Critical Reception
| Professional ratings | |
|---|---|
| Review scores | |
| Source | Rating |
| Allmusic | |
| NME | (8/10) |
| Select | |
| The Guardian | |
A Maximum High garnered a generally positive response from critics upon release. Ian Harrison of Select drew a number of comparisons with The Smiths in his review, summarising the album as "sexy, Smiths-fuelled and superb";
(I)t's apparent that Shed Seven's closest inspiration isn't Northside or The Railway Children, but The Smiths. Of all the contenders to be the heirs to The Hated Salford Ensemble, this band pull it off with the best spirit and the least number of groaning timbers. Continually there're the lilting/grinding guitars à la Marr, while Rick's voice twists and soars like Moz pre-Brendan Behan look-alike period.
He went on to liken the "jugular-directed guitar attacks" to that of their debut album, but also noted a distinct change "of a band trying new moves and a richer sound". This change of sound was also noted by Mark Sutherland, writing for the NME in April 1996, who stated that "the Sheds have rocketed on so far from '94's 'Change Giver', they could actually rewrite the traditional album reviewers lexicon" and went on to compare the band to The Stone Roses;
Certainly, the tough, ultra-confident, tune-stuffed 'outfit' here are, Witter's emotional foghorn vocals apart, barely recognisable from the scruffy tykes on the flashy, but ultimately unsatisfying, 'Change Giver'. Indeed, parts of it are good enough to pass as someone else's second album: chiefly, the record The Stone Roses should have made instead of 'The Second Coming'.
Writing for The Guardian in April 1996, Caroline Sullivan labelled A Maximum High "good, but not outstanding", as she praised guitarist Paul Banks's "exultant jangling", but found fault with the album's lyrical content. The LP has also been referred to as "the band's most consistently engaging album (...) full of inspirational anthems excellent shout-along, arena-ready numbers."
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