Rolling Stone (p.132) - 4 stars out of 5 -- "TIM caught a great American garage band stretching out, working Big Star pop and Fifties-style rock into a mix of punky abandon and regular-dude romanticism."Rolling Stone (12/11/03, p.128) - Ranked #136 in Rolling Stone's "500 Greatest Albums Of All Time" - "[A] crucial template for grunge, alternative country and, recently, the noisy introspection of emo."Rolling Stone (5/25/00, p.76) - 4.5 stars out of 5 - "...Rangy, obstreperous, unsparing, funny and ever tuneful - turning post-adolescent confusion into some kind of screwed-up enlightenment."Q (10/93, p.127) - 4 Stars - ExcellentAlternative Press (7/95, p.76) - Ranked #4 in AP's list of the `Top 99 Of '85-'95' - "...it's still just about impossible to put into words how great the Replacements were and how tremendous a record TIM is. Coming on the heels of possibly the greatest rock and roll album (LET IT BE) and preceding another classic (PLEASED TO MEET ME), TIM is the heart of an amazing trilogy..."CMJ (1/5/04, p.18) - Ranked #15 in CMJ's "Top 20 Most-Played Albums of 1986"Mojo (Publisher) (p.120) - 4 stars out of 5 -- "1985's TIM is where Westerberg found his range, and consistently so..."
Alternative Press (p.186) - "This tribute takes its title from late-period Replacements, but its slop-rock spirit comes straight from the golden age, when Paul Westerberg's lyrical genius came wrapped in the reckless abandon of misspent youth."
Rolling Stone (p.100) - 5 stars out of 5 -- "The quintessential punk power ballad 'Unsatisfied' and the barfly blues 'Here Comes A Regular' are indelible acoustic-guitar-based songs that grab your heartstrings..."Spin (p.87) - 5 stars out of 5 -- "Poetic guitar clamor from the greatest punk-rock bar band ever."Q (p.124) - 4 stars out of 5 -- "They were a great band....[By] HOOTENANNY, frontman Paul Westerberg's love of classic rock and ear for melody had marked them out."Mojo (Publisher) (p.120) - 3 stars out of 5 -- "Smartass, sweetly melodic and just irresponsible enough to court constant flameout, The Replacements were America's quintessential college rock band."
Rolling Stone (9/19/02, p.108) - 4 stars out of 5 - "...Rude, crude pleasures...These songs are where the young Kurt Cobain found his voice - and he wasn't the only one."Q (6/93, p.120) - 3 Stars - Good - "...HOOTENANNY...saw Westerberg diversifying stylistically as he staked out what has since become his specialist lyric territory--a downbeat teen outsider angst heard in full flow on `Color Me Impressed'..."Q (10/95, p.146) - 4 Stars - Excellent - "...the group displayed humour and verve in equal amounts, although they were clearly tiring of playing punk..."NME (Magazine) (4/23/93, p.30) - 7 (out of 10) - "...HOOTENANNY [is] a mellifluous sideways step full of R&B and country touches..."Record Collector (magazine) (p.88) - 4 stars out of 5 -- "[With] The Replacements' willingness to experiment with their material adding to the freshness of the record."
Rolling Stone (9/19/02, p.108) - 3 stars out of 5 - "...From hilarity to heartbreak, the Replacements' emotional realness made other hardcore bands sound like sitcoms..."Q (10/95, p.146) - 3 Stars - Good - "...the perfect 1981 antidote for Brit synthpop bands and contains the first unmistakable flash of Paul Westerberg's poignant songwriting genius..."Q (Magazine) (p.120) - 4 stars out of 5 -- "SORRY MA...is the boredom-busting sound of delinquent passion, clearly influenced by punk but disinclined to apply its philosophical rigour."NME (Magazine) (4/23/93, p.30) - 7 (out of 10) - "...SORRY MA is the high-velocity rattle of wired young spunkers who hate authority..."Record Collector (magazine) (p.88) - 4 stars out of 5 -- "Bob Stinson fires off quicksilver solos, Paul Westerberg's singing is already wonderfully expressive and full of ad-libs, the rhythm section punchy and loose."
