"Togawa is post-punk. That's her middle ground. On one side is a little girl's voice and, at the other end, is opera. Lyrics in Japanese such as on dismemberment as proof of love. Her voice is all vulnerable strength."
"Greatest, most eloquent rough album by kids on being kids. Raw brilliance before the filler gained a place on their albums to come, with some of their best: Careless, Shiftless, Johnny's (on Johnny Thunders), I Hate Music (on Tommy, 14yr-old bassist)."
"All those irresistible tunes backed up during years of experimentation. Then the dam broke. Ubu always hated punk and its reductive tendency. They weren't punk, they were avant garde. It imbues melody upon melody here."
"Kevin Rowland spearheading breaking of new ground (he doesn't know another way) but remembered, tiresomely for all-time for just Eileen. Soul & punk, searing lyrics. No brilliant side A only for them."
"Masterpiece again from those silly-looking & sounding 80's. After avant-gardist Rooftops LP, this, still inclined to walk beside a long drop, the sound dripping with melancholic appreciation of the moment due to that yearning voice like someone crying in the dark, over non-'real' instrumentation that expresses the feeling totally."
"Genius - when blinkers are off. 'Certain fantasies of a young man growing up in late 50's, ie, one of my height, weight and build.' Laid-back, detailed intensity in words & sound. Evocative & twisted"
"Despite the filler, the rest is the greatest English lyricist this side of Ray Davies '67-'71. They never again matched the unswerving genius of Suffer, Reel, Hand and Charming, filled out to greatness by Marr."
"The great man of Ubu's 20 yrs, which was sustained until '98, David Thomas, is almost eclipsed by synth showers falling under their own weight & anti-logic of Allen Ravenstine. Remaster - spectacular detail of most tuneful avant garde."
"Blinkers off. Martin Fry could do anything at this point. A scintillating set of driving, daring, unfeasibly passionate and tuneful '80's sounds' unconquered peak & brilliant free-association lyrics."
"From the unmistakable opening bassline intro, a combination that can't miss: melodies strong enough to underpin the primal vocals that compete with the guitar and bass for which it is exactly that raises the hairs on the nape of the neck. The words do the rest."
"The Replacements album with the largest number of their very best songs: Here Comes A Regular, Left of the Dial, Kiss Me on the Bus, Swingin Party, plus Can't Hardly Wait electric outtake on the remaster. Paul Westerberg's sensitive words of wit and understanding fronting messy rockin album."
"The most precociously brilliant writer of words (and tunes so fine that they do the words justice) of the '80s, and an interpreter to make all he touches his own, Shane McGowan, was at his best here, rasping and spitting out those words to Irish folk accompaniment going hell for leather"