The new songs are excessively polished and precisely drawn, and relentlessly deliver an uplifting message. [Jun 2006, p.145]

Their sixth album enlists Michael Bay levels of volume and grandeur in the service of alarmingly generic, hookless power ballads and plodding prog etudes.

Sets records for twee-ness. [Jun/Jul 2001, p.111]

And just as 1992's Connected served as an antidote to grunge in its day, Dirty hopes to deliver more nuanced dance music to its fans. Too little, too late, though. [Jun/Jul 2001, p.116]

Almost a novelty record--a musical version of a press release or a spin-control interview with Diane Sawyer. [#14, p.128]

The line between this credible Faces-cum-Skynyrd jam band's best and worst material remains slimmer than even their most ardent fanatic might hope. [Jun/Jul 2001, p.105]

It's highly clinical, and Allison is as remote as ever. [#11, p.124]

There's little to indicate an intrinsic personality unusual enough to demand your attention. [#10, p.118]

The format is so rambling and fragmented that is serves neither Poe the storyteller noor Reed the songwriter. [#13, p.97]

Slower into its stride, with tune-free twittering and dull homages to FX-pedal rock making up the first half. [Jan/Feb 2005, p.123]

The big '80s-style production highlights her breathy-sexy vulnerability, but Presley's better when she rocks. [May 2005, p.123]

Unfortunately, the songs on Title TK are mostly half-written train wrecks. [Jun/Jul 2002, p.103]

Their tedious bravado is more entertaining than their music. [Apr 2005, p.122]

It sounds as bitter and cynical as most of Chilton's solo stuff since Big Star originally imploded. [Oct 2005, p.134]

Shock gets dull, though, and Bizarre's bloated debut is profoundly unfunny. [Jul 2005, p.115]

The only standout is "Down On The Corner," built around the ear-pricking chords and lithe grace that stamp Marr's best work. [#14, p.139]

A weak echo of those gloriously clean and spacious LPs [of the 70s]. [Dec 2003, p.136]

It's rather straight where [his 1970 debut] was eccentric and charming. [Oct 2005, p.139]

Bitter, cold and insular, None Shall Pass is also profoundly (if proudly) out of step. [Sep 2007, p.124]

The rich studio gloss and unmistakable vocal mannerisms she's cultivated over 30 years cover nicely for the weakness of her new material. [Jun/Jul 2001, p.114]

The resulting batch of songs... just pad out the duller bits of blink, then add walls of mid-'80s-era U2 guitar chimes. [Jun 2006, p.136]

Hearing "Cactus" and "Subbacultcha" transformed into droning ambient jazz is upsetting, yet somehow perfect for this listen-once-and-destroy disc. [Dec 2004, p.134]

Offers few joys beyond the witty title. [Apr/May 2002, p.114]

Sadly, though, if Petty's fourteenth album fails to emulate the success of his best work, it won't be because corporations have conspired to turn off his mic, but because it's simply not as good. [#10, p.127]

Too much about Tracy Chapman's Let It Rain is austere. [#12, p.138]

The second half drops off badly--the band seem to think that the tonic for a weak lyric is to slow the tempo to a crawl. [Nov 2005, p.130]

It's unfortunate that the balladry is rendered via anesthetized soul instead of the ambitious arrangements of Timbaland. [May 2003, p.118]

Without the blue-eyed soul conviction of the original, it's enough to make even second-tier grunge has-beens like Seven Mary Three seem like innovators. [Dec 2003, p.145]