Alternative Press (4/95, p.66) - "...With A BOY NAMED GOO, the Goo Goo Dolls again churn out a workmanlike mix of catchy, angst-ridden retro-Replacements and driving, straight-ahead rock..."Musician (5/95, p.92) - "...Between its bristling, punkish guitars and bright, pop-savvy melodies, this comes on like the greatest album Paul Westerberg never made...giddily infectious..."
Rolling Stone (p.74) - 3 stars out of 5 -- "[T]here's not a dud in the bunch, a handful are very good, and all of them sound at least as much like his beloved old band, the Replacements, as any of his recent solo work."No Depression (p.105) - "Unforgettable hooks, infectious melodies, and cleverly crafted, witty lyrics abound..."
Entertainment Weekly (12/1/00, p.103) - "...These rough-hewn, Replacements-style rockers have always seemed most comfortable slugging it out on the periphery of rock stardom..." - Rating: B-Q (12/00, p.151) - 3 stars out of 5 - "...These songs are full of pathos and are often memorably melodic..."
Rolling Stone (8/22/96) - 3-1/2 Stars - Good/Excellent - "Now that Paul Westerberg is writing wistful folk-pop songs...who will remind aging Replacements fans of the raucous, booze-addled days of yore?...Tommy Stinson, that's who....lean, brash, three-minute tunes...[that] go a long way on scrappy charm..."
Entertainment Weekly (2/12/93, p.57) - "...these guys dig that playing loud and fast doesn't mean you ain't a fool for love and that the best punks may be those who temper Sturm und Drang with melody and melancholy..." - Rating: AAlternative Press (4/93, p.61) - "...the [Goo Goo Dolls] are progressing...even though they've smoothed out a bit, you can still get drunk and fall over to them..."Musician (4/93, p.85) - "...like all great pop, the Goo Goos stand cliches on their head, while the magnetic hooks suck you in and make it all sound new again...marks a quantum leap over their thrash beginnings, a move akin to the Replacements breakthrough record LET IT BE..."
Rolling Stone (10/15/98, p.131) - 3 Stars (out of 5) - "...the Dolls traffic in raspy-voiced, guitar-fueled rave-ups with a sentimental streak....Nothing like a few hints of vinegar to make the gooey ballads go down."Spin (12/98, p.182) - 6 (out of 10) - "...Having watched their evil stepsisters, the Replacements, try and fail to fit their eccentricities into the square hole of success, the Dolls prove more amenable: DIZZY UP THE GIRL is a marketing department's dream, this year's Soul Asylum with the edges filed off its power pop and metalloid stomp..."
Rolling Stone (3/20/97, p.84) - "...Escovedo has finally bottled the band's uproarious liquor-and-fuzz-box attack..."Entertainment Weekly (3/21/97, p.73) - "...This set of feedback-drenched roots-raunch [of] originals...is a wild joyride down Route 66 that offers enough high-octane thrills to jump-start the engine of any jaded rock fan."- Rating: A-Q (4/97, p.118) - 3 Stars (out of 5) - "...guitarists [Alejandro] Escovedo and Joe Eddy Hines [come] on like and Austin version of The Replacements....proves again that Escovedo has the ambition to match his talent."
Entertainment Weekly (4/10/98, p.67) - "File this quirky second release from the feel-good Minneapolis trio under `alt-pop,' alongside Ben Folds Five. FEELING's emphasis is on well-crafted songs: sweetly hummable melodies, carefully layered instrumental polish, and wise-guy lyrics about love that roam from Spock to Shakespeare..." - Rating: BQ (12/99, p.128) - 4 Stars (out of 5) - "...a creative quantum leap, 12 evocative, spectral minor-key guitar anthems which are clearly on more than nodding terms with R.E.M. but also reminiscent of Replacements....excellent."
