One of the finest Americana albums of 2004. [Jan 2005, p.128]

Even at their most glibly bombastic, there's a melancholy undertow that they can't shake. [Album of the Month, Dec 2004, p.136]

When LAMB is good, it's very good indeed.... It's one of the most audacioius pop albums of the year. [Jan 2005, p.120]

A hardcore fan's wildest dreams fulfilled. [Jan 2005, p.134]

Feels for the most part like a vanity side project from Beyonce's solo career. [Jan 2005, p.115]

Another superb venture. [Jan 2005, p.121]

More, and even better, of the same--one of the dead-cert Albums Of The Year. [Album of the Month, Apr 2005, p.96]

The standard is so consistently high, sides so conclusively split, even after six years' familiarity with his schtick, that genius is the word. [Jan 2005, p.116]

Superior adult-contemporary rock. [Dec 2004, p.152]

The humourless skits drag... but somehow the Handsome Boy charm still wins through. [Dec 2004, p.137]

A gig of the year, no question. You should have been there. Now you can be. [Dec 2004, p.150]

Varies immensely in quality. [Dec 2004, p.137]

As inventive and well-meaning as these bastard pop blasts are, they're still not a patch on the originals. [Dec 2004, p.153]

Unexpectedly impressive. [Dec 2004, p.138]

It's hard to find fault with this uplifting debut. [Feb 2005, p.78]

Lifeblood seems closest in tone to Everything Must Go, although the sound is lighter, less bombastic, more soothing. [Dec 2004, p.148]

Dear Heather is Cohen's highest tide yet, his most exquisite marriage of song and poetry and ambiguous grace. [Nov 2004, p.114]

Channels sledgehammer power into 11 tunes with a filthy, deeply groovy core. [Mar 2005, p.104]

A lush but unthrilling album. [Nov 2003, p.122]

It moseys a little too languidly. [Nov 2004, p.114]

They may be shamelessly role-playing their Joan Jett schtick, but The Donnas still out-rock earnest retro-bores like Jet and Kings Of Leon. [Dec 2004, p.157]

With less hyperbole and gutter-visionary pretension, Borrell's competent if hygienised NYC punk knock-offs might be more palatable. [Aug 2004, p.104]

Explores themes of mental derailment and the black arts against a backdrop of the heaviest psychobilly, grunge-metal and stoner rock. [Nov 2004, p.106]

Power pop without the escapism. [Apr 2005, p.105]

A kind of Joshua Tree for the heavily pierced and mildly upset. [Dec 2004, p.140]

Too much here is self-congratulatory sloganeering. [Nov 2004, p.110]

Here, Beans returns to his roots. [Nov 2004, p.106]

From A Basement... returns us to the more unfiltered, denuded sound of his earlier [albums]. [Nov 2004, p.106]