jan 2007, p.150]

9 may be quiet, but it is never easy listening. [Dec 2006, p.125]

There are no real songs here, only weak gags and unfunny skits. [Jan 2007, p.152]

Hoppus, whose flat vocals once dovetailed deftly with Delonge's nasal whine, is sorely exposed as sole frontman. [Dec 2006, p.132]

Campbell's voice seems to have been recorded in a lift shaft, rendering her too murky. [Dec 2006, p.133]

A cheap production slightly undermines, but the world is hers. [Mar 2007, p.111]

There's little of the fire and invention that characterised 2000's White Pony. [Nov 2006, p.140]

The best Nelson set since 1996's Spirit. [Dec 2006, p.138]

That it doesn't fall completely flat on its face must be considered some kind of triumph. [Dec 2006, p.126]

If the original Bat Out Of Hell was Bruce Springsteen's Born To Run as scored by Richard Wagner, this is even more theatrical. [Nov 2006, p.140]

It's a powerful formula, but one the band perfected with their 2002 album Oceanic. [Dec 2006, p.141]

There's still no getting over the patchiness. [Mar 2006, p.106]