Musically, the live instrumentation and golden-era feel to the production make this record an enjoyable listen.

Whether live or memorex, it's really hard to tell the difference between the two, especially on excellent if-it-ain't-broke tracks like 'Fake ID' and 'Doing it Right.' [Sep/Oct 2007, p.130]

We're given a deeper record than some may've anticipated -- sonically, for sure--but more so The Very Best's debut stands up higher as document of seamless (and shameless) cultural convergence.

Surprisingly sophisticated for a collection of shouty-pouty ballads from a trio of 20-year-olds. [Dec 2005, p.98]

Both a return to form and a major step forward. [Dec 2005, p.94]

Despite all of it's successes, the fact is that the album doesn't reach perfection, which I imagine is what most Jets fans might have been expecting from it. I will argue that it's a superior piece of work and certainly one of the better hip hop releases so far this year.

It's Josh Reichmann and James Sayce's glam-shaded and '60s pop-tinged songwriting that really makes this record cook. [Dec 2005, p.105]

Albums such as Wake Up! – best intentions aside – run the risk of coming across as entirely cheesy and contrived. Unfortunately, John Legend and The Roots are no exception to the rule.

The Big Doe Rehab, is predictably entertaining, not because he doesn’t have new tricks, but because at this point his weirdness is hardly surprising.

Seductive, lovely and OK to like. [Mar 2006, p.116]

Its tracks work together to form a cohesive, incredibly personal whole. [May 2007, p.91]

The guys do an incredible job of combining both the “Diplo” and “Switch” styles with that of Major Lazer, while still paying respect to a genre they clearly love.

Coxon finally seems to be coming into his own. [Mar 2005, p.111]

It simply doesn't satisfy. [#90, p.115]

The band is crisp and tight, with daring songwriting and arrangements. [Mar 2004, p.111]

Perhaps an EP would have better-suited Yorke's solo aspirations. [Jul/Aug 2006, p.115]

Overall it's a great promissory note to the world, and a view of what's to come in the dance world. If anything, all I can hope for are more divas and fewer bros dominating the scene.

Too often, bands are promenaded across the web, heralded in a way that makes everyone a name-dropping music connosieur, only to fade too fast....hopefully the same won't happen to the latest interwebs It Chick, Bethany Cosentino b.k.a. Best Coast.

What Max has created as a result is nothing short of amazing.

The contrasts, themes, and sheer eclectics of the album make for something that any one person can listen to, and relate to.

Like flicking through '60s AM radio's intermittent channels. [Sep 2006, p.138]

All in all, it seems like the diva needs a little drama to get it percolatin'. [Mar 2006, p.123]

It doesn’t always make for a relaxed listen, although it is certainly capable of settling in as a moody background or standing in the forefront captivating rapt ears. The swarms of noise can be both comforting and disconcerting, but each finds a place of its own as this duo continues their run of impressively novel music making.

Featuring the production savvy of Soulwax (who also worked on "Sexor") is an extremely polished and solid release.

A transportive offering in a record full of them--strangely relatable, hauntingly beautiful and in the truest sense, exquisite.

More distinctive than the arrangements, though, are Topley-Bird's utterly unique vocals. [Sep 2004, p.117]

Devoted fans need not worry, though--the album still holds the melancholic flavor they’ve come to perfect, just with some added twinkling synths, hints at old-school R&B, and a splash of funk for good measure.

This is just one entertaining ride for hardcore hip-hop fans all the way down the corridor, one that economically rocks your knot at just under 42 minutes.