Doesn't pack enough hooks to make it memorable. [Apr 2005, p.105]

Whether she'll increase her fanbase on this second album by cloaking her naked ambition in the character of a self-obsessed bunny boiler called Electra Heart remains to be seen, but she's certainly given it everything. [May 2012, p.78]

An artfully dishevelled, emphatically Gallic racket. [Feb 2011, p.95]

He always wants to explore idiosyncratic digital terrains: admirable but, as his 24th LP shows, not always convincing. [May 2015, p.80]

Despite the addition of some burnished guitar licks, the results are as awful as you might expect and his one original composition, "For Love On Christmas Day," isn't much better. [Jan 2019, p.19]

Some great moments, but too much filler and too few anthems. [Mar 2002, p.99]

This is knowing, glitzy, trash. [July 2008, p.96]

He may not quite be the roaring pistolero of old, but mid-tempo songs like "Mockingbird Hill" and "The Highway Is My Home" are beautiful, time-ruffled distillations of border music, Tex-mex and desert rock. [Oct 2011, p.94]

Together, Adams and Lynne have come up with an old-fashioned FM rock album, short on nuance but strong on intent. [Nov 2015, p.71]

Bushnell provides that perfect kind of bass you barely notice. Keltner's percussion is a different story. Captured mostly in first or second takes, he doesn't so much keep the beat as respond to what Young is doing, an improvised interplay of odd, shaggy patterns. The record often becomes a duet between Young and Keltner. [Jan 2017, p.20]

Another entry in Cornell's catalogue of partial successes. [Jun 2007, p.91]

A rich, rowdy and mostly rewarding listen.

Pleasant enough, but The Magic Numbers do this stuff for warm-ups. [Sep 2010, p.87]

"Another Shot" adds tension and atmosphere but a tendency toward the derivative come to the for on synth-centreed gloomfest "Can't Get Enough." [May 2012, p.77]

Working with former Lamb partner Andy Barlow for the first time in six years, her marriage of vocal and acoustic guitar is raw yet rewarding. [Apr 2010, p.97]

Take Me Home in particular sounds like a bonus disc to a full album reissue. But they reveal new angles to the Big Star story. [Aug 2017, p.52]

Why You So Crazy is the sound of a group that--reasonably, at this point--discern no reason to start being anything other than themselves, and is accordingly laced with trademark Americana, stomping glam, droll boogie and the occasional addled aberration. [Feb 2019, p.26]

Morello's guitars tend to dominate, Riley's best lines get lost, and none of the songs here have the tunes to convert floating voters. [Nov 2009, p.106]

A self-indulgent but sporadically compelling mess. [Jan 2006, p.102]

Pipes is the weaker collection--no remaster can disguise this. [Nov 2015, p.93]

When they do get it right, as when highlighting the acerbic lyrics of "That's The Way I've Always Heard It Should Be" or cleverly flexing the groove of "Coming Around Again," you can see why it semed a good idea. [Apr 2010, p.98]

It's not the kink in the tail of FTP's impeccably groomed pop that makes them so intriguing, but rather their unembarrassed, first-level readability, which is such that you begin to suspect fiendish subversion. [Sep 2017, p.28]

Often recalls 1992's Automatic For The People in its sobriety of purpose. [Nov 2004, p.100]

While they are unlikely to blow any heads off, track like 'Graffiti Eyes' show that they haven't lost the knack of writing diverting pop songs. [Sep 2009, p.96]

Even the proficient production of Trevor Horn can do nothing to perk things up. [Nov 2003, p.114]

This is surely the desperate death-thore of a rank '90s relic. [Apr 2008, p.99]

Nicholas clearly isn't finished with us yet, judging by Silent Cry's pint-in-the-air riffing, chiming playlist-pop and brooding social commentary. [Aug 2008, p.93]

B-Real and Sen Dog's adenoidal cartton raps about beefs and bongs can still raise a smile when matched to a sparse, elastic beat, but the novelty of a Cypress Hill comeback has long since worn off by the 15th track. [May 2010, p.86]