Amiably lightweight. [Jun 2007, p.115]

Oddly life-affirming. [Nov 2006, p.99]

Huey's gruffy mannered vocals predominate--apparently the aim is to steer listeners to the originals, in which case, job done. [Jan 2011, p.94]

Tries hard to add a few hues absent from Matchbox 20's colourless rock. [Jul 2005, p.90]

Wilson's chord changes are as heart-wrenching as ever, and bathed in heavenly harmonies. [May 2015, p.84]

It's a smart collection of songs full of inner turbulance, delivered in an emotional voice that at times recall Guy Garvey. [MAr 2010, p.90]

Jigsaw finds the diminutive London rapper shorter on cheek than on her early singles, and the moments of mischief, when they come, ring a little hollow. [Jun 2009, p.90]

Lavishly appointed, expensively designed and almost entirely characterless. [Sep 2006, p.84]

For Barlow stalwarts only. [Mar 2003, p.100]

What a treat to discover another album that samples Toto's "Africa." [Feb 2003, p.75]

Heap has a breathtaking voice, somewhere between the languid tones of Beth Orton and the pop sweetness of Dido. [Oct 2002, p.104]

Hotel Sessions is infinitely more charming than the finished item. [Feb 2012, p.91]

This is snappy, high-energy stuff that might be more fun if the slick production didn't telegraph the fact that Kane wants it a bit too much. [Oct 2018, p.30]

Weezer's likeabe, insubstantial powerpop has often been infused with somewhat tetchy intimations of latent intellectual heft. On Raditude, this manifests in guest appearances by Amrita Sen and Nishat Khan on the dreadful "Love Is The Answer." Elsewhere, though, Weeaee seem to have ceased to care. [Feb 2010, p.107]

His voice remains an effortless marvel, largely wasted on this slick but trite material. [Feb 2016, p.75]

Doesn't pack enough hooks to make it memorable. [Apr 2005, p.105]

Whether she'll increase her fanbase on this second album by cloaking her naked ambition in the character of a self-obsessed bunny boiler called Electra Heart remains to be seen, but she's certainly given it everything. [May 2012, p.78]

An artfully dishevelled, emphatically Gallic racket. [Feb 2011, p.95]

He always wants to explore idiosyncratic digital terrains: admirable but, as his 24th LP shows, not always convincing. [May 2015, p.80]

Despite the addition of some burnished guitar licks, the results are as awful as you might expect and his one original composition, "For Love On Christmas Day," isn't much better. [Jan 2019, p.19]

Some great moments, but too much filler and too few anthems. [Mar 2002, p.99]

This is knowing, glitzy, trash. [July 2008, p.96]

He may not quite be the roaring pistolero of old, but mid-tempo songs like "Mockingbird Hill" and "The Highway Is My Home" are beautiful, time-ruffled distillations of border music, Tex-mex and desert rock. [Oct 2011, p.94]

Together, Adams and Lynne have come up with an old-fashioned FM rock album, short on nuance but strong on intent. [Nov 2015, p.71]

Another entry in Cornell's catalogue of partial successes. [Jun 2007, p.91]

A rich, rowdy and mostly rewarding listen.

Pleasant enough, but The Magic Numbers do this stuff for warm-ups. [Sep 2010, p.87]

"Another Shot" adds tension and atmosphere but a tendency toward the derivative come to the for on synth-centreed gloomfest "Can't Get Enough." [May 2012, p.77]