*" Alex Penelas Contronts a Tough Critic: His Own Party ", St. Petersburg Times, August 31, 2003.

Critic Stephen Thomas Erlewine describes Talking Heads as being " one of the most critically acclaimed bands of the ' 80s, while managing to earn several pop hits.

Critic Steve Huey describes their music as " uncompromising, intense, cathartic fusions of hard rock, funk, post-punk noise, and jazz experimentalism, with Rollins shouting angry, biting self-examinations and accusations over the grind.

Critic Eduardo Rivadavia describes them as " perhaps the ultimate stoner rock band "

Critic Ray Keenoy describes La liberté ou l ' amour!

Critic Ned Raggett describes Over the Edge as " the longest-running block of free-form radio in the history of radio ... essentially live performance art.

Critic Ron Wynn describes Parker as " mong Europe's most innovative and intriguing saxophonists ... his solo sax work isn't for the squeamish.

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 Brian Olewnick describes him as " one of the most fascinating collaborators in contemporary improvised music [...] tending to create subtly modulated sounds of an almost palliative nature ; often with an elastically liquid rhythmic sense.

Critic Michael Azerrad describes Cain's drumming as " a brutal but brainy style that was positively electrifying.

Critic Jason Ankeny describes A. R.

Critic Jens F. Laurson describes Moravec's Pulitzer Prize-winning Tempest Fantasy as " remarkably accessible music.

Critic Mark Deming describes Santiago as an ideal guitar foil for Albini ; " his muscular guitar sound was the ideal match of Albini's jagged, metallic tone.

Critic Tony Rayns describes The Spirit of the Beehive as " a haunting mood piece that dispenses with plot and works its spells through intricate patterns of sound and image " and of El Sur it has been said that " Erice creates his film as a canvas, conjuring painterly images of slow dissolves and shafts of light that match Caravaggio in their power to animate a scene of stillness, or freeze one of mad movement.

Critic Greg Prato describes their unusual instrumentation as " a haunting yet intriguing and original sound.

Something Leather concludes with a section entitled Critic Fuel-An Epilogue, in which Gray describes the circumstances surrounding the book's development and offers an extended ending.

Critic Michael Corcoran likened the band's musical style to " Bob Mould fronting Soul Asylum on a speeded-up version of a Gram Parsons song.

Critic Nathan Morley described " Accidents " as the band's masterpiece.

The Athenaeum reviewer praised Ellis Bell's work for its music and power, and the Critic reviewer recognized " the presence of more genius than it was supposed this utilitarian age had devoted to the loftier exercises of the intellect.

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 Stewart Mason wrote, " Over their brilliant first three albums, Wire expanded the sonic boundaries of not just punk, but rock music in general.

According to Kevin C. Johnson, Post-Dispatch Pop Music Critic ," What stood out about Mecca's two-hour, 50-song set was her song choices, full of selections music fans don't necessarily hear every weekend at the clubs ( unlike, say, DJ Solange, who totally pandered to the crowd at the gig at Exo earlier this year ).

Sublett has also documented the Austin music scene in his music-themed crime novels, " Rock Critic Murders ," " Tough Baby ," and " Boiled in Concrete.

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.

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 Thomas Ward called this recording " one of the most astonishing accomplishments in all of twentieth century music.

Prior to reVisions, Isserlis recorded Schumann ’ s music for cello and piano ( Dénes Várjon ), and the complete Solo Cello Suites by Bach, which has won many awards, including Listeners ’ Disc of the Year on BBC Radio 3 ’ s CD Review, Gramophone ’ s Instrumental Disc of the Year, and “ Critic ’ s Choice ” at the 2008 Classical Brits.

British Art Critic Adrian Searle wrote that “ Downtown 81 captures that New York moment when punk, emerging rap, art school cool and the East Village art and music scenes were at their creative best .”

Critic David Thomson in his April 2007 review of the film in the British Film Institute's Sight & Sound magazine draws attention ( in the Listen to Britain section of the article ) to the music that was used in the film, in particular " at the end of the film ... that mackerel sky and Sir Arthur Sullivan's ' The Long Day Closes ' itself " ( which was sung by Pro Cantione Antiqua ).

Critic Lynn Hirschberg declared Stranger than Paradise in a 2005 profile of the director for The New York Times to have " permanently upended the idea of independent film as an intrinsically inaccessible avant-garde form ".

Critic Steve Huey writes, " rampant eclecticism encompasses everything from heavy metal and punk to funk, R & B and avant-garde jazz, and his anarchic, lightning-fast solos have become something of a hallmark as well.

Critic Stephen Thomas Erlewine declared that PE " brought in elements of free jazz, hard funk, even musique concrète, via producing team the Bomb Squad, creating a dense, ferocious sound unlike anything that came before.

Critic Mark Demming writes " Quine's eclectic style embraced influences from jazz, rock, and blues players of all stripes, and his thoughtful technique and uncompromising approach led to rewarding collaborations with a number of visionary musicians.

* A Critic Looks at Jazz ( 1946 ; collected criticism from his column in the jazz periodical The Record Changer, " An Anthropologist Looks at Jazz "; the only jazz book ever published by Borneman )

Critic Joachim Berendt wrote that " Since Ponty, the jazz violin has been a different instrument ", of his " style of phrasing that corresponds to early and middle John Coltrane " and his " brilliance and fire ".

Critic Gary Giddins, who wrote the book's introduction, calls Raise Up Off Me " a major contribution to the literature of jazz.

Critic Leonard Feather once said, " It is almost indisputable that Dr. Billy Taylor is the world's foremost spokesman for jazz.

" 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.

Critic Mario Mesquita Borges praised it and stated that " he future of rock & roll is surely guaranteed with acts such as American Hi-Fi.

Critic Philip Auslander argues that the distinction between pop and rock is more pronounced in the US than in the UK.

" Critic Jimmy Guterman named it one of the worst albums ever released in the history of rock.

Critic Jason Ankeny declares that " Weston's name and fingerprints are all over the American underground rock of the post-punk era, producing and engineering dates for a seemingly endless number of bands.