NY Daily News:
As serviceably catchy as most of the songs may be, it’s only Lambert’s performance that raises them above radio fodder. His vocal attack remains a dizzying mix of the awesome and the absurd. For “Kickin’ In,” — whose lyrics provide Lambert’s only semi-gay allusion, involving a proposed three-way — he shrieks like someone just dropped a TV set on his toe. In “Underneath,” the album’s sole ballad, Lambert belts the notes with a rock-operatic flourish, like some demented mix of Freddie Mercury, Ian Gillan and Ethel Merman.