Man, this thing sucks. [Oct 2004, p.146]

This is electronic by numbers. [Jun 2009, p.111]

It's a shame that there's so little of note on Free, because Gil Norton's production is fantastic as usual. But bless his heart, it's ultimately a wasted effort.

One shudders to think how wack the rejects are. [Nov 2004, p.156]

Candy Ass is a mess, drifting without a rudder between half-baked folk and warmed-over electronica. [Feb 2006, p.120]

Almost too stiff to be funny, this might have been a surreal payday in the boardrooms of Berlin, but one presumes the buck stops here. [May 2008, p.142]

There's not much left for the Vines' frontman other than his music, which on Winning Days seems more like an afterthought--if not the work of an unbearably bad Oasis record. [Apr 2004, p.98]

The songs feature countless tired hip-pop cliches: gratuitous scratching, tinny programmed beats, burbling keyboards and faux-sexy lyrics. [Mar 2008, p.147]

Hotel is all vacancy. [Apr 2005, p.128]

I'm listening to "Free And Freaky"--the third track on this new, horrible Stooges album and possibly the worst song ever written by anyone anywhere--and I can't believe you actually just rhymed "Obama" with "Dalai Lama" and "baby's mama." [Apr 2007, p.191]

For the most part, the album rehashes an overdone genre full of blustery, unoriginal, cryptic lyrics. [Mar 2010, p.94]

Since when is pairing Jewel's poetry outtakes with modern-rock riffs groundbreaking? [Aug 2003, p.102]

Crazy World is as phony as they come.