* House of Pain biography by Allmusic's Stephen Thomas Erlewine

Allmusic's Stephen Thomas Erlewine gave it four stars out of five, and said that it saw the band " strip back their music to the basics " and was their " strongest and most vicious record to date.

Allmusic's Stephen Thomas Erlewine described Vaughan as " the leading light in American blues " and developed " a uniquely eclectic and fiery style that sounded like no other guitarist, regardless of genre ".

" In its review of True Blue, Allmusic's Stephen Thomas Erlewine said that " she is using the music to hook in critics just as she's baiting a mass audience with such masterstrokes as ' Papa Don't Preach '.

Allmusic's Stephen Thomas Erlewine rated Ball three out of five stars.

Allmusic's Stephen Thomas Erlewine gave it three stars out of five and said that " Sponge's sense of alternative rock goes back as far as Pearl Jam, or maybe only Stone Temple Pilots, judging from the hit single ' Plowed.

Stephen Thomas Erlewine and Heather Phares wrote in Allmusic's biography of Pavement that, with Demolition Plot J-7, Pavement " had begun to forge influences into its own signature sound.

A retrospective review by Allmusic's Stephen Thomas Erlewine was still mixed.

Allmusic's Stephen Thomas Erlewine gave the album a five out of five rating, writing that " it serves as a reminder of the sheer brilliance of the music within this peerless show.

Referred to as a " stoner rap " by Allmusic's Stephen Thomas Erlewine, the lyrics are mostly surrealistic and nonsensical.

In his review of the reissued album, Allmusic's Stephen Thomas Erlewine wrote that " the thought of a group of Insane Clown Posse protégés isn't exactly inspiring ", the album " may take you by surprise ... Mostasteless actually works better than most ICP records ," that " Twiztid often is more convincing than Dark Carnival colleagues ," and concluded that " if you don't buy into the whole comic book-horror schtick, Mostasteless ... will be irritating, but if you've bought into it, you'll enjoy this record as much, if not more, than most ICP albums.

Allmusic's Stephen Thomas Erlewine gave it four and a half stars out of five, and said that it " delivers a set of similar rockers and a handful of power ballads, including a revamped version of Harry Chapin's ' Cats in the Cradle '" and described the music as a " mixture of fizzy, fuzzy riffs, sing-song melodies, and calculated obnoxiousness isn't that offensive.

Allmusic's Stephen Thomas Erlewine was not impressed by INXS " playing a competent but unremarkable variation on droning new wave synth pop " but noted that Hutchence " exuded a powerful vocal charisma ".

Writing for Billboard, Michael Paoletta chose " Through the Rain " as a top pick from the album, as did Allmusic's Stephen Thomas Erlewine.

Allmusic's Stephen Thomas Erlewine rated Heavy three-and-a-half out of five stars.

" Allmusic's Stephen Thomas Erlewine says " it doesn ’ t just ride the coattails of VU ’ s legacy but deliberately co-opts their achievement -- but it ’ s listenable, something its

Allmusic's Stephen Thomas Erlewine rated Pretties for You three-and-a-half out of five stars.

Allmusic's Stephen Thomas Erlewine estimated that Cantrell was a reluctant solo artist who would prefer his work to be published through Alice in Chains.

Allmusic's Stephen Thomas Erlewine called it a " nervy breakup tune.

" Allmusic's Stephen Thomas Erlewine described the song as " a vivid portrait of a seaside vacation where Difford's vignettes are made all the more vivid by Tilbrook's bright, invigorating pop.

For instance, Allmusic's Alex Henderson described the album as " one of the strongest albums of the 70's " and " EWF's crowning achievement ", and Billboard Magazine called it " a very tightly produced and performed package ".

Coe's debut album, Penitentiary Blues was described as " voodoo blues " and " redneck music " by Allmusic's Thom Jurek.

Allmusic's Theresa E. LaVeck described it as " an extended evening lullaby: soft, sweet, and sleepy ( think Simon & Garfunkel lite ).

Allmusic's Bruce Eder, comparing Lizard to its two predecessors, described the songs saying " are longer and have extensive developmental sections, reminiscent of classical music ".

Allmusic's Eduardo Rivadavia described them as " till revered in underground circles as doom-grind pioneers ... works remain genre classics ".

Allmusic's Eduardo Rivadavia described Disembowelment as " till revered in underground circles as doom-grind pioneers ... works remain genre classics ".< ref name =" Rivadavia "> Justin Donnelly of Metal Forge declared they were " the legendary unground Australian doom / grindcore / ambient act " and " often referred to as merely a doom band, the sort of music ... is actually far more than eclectic and broad sounding than simply labelling them to one particular genre ".

Allmusic's Ross Boissoneau has described this album as " perhaps the most overlooked item in the Yes catalog ".

The album received a 4. 5 / 5 rating from Allmusic's Matt Carlson, who commented on the album's " explicit exploitation and genuinely disgusting humor ", and described it as " thirteen songs full of general punk sloppiness and distortion performed in 14 minutes ".

Allmusic's Alex Henderson described it as " an album in which moments of intense brutality are followed by hauntingly melodic passages.

Allmusic's Adam Greenberg described Slack Key Dreams of the Ponomoe as an ambient album with an " easy listening " sound accented with slack key motives.

Allmusic's Joshua Glazer described the album as " a testament to what might have been, if only the band's four members lived in Manchester instead of Detroit.

Allmusic's Liana Jonas described the song " a lively and heartfelt song with electric-guitar power chords, spirited vocal delivery, and catchy chorus .".

Allmusic's Heather Phares described the album as more consistent than most remix collections and noted that it functions well as a record in its own right.

Allmusic's Heather Phares described it as " a pretty good overview of Grandaddy's evolution from shambling, fuzzed-out indie rock to the more ambitious, spacy sound of their later work ".

Allmusic's Bret Love wrote, " Hofstetter effectively rebels against the mainstream by positioning himself as the antithesis of the world's most popular comedian.

" Allmusic's William Ruhlmann considers that the band's follow-up to # 1 Record " lacked something of the pop sweetness ( especially the harmonies )" of the debut but captured " Alex Chilton's urgency ( sometimes desperation ) on songs that made his case as a genuine rock & roll eccentric.

In Allmusic's retrospective review of the album, the website gave it five stars out of five, calling it a " shambling wreck of an album " while at the same time " among the most harrowing experiences in pop music ; impassioned, erratic, and stark " and " the slow, sinking sound of a band falling apart ".

Allmusic's Heather Phares felt the album showed a " very appealing collage of electronic and indie pop.

Allmusic's reviewer, Ned Raggett felt their early work had been " as goth as it gets ", while this album saw them " plunging into a wider range of music and style ".

Allmusic's Sean Carruthers observed that Revell " was in a period of transition ... omewhere between the industrial noise of the early years and his later soundtrack work ".

Allmusic's Richie Unterberger critiqued what he referred to as the " growing tendency to deploy the smutty, cheap humor that would soon dominate much of Zappa's work ", but said that " Those who like his late -' 60s / early -' 70s work [...] will probably like this fine ".