Q (8/00, p.99) - 4 stars out of 5 - "...A curate's egg, indeed, but thoroughly entertaining."CMJ (6/00, p.61) - "...As greasy and tasty as good barbecue....This is the sound of a man searching for the heart of American music, and quite possibly finding it..."JazzTimes (11/00, p.120) - "...An ambitious record....[Hart] focuses exclusively on electric guitar and dredges up some nasty tones on hard-edged rock numbers..."No Depression (7-8/00, p.104) - "...Combines '70s soul, rock and jazz in the company of Big Star and Replacements producer Jim Dickinson....proving Hart can do just about anything as well as anybody..."Mojo (Publisher) (6/00, p.112) - "...a fragmented post-modernist album, often startling, always fascinating."
Rolling Stone (p.60) - 4 stars out of 5 -- "[T]he record is remarkably polished, coloring Gram Parsons-style country with R.E.M.'s vocal drama and the Replacements' beer-breath blues."Rolling Stone (8/7/97, p.64) - 3 Stars (out of 5) - "If there's to be a Nirvana among the bands that are imprecisely dubbed alternative country, look to Whiskeytown. Ryan Adams is a gifted writer who pens aching songs about alienation and love's lackings, and sings in a weary voice scuffed by hard luck..."Spin (08/01/97, p.74) - "...This Raleigh, N.C., quintet breaks away from the No Depression pack with a potent major-label bow that might be characterized as country & Westerberg. More tuneful and ruminative than their rowdy shows would suggest, Ryan Adams' America-soaked songs alternately rock and tiptoe through the space between apathy and regret..." - Rating: B+Uncut (p.109) - 5 stars out of 5 -- "[The album] still sounds like alt.country's high tide."Uncut (5/04, p.100) - "[S]tunning....[R]ocking like a primate and sad-balladeering like the loneliest barfly."Alternative Press (3/01, p.104) - Included in A.P.'s "10 Essential Alt-Country Albums" - "...Ryan Adams always seems to be singing at the end of a hard night of drinking, or at the end of a string of hard luck..."Option (11-12/97, p.125) - "...show[s] range beyond the band's trademark roughhouse, twang-tinged punk, but its honky-tonk heart still beats..."Melody Maker (1/24/98, p.37) - "Purchase immediately and file next to EVERYBODY HURTS and Big Star's THIRTEEN. It really is that good."Village Voice (2/24/98) - Ranked #23 in the Village Voice's 1997 Jazz & Pop Critics' Poll.Paste (magazine) (p.64) - "STRANGERS ALMANAC is the beating heart of Whiskeytown's catalog and one of the best albums of its genre and era."Record Collector (magazine) (p.100) - 5 stars out of 5 -- "Flitting between dustbowl desperation and inner city ennui on slacker anthems such as 'Losering,' Adams soundtracked a subculture with quiet reserve and filmic imagery..."
Rolling Stone (6/20/02, p.84) - 3 stars out of 5 - "...Straining vocals, racing tempos and walls of distortion give way to softer singing, spacious guitars and prominent keyboards....subtle and tender..."Spin (11/02, p.125) - 7 out of 10 - "...Catchy, finger-snappin' strolls through a landscape etched with disappointment and hope..."Entertainment Weekly (5/31/02, p.108) - "...This is the group at their best..." - Rating: B+Q (11/02, p.100) - 4 stars out of 5 - "...An ideal way to remember the summer just gone..."Uncut (8/02, p.104) - 4 out of 5 - "...In truth, they're just a great heart-on-sleeve rock band."Alternative Press (8/02, p.73) - 7 out of 10 - "...From the doo-wopping vocal harmonies to the painstakingly layered guitars and frolicking bass lines, it's clear the Kids have progressed beyond power chords and whiny yelps..."Magnet (8-9/02, p.73) - "...A tremendous leap forward..."CMJ (6/3/02, p.13) - "...Finds the Kids at their most mature, musically speaking..."NME (Magazine) (5/25/02, p.32) - 7 out of 10 - "...The mature record...it eschews the intimate confessionals of old for a less frantic sound more akin to old indie lags The Replacements....A brave, potentially suicidal gesture: all hail the grown-up kids."