" 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.

Allmusic's William Ruhlmann gave Worship and Tribute a positive review, noting " Cosmopolitan Bloodloss " an AMG Track Pick.

Allmusic's William Ruhlmann was less favourable and said " was familiar folk-rock, with Kelly singing romantic lyrics over acoustic and electric guitars and a rhythm section.

Allmusic's William Ruhlmann sums up the album as balanced, and notes that the three hit singles were penned by Frey and Henley who would later go on to dominate the band.

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 John Bush felt it was " noisy record basically guitar feedback, synthesizer distortion and rigid drum programming ".

Allmusic's album reviewer, Mike DaRonco, felt " the first two songs are great in that catchy, playful pop-punk sort of way, but the rest ... fall under the trap of having all their tracks sounding like one big, long song ".

Allmusic's Mike DeGagne felt Hidden Things showed " Paul's genius for telling stories behind the jingle of his acoustic guitar is pure and plentiful throughout ... story telling can be likened to Harry Chapin's, except Kelly leaves more to the imagination, adding a sturdier foundation for pondering and analysis ".

On 25 April that year Crime and the City Solution issued their second album, Shine, which Allmusic's Ned Raggett felt was " a touch less classically smooth and arranged, more rough around the edges and jagged, especially with Bonney's delivery ... his lyrics come across as distinctly unfriendly to a usual verse / chorus structure, sounding like a spoken-word recitation sung a line at a time ".

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

Allmusic's retrospective review was largely negative, particularly criticizing the solo sides of Keith Emerson (" on the level of a good music-student piece, without much original language ") and Greg Lake ("" C ' est la Vie ," the featured single, says little that " Still ... You Turn Me On ," from their previous album, didn't say better and shorter ").

" Allmusic's Heather Phares called it " a good retrospective of a band that just may have been in the wrong place at the wrong time.

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 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 ".

Allmusic's Greg Maurer's found " a fascination with the dark, ( self -) destructive side of religion is more than evident in his later work ...

Allmusic's retrospective review asserted the opposite: that the album indulged in long and meandering instrumentation more than any other work by Traffic, with even the vocals doing no more than " improvising his melodies over the music, paying little heed to the meaning of the words ".

" Allmusic's Heather Phares wrote " La Foret may be more delicate and less immediate than some of Xiu Xiu's other work ( especially Fabulous Muscles ), but at its best, it may have even more impact because of that.

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 retrospective review deemed Close to You " a surprisingly strong album ", particularly praising Richard Carpenter's original compositions " Maybe it's You ", " Crescent Noon ", and " Mr. Guder ", describing them as superlative displays of both Karen Carpenter's vocal work and Richard's arranging talents.

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

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

According to Allmusic's Richie Unterberger, the very first use of feedback on a rock record is the introduction of the song " I Feel Fine " by The Beatles, recorded in 1964.

" Kerosene ", one of Atomizer < nowiki >'</ nowiki > s standout tracks, is viewed by both Azerrad and Allmusic's Andy Kellman as the band's peak performance.

21 And Over remains highly regarded by critics such as Allmusic's Nathan Rabin, who calls it " perhaps the quintessential West Coast party album ".

Allmusic's retrospective review generally praised the album for its emotional poignancy and relevance, and summed it up as " a group of simple, heartfelt songs played in spare arrangements on acoustic guitars and keyboards and driven by a restrained rhythm section.

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

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

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

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

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 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 ".

" Allmusic's Robert L. Doerschuk gave a somewhat positive review but emphasized the band's retro influences, stating, " A guest shot by Korn vocalist Jonathan Davis on " The Key to Gramercy Park " reminds listeners of the band's currency, but it's easy to mistake Commencement for an ' 80s artifact.

Allmusic's Eduardo Rivadavia named it an AMG Album Pick, noting that it tops its " brilliant " predecessor by " taking their unique sound to unprecedented heights of invention and inspiration.

Allmusic's Jason Anderson awards four-and-a-half stars out of five, and called it a " classic by the group's fans " and that it " is often mentioned as the pinnacle of the East Coast thrashers ' recording career.

Rolling Stone describes " Scenario " as " the ultimate posse cut ", and in Allmusic's review of " Scenario " they say, " not only did Tribe make history on The Low End Theory by putting together one of the best hip-hop albums of all time, they also opened up a hole in the sky for the emergence of the ever-unique and talented genius of Busta Rhymes ".

" 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.

According to Allmusic's reviewer, Johnny Loftus, " the band's hard-hitting, gristly sound -- led by Ox's vocal seethe -- caught the interest of American majors ".

Allmusic's Steve Huey said that it " brought back some of the pounding speed of Reign in Blood for their third major-label album ", and addressed it to be " their most accessible album, displaying the full range of their abilities all in one place, with sharp, clean production ".

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 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.

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 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 ".

To quote Allmusic's review of the album, " Third Day has stripped away the shine and gotten back to the grittiness of being a rock & roll band.

Allmusic's retrospective review echoed this sentiment with greater emphasis, declaring " Duke showcased a new Genesis ... but Abacab was where this new incarnation of the band came into its own.

Allmusic's retrospective review reported that when it was released, Machine Gun Etiquette was " deservedly hailed as another classic from the band ".

Allmusic's Ed Nimmervoll said that the band distanced themselves from the boy band generation, comparing them to Crosby, Stills, Nash, & Young.