If you don't have [the original Live At The BBC set], get it. If you do and want more, here it is. [Dec 2013, p.109]

Bashed out between gigs, this music is vulnerable and diverse enough to be essential. [Dec 2013, p.108]

On the evidence of this quite brilliant record, brighter days lie ahead for one young American at least. [Dec 2013, p.103]

Here they're more rock than folk--or, to be exact, more prog than folk, extending the jams and minimising the survivalist backwoodsman imagery for more obtuse bong-flavoured lyrics. [Dec 2013, p.103]

Even as they slip effortlessly into middle-age, their perennial prog tendencies are still evident on the demonic squall of I Told You I Was Crazy and the sprawling, trippy Dogs And Cattle Prods. [Dec 2013, p.99]

Corsicana Lemonade flips through a crateful of classic rock tropes, yet sounds spankingly "now." This extraordinary foursome just go from strength to strength. [Dec 2013, p.98]

Dark, desperate and full of great tunes, this is rock'n'roll at its black-hearted best. [Nov 2013, p.90]

Such Hot Blood sounds like a major label buff-up of their glowering, folk-flecked dusk-rock, the raw pomp of earlier albums given a national (anthem) gleam. [Nov 2013, p.89]

Snapshot consists largely of new material written to ape the 50s and 60s standards they've been covering live since puberty. And that's it's downfall. [Nov 2013, p.95]

It's Korn's most significant album in a long time. [Nov 2013, p.94]

Brothers of the 4X4 is as lively as a flea with ants in its pants, fizzing with tongue-in-cheek humour, and his lawless punk attitude runs through it like a poisoned river. [Nov 2013, p.89]

The highlight is a live DVD, Live And Loud.... When we get down to the demos--which are largely free of vocals--the sound of a barrel being scraped starts to overpower the music. [Nov 2013, p.101]

While the remastering is a major improvement on previous CD releases, it is the session discs that are of most interest to anyone who grew up with this timeless record. [Nov 2013, p.101]

Fans will alp up the spot-on menu, while newcomers can discover one of the most criminally overlooked musical titans of the last century. [Nov 2013, p.98]

The raging fires of Martyn's talent roar through the mix. [Nov 2013, p.97]

Though it's arranged into four old-school sides, lob on a download card full of bonus material and home movies and it's a retro-modern package to make old Muddy's eyes water. [Nov 2013, p.94]

While there's nothing here that will alienate fans or frighten the horses, there's no denying the power of songs like the crashing "Brave This Storm" or the rattling "Strife." [Nov 2013, p.93]

This is a welcome blast from an uncompromising band. [Nov 2013, p.93]

The soundboard mix of this version of an already much-expanded CD sounds gleamingly, unfeasibly fresh. [Nov 2013, p.93]

[An] agreeable, mildly self-indulgent album. [Nov 2013, p.93]

There are no dubstep breaks, string quartets or bursts of yodeling. But this is also the best Motorhead album for many years. [Nov 2013, p.92]

It's basically business as usual here. [Nov 2013, p.91]

As well as an intact ability to craft and deliver a song, is a sonic techno-armoury far superior to that of his Tubeway Army days. [Nov 2013, p.91]

Coathangers drives home the prevailing sense of compositional attitude meeting musical affirmation. Bravo! [Nov 2013, p.88]

Lightning Bolt could do with a bit more of that hot-wired sound. But its brutally hard-won optimism is satisfying enough. [Nov 2013, p.88]

Don't be intimidated by the heft; this is a tremendous thing. [Oct 2013, p.97]

The most thrilling of everything here is a newly discovered BC radio recording from 1964 that fizzes with the thrill of making music and being alive. [Oct 2013, p.92]

Ronnie Radke's lyrics are convincingly nasty. [Oct 2013, p.91]