Critic Reviews
| 83 |
Entertainment Weekly
Quaye's thoroughly urbanized, half-mad brand of African roots music is alive, well, and wonderfully prickly. [3/2/01, p.70]
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| 80 |
Ink Blot Magazine
It's made up of some songs you think you shouldn't like, some you weren't ready for, and some you'll have to rewind to make sure you heard correctly. It is an album with no peers. And that, my friends, is a recommendation.
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| 80 |
L.A. Weekly
On Vanguard, the same basic formula is employed, only the emphasis is much more on reggae influences, and the experimentation with genre boundaries is considerably toned down. There’s still much that shines, however.
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| 60 |
Vibe
Despite its trippy promise, the album sometimes falters because of Quaye's quirky, self-indulgent lyrics. [Apr 2001, p. 170]
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| 60 |
CDNow
An album that takes a dramatic leap forward from the wafer-thin reggae he was peddling on his debut album...
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| 50 |
All Music Guide
Envision a penny dreadful being sung aloud inside a pub while Roni Size tries to squeeze drunken gospeltronica out of his sequencer banks.
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| 50 |
Rolling Stone
Finley Quaye's 1997 debut, Maverick a Strike, was such an ebullient blast of sunshine, such a signature reinvention of reggae, that it was well worth wondering if the young Scotsman was the next Bob Marley. Nearly four years in coming, Quaye's follow-up album, Vanguard, has enough distinctively soulful moments to leave the door open on that question, but also enough lightweight material to leave you wondering if Quaye isn't as much a novelty as a visionary.
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| 40 |
Drawer B
It’s pleasant enough music if you’re having a Caribbean-themed barbecue in your backyard, I guess, but little here will challenge your musical senses or move you in any way.
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