Scarecrow's sense of defeat actually makes it a better record. [Jan 2002, p.96]

Out there, but compelling all the same. [#184, p.137]

Continues in the same vein as its predecessor, matching Lynne's soulful vocals with an array of catchy tunes. [#184, p.140]

The embryo that is Manic Expressive promises much from the future. [Nov 2001, p.122]

Coy, genail and funny... a potent antidote to the usual chill-out porridge. [#184, p.140]

While her normal source of junior raunch [Max Martin] churns out the usual fesity hits... the remaining chastity-endorsing mush is nowhere near as exciting. [Dec 2001, p.131]

A record that finally fulfils sampling's original promise of generating fabulous new sounds from skilfully lifted bits of existing tracks.

As before, it's a heady swirl of rock, soul and hippy lyrics. However, it feels fantastic and, unless the record company is snoring soundly, it's full of hits.

Though fatally flawed, Invincible does boast its fair share of sonic exhilaration. [#184, p.132]

Such one-dimensional plodders as Mouthful Of Poison and Pain are as uninspired as their titles. [#184, p.139]

When the songs are powerful enough, it all works gorgeously. But elsewhere, songs as Ordinary Life or Nigel & Fiona drift towards diluted boho chic. [Nov 2001, p.122]

DJ Babu looks to the old school for his mix of melody and beats, giving the whole project a fluid and classy feel with more than a nod to their heroes, Run DMC. [#184, p.130]

Even at their most acerbic or delicately downplayed extremes, Incubus are compelling. [#184, p.137]

With regular producer Swizz Beatz virtually absent here, this fourth album is definitely mixed. [Dec 2001, p.121]

The glacial tones and chimes that the Velvet Underground modelled on Sunday Morning are invoked once too often. But, beyond this, Sandoval's sedated, spellbound voice remains a remarkable presence. [Nov 2001]

Charming, if slight.

There is so little personality or variety that when Lornaderek turns out to be a 30-second birthday ansaphone message from his mum and dad, it is not a gimmick but a touching highlight.

Golden State is, inevitably, rather good.

The likes of the gnarled, rough-edged Rollin' & Tumblin' serve as vital pieces of living history from the last of a generation. [Dec 2001, p.120]

Home Burns lacks the dreamy charm of its predecessor, favouring a more knowing, prog rock ramble. [Nov 2001]

Some arena-pleasing riffs, a couple of polished acoustic numers and everyone goes home happy. [Apr 2002, p.114]

While Cuttin' Heads hardly stretches him, Mellencamp dresses up his old tricks beautifully. [Mar 2002, p.125]

Where recent albums have felt more like protracted jam sessions -- impressive, if not actually exciting -- this has renewed sparkle, raiding indie-pop territory with harmonies, hand-claps and even the odd acoustic guitar.

New Order have made better records than this, but not many with such an emotional charge and the expansive noise to carry it off.... Get Ready is the sound of a great band breaking free of their past before your ears. Who’d have thought it?

Feminist Sweepstakes is a clever, catchy Day-Glo riot that anyone can join. [#184, p.140]

Unlike, say, fellow old-time Americana acolytes Mercury Rev, Beachwood Sparks lack sufficient melodic brio and steadfastly refuse to make any concessions to 21st century life. [Nov 2001, p.116]

Lilac6 is as effortlessly subtle and debonair as 1999's reformation album.

It makes the case for some long-forgotten virtues: fast songs, staccato chords, songs about trysts in squalid apartments. You know, the good stuff.