Gaye's music was on the move, but it never moved quite like What's Going On: still seraphic, still turbulent. [Aug 2011, p.95]

Another mature masterpiece from America's finest. [Album Of The Month, March 2002, p.94]

Streetcore negotiates a resolution between the ethnocentric beats that hallmarked the two previous Mescaleros albums and the classic Clash sound that remained pivotal to Joe's live performances. [Nov 2003, p.110]

So wild and stripped-down it makes The White Stripes sound like Yes. [Jan 2004, p.102]

Almost every tune sounds like a hit. [Dec 2001, p.108]

Every track is a precision-tooled triumph. [Mar 2012, p.81]

Nope, this is not easy listening, yet he's never made a more beautiful album. [Jan 2006, p.108]

A brilliant album. [Aug 2012, p.80]

Great by Smith's standards. Practically genius by everybody else's. [Feb 2004, p.74]

In this sparer setting, the extra space plays to the benefit of McCartney’s loyal co-travellers: “No Words”, which serves reminder just how vital the harmonies of Linda and the song’s co-writer Denny Laine were when it came to defining the Wings sound; Linda’s purring ARP Odyssey and MiniMoog contributions are what suddenly take centrestage on “Jet” and a rollicking vocal-free canter through “Nineteen Hundred And Eighty Five”. Yet, none of that detracts from the primary energy source of Band On The Run. [Feb 2024, p.42]

The Big To-Do, it's pleasing to report, rocks as hard and loud as anything they've previously done. [Apr 2010, p.78]

The pairing of the wily old tomcat and the classy country thrush turns out as magically in reality as it seemed unlikely on paper.

It's their first masterpiece. [Album of the Month, May 2005, p.94]

Arguably, not since early Costello has a British solo artist combined such bare-arsed soulfulness with such corrosively perceptive humour. Quite something. [Album of the Month, Nov 2002, p.112]

For the 56 minutes that "Ys" lasts, all the doubts evaporate. Every elaboration has a purpose, every labyrinthine melodic detour feels necessary rather than contrived. Tempting as it is to fixate on the gilded reputations of her associates, this is unequivocally Newsom’s album.

An essential listen for anyone interested in where music might take them. [Jun 2004, p.86]

Morph... sounds utterly of a piece with Aja. [Apr 2006, p.104]

It's a record of passion and richness, with a hoard of memorable songs, that demands to be treated the equal of its inspirations. [Sep 2003, p.102]

Lookaftering is some kind of miracle. [Nov 2005, p.100]

The album’s a gas, a riot, a hoot.

The catch-all quality of this reissue presents a kaleidoscopic vision of what pop music could be. ... One of the most compelling and joyous albums of Prince's career, not to mention the most fun.[Oct 2020, p.44]

Rarely has contrived weirdness sounded so utterly bewitching. [Jun 2004, p.85]

“I Promise,” “Man Of War,” and “Lift” are the most exciting, crucial elements of this deluxe edition. ... [The B-sides are] a perfect counterpart to the three new tracks, and point towards Radiohead's convention-defying next chapter of Kid A and Amnesiac. [Aug 2017, p.44]

Make no mistake, the Lips have done it: three astonishing LPs in a row. [May 2006, p.94]

As a State of the Union address, this bold and often brilliant record is less inclined towards optimism than, say, Springsteen’s admirable "Working On A Dream."

Even by their standards, Yoshimi Battles The Pink Robots is astonishing.... Plainly, this is music abnormally alive with possibilities. [Album of the Month, Aug 2002, p.96]

White's willfully basic approach is what gives Van Lear Rose its freshness.... If you thought Rick Rubin's Johnny Cash reinvention was impressive, wait 'til you grab a fistful of this. [Album of the Month, June 2004, p.84]

There is much, meanwhile, to recommend the O’Brien remix, or “deconstruction” as he puts it. What O’Brien has mostly done is strip away the more ornate layers of the Palmer mix and cutting back on the album’s moments of more florid melodrama.