Reception
| Professional ratings | |
|---|---|
| Review scores | |
| Source | Rating |
| AllMusic | |
| NME | (8/10) |
| Q | |
| The Guardian | |
| The Independent | (favourable) |
| Rolling Stone | (favourable) |
| Entertainment Weekly | (A) |
| Sputnik Music | |
| Vox | (9/10) |
Writing for Q magazine in June 1996, Tom Doyle thought that Everything Must Go had "little in common" with its predecessor, The Holy Bible, and saw the album as a return to, and improvement upon, the "epic pop-rock" sound of Gold Against the Soul. He noted the band's choice of producer, Mike Hedges, as a possible contributing factor to the overall change in sound, and drew parallels to the lyrics of Kurt Cobain and the "reverb-laden" music of Phil Spector. Nicholas Barber of The Independent described Everything Must Go as "the most immediate, assured and anthemic British hard-rock album since Oasis's Definitely Maybe". He also thought that the record was more accessible when comparing it to the "crushingly heavy-going" sound of The Holy Bible, especially, he noted, for a band "who once would have spat at the breadhead, corporate-sell-out idea of a hummable ditty. " Vox magazine's Mark Sutherland saw Everything Must Go as the group's "most approachable" album, describing it as a "record so superb it might just make intelligence fashionable again", and surmising that the album "proves that, professionally, at least, the Manic Street Preachers don't miss Richey. "
In 1998, Q readers voted it the 11th greatest album of all time, while in 2000 the same magazine placed it at number 39 in its list of the "100 Greatest British Albums Ever". The album also won the award for Best British Album at the 1997 Brit Awards.
Read more about this topic: Everything Must Go (Manic Street Preachers album)
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