It's Cash, at the top of her game as a singer, who carries the day. [Jan 2014, p.65]

There’s more, too much more, to come, but for now, Volume One will do just fine.

It feels like one of the landmark American albums of the century so far. [Jan 2008, p.86]

Abbey Road is the sound of the Beatles walking into history. [Nov 2019, p.38]

Under the direst circumstances, he has painted his masterpiece. [Album of the Month, Sep 2003, p.96]

Deep, warm, fully rounded and with no slack, Prairie Wind is Neil at his best. [Oct 2005, p.101]

It's this insistence on resolutely following her instincts that makes this record so lustily appealing from top to bottom. [Nov 2011, p.95]

Terrifically thorough. [Nov 2004, p.131]

Where Manu Chao might have smoothed off some of the rough edges during his spell as co-producer, this album positively celebrates those grungier moments.

Accompanying all this is Giles Martin's newly mixed stereo version inspired by the original mono. It means everything is fuller and better balanced. ... The Beatles never worked with such unified purpose again, but what this Pepper boxset captures is the fun, intense, playful ferment; the triumph, in other words. [Jul 2017, p.42]

By far the strongest collection of songs the band have ever assembled. [Nov 2003, p.114]

A brave and beautiful album of humanity, hurt and hope from the songwriter best qualified to speak to and for his country.... A towering achievement. [Album of the Month, Sep 2002, p.102]

A record nobody could fail to love. [Feb 2005, p.84]

Folk-rock masterpiece of quietly influential Northern miserabilism. [May 2011, p.80]

The guitar sounds engineered here by Young and Lanois are astonishing, almost terrifying at times in their elemental beauty. [Nov 2010, p.78]

Dear Heather is Cohen's highest tide yet, his most exquisite marriage of song and poetry and ambiguous grace. [Nov 2004, p.114]

Sugar Mountain is a fascinating snapshot of Neil Young at a transitory moment in his long career, for which it also provides an indelible template.

It is music whose scope, erudition and vitriol makes everything else in this year of exceptional musical timidity seem puny. [Nov 2003, p.106]

Fly Or Die has more in common with 10cc and XTC than it does Common.... Prog-pop album of the year. [Jun 2004, p.91]

It's like the best music of the '70s compressed under '80s new wave dynamics. [Feb 2005, p.74]

La Radiolina reaches out beyond it's core audience to a universal constituency, not so much a world music record as a global-rock mission statement.

Third is the most stunning, stark and superb Portishead album yet. [May 2008, p.84]

The Evangelist isn’t a Go-Betweens album, but it’s more cohesive than any of Forster’s other solo albums, and more moving.

You won't hear a more humane, moving or mysterious record all year. [Album of the Month, Oct 2003, p.110]

Smart, cocksure and as cosmopolitan as New York itself, Live At Shea Stadium deserves a place amongst the greats.

My Dusty Road is facinating as an archive set. [Oct 2009, p.120]

American Slang delivers spectacularly on all expected fronts. Everything that was great about The '59 Sound is here, but the sound is even bigger, epic without getting blustery.

May well come to be regarded as the best British rock album since OK Computer. [Sep 2002, p.118]