As a Bad Religion record, it’s certainly not gold and you won’t be demanding myrrh.

It’s all very polished, if hardly challenging.

Much of the material is by-the-numbers mainstream pop-rock, which is why the mesmeric Latin jazz groove, Yo Soy La Luz, featuring saxophonist Wayne Shorter and Santana’s drummer wife, Cindy Blackman, stands out.

Tight drums that bring The Smiths to mind hold the whole thing down, as guitars and bass sparkle, their counterpoint (not to mention reverb applied with a trowel) creating a comic-book cool atmosphere throughout. Throw a few saxes into the mix and you’ve got yourself a vintage-yet-modern rock’n’roll classic.

They’ve fashioned a rich and powerfully diverse record.

Shrigley’s work is not for everyone, and Middleton has only a cult following; while Words And Music won’t change either of those facts, the prospect of someone stumbling across this record by mistake makes it more than a worthwhile endeavour.

Storytone’s deluxe edition carries an extra disc of solo takes: mostly Young and ukulele. It’s more palatable, but perhaps doesn’t reveal any more depth to the material.

Elements of it are among the boldest, most enjoyable experiments of his career. .... There are clunkers too. [Christmas 2025, p.132]

Low occasionally summons enough leavening fervour to make a Morrissey album seem worth the time: no small achievement after his dreaded political blather.

It’s loud, crunchy, cacophonous, and a subtlety-free zone--and sometimes that’s more than enough.

Some of these quiet reworks are extremely good indeed; all highlight Burchill’s prowess with an acoustic guitar.

The fun again sometimes tips over into irritating self-indulgence. [Nov 2024, p.101]

As a writer, Dave has always inevitably been overshadowed by Ray, but the album features some of his most articulate and inspired songs to date.

Recorded in Sheffield with crack producer Andy Bell, Afterglow is an ambitious addition to the sounds of a city that is fast becoming the central hub for the UK’s best folk talent.

Sometimes predictably frustrating, sometimes pleasingly fresh, Make-up Is A Lie is a reminder that Morrissey probably couldn’t stop at this stage of the game, much less change. [Mar 2026, p.100]

Sequel To The Prequel’s catchy riffs also induce a sense of familiarity, making it addictive from the off.

A record that struggles to catch fire.

Purists may regard the project as a desecration, but the Flips could have pushed it even further with no complaints from this jury.

If ever an album begs repeated listening, it’s this one, which manages to surprise and reassure at the same time; you’ll want to return to it more than any other post-’83 Floyd album.

Lyrics apart, the opening title track features lush orchestration and twinkling piano used to nice effect throughout. [Dec 2024, p.106]

Never mind that his soulful balladeering doesn’t manage to inhabit all the covers (the buoyant funk of Everyday People in particular), this is a glittering display of a powerful talent lost too soon. Hallelujah for its release.

Despite his heavy pedigree, the poppier songs are some of the best here, the only blot being an honourable but lacklustre run through 20th Century Boy.

The entire programme is executed with credibility and verve.

The opening song Love Is, which he sings with a touch of the Gaelic, could almost be a track by The Waterboys and might easily soundbed one of those ghastly Irish cider ads where implausibly airbrushed Hibernians flaunt their trendy facial hair. He recovers from this false start to concentrate on some ex-pat musings with a side order of standard US FM rock punctuated with bursts of mariachi on Please.

No Pier Pressure is another patchy collection that includes some of his best recent work alongside his most risible.

Global is as pastiche-y as the album’s cartoon-styled portrait sleeve, but no less enjoyable for that.

Walls are punched, tapes are stolen, idols are desecrated... but somewhere in this chaos are tunes worthy of the reputation Chilton tried so hard to ruin.

Despite scoring plenty of high moments, there is a sameness to this collection, which can become trying on repeat listens.