Critic and musicologist Robert Palmer said their endurance and relevance stems from being " rooted in traditional verities, in rhythm-and-blues and soul music " while " more ephemeral pop fashions have come and gone ".

Critic Robert Christgau gave the album a B +, saying that " I find it impossible to give this record an A because it is just too weird.

Critic Robert Trussell noted, " Little effort was made to hide the ( California ) mountains in the background.

Critic Robert Cantwell wrote in his unpublished memoir Twigs of Folly:

Letters to Robert Ross, Art Critic and Writer, together with extracts from his published articles.

Critic Robert Christgau was the " originator of the ' consumer guide ' approach to pop music reviews ", an approach to writing pop recording reviews that was designed to help consumers to decide whether to buy a new album.

" Critic Robert Christgau commented that " Anybody who thinks rock and roll is alive and well in the infinite variety of its garage-boy permutations had better figure out how these Hitler Youth rejects could crush the competition and quit simultaneously.

Anthony DiMaggio, “ Interview: Media Critic Robert McChesney ,” indy ( Bloomington-Normal, Ill .), Vol.

Brian Sarzynski, “ Thinking Outside the Vox ( Populi ): An Interview with Outspoken Media Critic Robert McChesney ,” mountainx. com, Vol.

Critic Robert Richardson suggests that the originality of La dolce vita lies in a new form of film narrative that mines " an aesthetic of disparity.

Critic Robert van Gelder called it " perhaps the most sentimental story that ever has achieved the dignity of a Borzoi imprint of publisher Knopf imprint.

Critic Robert Christgau of The Village Voice called her contribution " one of the most gorgeous ballads you've ever heard ".

" Critic Robert Christgau said that Young " was born to lumber, and Pearl Jam wasn't.

Critic Robert A.

Critic Robert Christgau called the album " A satire on, celebration of, and lament for the upper-middle classmates an Orange County liberal knows like he knows his neighbor's backyard ..."

Critic Robert Christgau also commented in a similar vein: " The difference is that Browne shouldn't be doing this ... he's a pop star who's stretching his audience and endangering his market share merely by making such a statement in 1986.

" Critic Robert Christgau commented that the best songs were the ones Browne did not write.

Critic Dennis Schwartz liked the film and acting in the drama and wrote, " A schematic film noir by Nicholas Ray ( They Live by Night ) that overcomes its artificial contrivances to become a touching psychological drama about despair and loneliness -- one of the best of this sort in the history of film noir ... Robert Ryan's fierce performance is superb, as he's able to convincingly assure us he has a real spiritual awakening ; while Lupino's gentle character acts to humanize the crime fighter, who has walked on the " dangerous ground " of the city and has never realized before that there could be any other kind of turf until meeting someone as profound and tolerant as Mary.

Critic Robert Shelton was under the impression that Self Portrait was intended as a serious release.

Critic Robert Koehler, writing in Variety magazine, also gave the gave the film a mixed review, writing, " The latest fashion, The Salton Sea strains past the breaking point to provide the old genre with new couture.

* Robert Holub ’ s Jurgen Habermas: Critic in the Public Sphere ( Tehran: Nay Press, 1996 ).

" Critic Robert Towers described McEwan's England in The New York Review of Books as a " flat, rubble-strewn wasteland, populated by freaks and monsters, most of them articulate enough to tell their own stories with mesmerizing narrative power and an unfaltering instinct for the perfect, sickening detail "; Towers called the collection " possibly the most brilliantly perverse and sinister batch of short stories to come out of England since Angus Wilson's The Wrong Set.

Critic Robert Weston also hailed the film and wrote, " Niagara is a good movie for noir fans who crave something a little different.

Critic Robert Christgau said of the record: " Beefheart's famous five-octave range and covert totalitarian structures have taken on a playful undertone, repulsive and engrossing and slapstick funny.

Critic Robert Christgau called " What a Girl Wants " " clever " adding " but in a far less ingratiating way ", comparing the track to a " two hour promotional video " of Aguilera.

Critic Billy Altman, whose work has appeared in many publications including Entertainment Weekly and The New York Times, wrote the following for Amazon. com: " One of rock's most overlooked masterpieces, this third album by the L. A. folk-rock outfit led by inscrutable singer-songwriter Arthur Lee sounds as fresh and innovative today as it did upon its original release in 1968.

Critic Steve Huey calls it " perhaps Tom Waits's most cohesive album ... a morbid, sinister nightmare, one that applied the quirks of his experimental ' 80s classics to stunningly evocative — and often harrowing — effect ... Waits ' most affecting and powerful recording, even if it isn't his most accessible.

Critic Steve Huey of Allmusic later rated the album with four and a half stars out of five, stating that the " record sounds like a bridge between Mother Love Bone's theatrical ' 70s-rock updates and Pearl Jam's hard-rocking seriousness.

The album was produced by Tito Larriva of The Plugz and The Flesh Eaters frontman Chris D. Critic Stevo Olende has written that the " album's lyrical imagery is plundered from voodoo, ' 50's EC comics and the blues ," while another notes that " Nobody has heard music like this before or since.

Critic Stephen Thomas Erlewine of Allmusic speculated that the alternate persona and elaborate marketing scheme backfired, writing, " When Brooks ' new persona and his album were revealed to the public, they were unforgiving-they didn't think he was playing a role, they simply thought he'd lost his mind.

Critic Steve Huey called their album Morbid Florist " barely listenable ".

Critic Ed Naha, writing in Crawdaddy !, gave the album a negative review, saying, " Much of the Wonderlandish magic found on Eno ’ s first LP is lost on this rocky terrain, being replaced by a dull,

Sputnik Music and NME gave it 4. 5 stars to the album with Sputnik Music's Critic Tyler Fisher saying: " This is their most cohesive album, it expands on newer sounds and improves on others.

Critic Brian Olewnick describes the album as " A staggering achievement, one is tempted to call The Hands of Caravaggio the first great piano concerto of the 21st century.

Critic Charles Shaar Murray wrote, " Bob Dylan has never seemed more perfect and more impressive than on this album.

Critic Stephen Thomas Erlewine described the hair metal – leaning album as " unbearable ".

Critic William Ruhlman agreed though did not consider the album as strong.

Critic William Ruhlman agreed, writing that the album " is a highly referential work from an artist who started where most end and has been earnestly seeking the right direction ever since.

Critic Adrian Denning, in his review of the album, compliments, " Both the vocals and guitar are utterly beautiful.

" Critic Andre Meyer of CBS News thought the material on the album was " stronger " than on Charmbracelet, and described it as a move in Carey's long-term plan for pop domination, while giving off the " jittery R & B vibe that made Destiny's Child so potent.

Critic and Beefheart biographer Mike Barnes has offered that the album was " ponderous ... it really just lumbers along.

Showing the growing influence of Frank Zappa on the Monkees ' circle ( Zappa even has a cameo role as " The Critic " in the film itself ), the soundtrack album intersperses the six proper songs (" Porpoise Song ", " Circle Sky ", " Can You Dig It?

Critic Sarah Bee of Melody Maker, in a favorable review of the album Permanent Stains, wrote, " These men are in touch with their inner deviants.

Critic Ian D ' Giff of Newsday wrote that Showcase Showdown's cover version of the Sex Pistols ' song " Friggin ' in the Riggin '", from the album Never Mind the Sex Pistols ... Heres the Tribute, was " raging ", and it " nearly makes up for the album's shortcomings ".

Critic John Metzger of The Music Box praised the album, saying that " the group's songs combine the melodic pop of The Beatles with the heavy-handed thunder of The Who and the tight-knit harmonic luster of The Byrds ".