The album certainly holds enough strong melodies and well-written songs to elevate it above the majority of Harrison’s uneven solo career, but is somewhat brought down by Lynne’s posthumous production.

Last Night sacrifices the unified statement of Someday for a more varied, deliriously fun lack of coherency.

A 21 minute 41 second short burst of booming, stylish rock alchemy.

Has a laid-back, gleeful quality to it, one that gives the listener the sense that its musicians are making things up as they go along, unable to hide their excitement at the fact that it all sounds so unexpectedly awesome.

Languid, lifeless, and generic.

It may not be the psychedelic mind-warps that the Chemicals usually offer up, but it is an excellent debut and delivers the tunes we were hoping for earlier in 2002.

Quality is a very conflicted album. On one hand, many of the tracks are close to the level mind blowing, production and rhyme wise. On the other hand, some of the tracks are just plain boring and muddy.

Lacking individuality, distinction and imagination, this album is over-produced, overlong and over-indulgent.

From the onset, this disc excels on a new level.

The songs are immediately accessible, with a classic rock/modern pop delivery that’s every bit as lively and exciting as the very first disc this band released.

This is a definite upswing from the steaming pile of crap that was Binaural, but not the return to form that older fans of the band may have been hoping for.

The energy the band packs into their songs is unbelievable.

If The Blueprint proved that coming back is easy, The Blueprint 2 proves it’s difficult to stay on top.

Is it alchemy or robbery? Inspired or insipid? Who knows.

The inferior quality of the covers belies the excellence of American IV’s originals.

The Machine EP is a bizarre experiment for the YYYs: is this studio-glazed rocker the one that will show their true colors - or is this just a little endeavor to see what they can pull off? Either way, I’m pretty pissed.

The disappointments just keep on coming.

Few songs on the album are as perfect as [the opening] two, but many of them are nonetheless excellent.

Mediocre to its very last note, it reminds you that mediocrity is indeed far worse than simply awful.

What remains is a sometimes cold, sometimes confusing collection of epics that are more intricate than anything GYBE have ever created.

More inventive song writing and a less antagonistic stance could have helped Sigur Ros create something as equally stirring as their previous album.

They sound like little else you’ve heard before.

Yes, it’s a concept album, but it’s not crap. Actually, Scarlet’s Walk is very suitable for an artist with Amos’ capacity for spewing drama from her intense and highly articulated words.

In attempting to show all of the things she has been doing since we heard her last, Aguilera lessens the impact of the better songs on the record. Instead, in between ten to twelve mediocre/good songs, we have eight to ten songs that would be better served as B-sides.

Saint Etienne have regained their touch.

There is no denying the power of this album.

While little here strays far from the sound Death Cab has been tweaking for the past five years, it still makes for an intriguing listen for even casual fans of the group, and has its share of genuinely stunning moments.

The album maintains a consistency that was sorely lacking on Amon Tobin’s previous records. However, in doing so, the album sacrifices the innovation and uncontrolled experimentalism one expects from Tobin.