Weller has always created a fine present out of traces of the past; A Kind Revolution is a funkier present. [No. 143, p.60]

This box set definitively captures the shaggy, psychobilly garage-stomp of U-Men during their decade-ling '80s run as the foremost representative of the Emerald City underground. [No. 149, p.61]

It's Great manages to create a cohesive set that engages the listener at each turn. [No. 126, p.55]

What strike most are Sheff's strained, impassioned vocals and the joyful variety of instrumentation. [#67, p.110]

An organic expression of the beauty that can be found in the fragile, arbitrary nature of communication. [No. 92, p.52]

It's all drunkenly cinematic, as prickly as a cactus and smart as hell. [#58, p.85]

There's nothing else like it, and once you listen, you'll never forget it. [No. 136, p.61]

Sharp and well-recorded, but although Rebennack's distinctive voice is featured front and center, there's a sacrifice of his artistry. [#86, p.53]

While it's hard not to hear Soul Of A Woman and mourn Jones' death, the joyful vibrancy and old-school expertise coursing through these tracks quickly supersede any hint of sadness. [No. 149, p.58]

Circles finds the band leaving a bit of the motorik behind for more melodic and dynamic territory. [#82, p.57]

Nothing Has Changed makes his entire discography sound more consistent than it actually is. [No. 116, p.52]

The whole thing is ghoulishly gorgeous in the most comfortably comfortable way. [No. 121, p.60]

The music, co-created with producer Patrick Leonard, is sparse but energetically diverse, with dips into Memphis soul, country, cabaret and jazzy funk. [No. 115, p.58]

A rousing, energetic exploration of the Roy Orbison-influenced rock 'n' roll, classic country and Latin influences--that blows all the damn mall-folk clogging up our inbox out of the goddamn water. [No. 96, p.57]

American Dream is, in purely sonic terms, their richest, most viscerally pleasurable record yet, rife with layered, polyrhythmic percussion and an encyclopedic array of synth textures. [No. 147, p.56]

The wall of sound this band generates with distorted guitars, samples, industrial noise and live drums is overwhelming at times, but the message it conveys about race and class in America is an important one. [No. 143, p.53]

The eight songs are all beautifully crafted, integrating elements of folk, blues and country/rock.... A new American classic. [No. 115, p.55]

The Convincer gives Lowe yet another gold star with which to pad that resume. [#51, p.99]

What makes the album exceptional is its thematic unity and storybook approach. [#67, p.85]

Shaking proves from the get-go to be easily the most ambitious and defiantly challenging release in either Dreijer sibling's catalog. [No. 97, p.57]

Hitchhiker is a perfectly wonderful solo-acoustic session recorded one day in 1976. .... This is a most welcome collection. [No. 148, p.61]

Musically, Fox fulfills the wish list of fans who've waitied for new material since 2002's Blacklisted. [#71, p.89]

All the elements anyone would want from the band are adroitly balanced. [No. 136, p.59]

Continues to mine the same sparkling vein of crushed-velvet pop/punk Spoon has perfected as its stock in trade. [#49, p.91]

Tyler's command of his instrument is commendable, but his ability to use it for a compelling, lyrical collection of instro cuts is even more so. [No. 96, p.60]

This double-disc retrospective includes an illustrated, 82-page hardcover book that tells her story, all six of her singles and an expanded version of her sole LP, a live album that captures her ferocious charisma and impassioned, gravelly voice on familiar R&B hits like "Money," "High Heel Sneakers" and "Shotgun." [No. 149, p.61]

Serves notice that Molina has discovered some heavy machinery and isn't afraid to use it. [#58, p.106]

Nothing here is throwaway. [No.88, p.53]