Stereophonics, three Welsh veterans, were suddenly discovered and launched with much pomp in 1997. Local Boy in the Photograph, More Life In A Tramp Vest and A Thousand Trees are the catchy ditties that tested the waters of the over-inflated Brit-pop scene. Harsher-than-average guitars, lively tempos, down-to-earth production (perhaps a legacy of compatriots Manic Street Preacher) and the rasping vocals of singer Kelly Jones (a Rod Stewart for the Liam Gallagher generation) gave them an edge over Blur and Oasis. Word Gets Around (V2, 1997) established Stereophonics as major players of Brit-pop with the ballad Traffic and the upbeat Not Up To You (and, of course, the singles).

The problem with Performance And Cocktails (V2, 1999) is that, once they run out of gas, the Stereophonics can only take shelter in the format of the ballad, and nobody sings more tedious ballads than them. The Kinks-ish rock and roll of The Bartender And The Thief and Pick a Part That's New is the medium that best supports their limited melodic and instrumental skills. They sound mediocre at best when they crank on the volume (Roll Up And Shine, Half The Lies You Tell Ain't True) and utterly trivial when they slow down (Hurry Up and Wait the best of the worst). Nonetheless, the album topped the British charts and sold over 100,000 copies.

Stereophonics seems intent in producing the most ordinary rock music in the world. Slower and less crunchy, the sound of Just Enough Education To Perform has become even more predictable. Amateurish songwriting (truly worthy of a nursery school) makes it even less exciting. The sprightly rock and roll of the previous albums is turning sour, regressing to the generic pub-rock of Vegas Two Times (alternatively reminiscent of Black Crowes and Stone Temple Pilots), and further sliding down the slope of mid-tempo mainstream rock with Mr Writer (the single), Everyday I Think Of Money, Lying In The Sun and Watch Them Fly Sundays, finally reaching the bottom with the mellow, mostly acoustic Step On My Old Size Nines and Nice To Be Out. If you don't listen to the lyrics, Have A Nice Day and Caravan Holiday actually display an intriguing dynamic.

You Gotta Go There (V2, 2003) offers only third-rate blues/soul rock (Help Me, Madame Helga). The rest is as interesting as an imitation of Black Crowes's imitations of Led Zeppelin and the Faces.

Language Sex Violence Other? (V2, 2005) is an insult to the intelligence of the public. Pull The Pin (2007) is an insult to their own intelligence because it is more of the same.

Live From Dakota (2006) is a double-disc live set.

Keep Calm And Carry On (2010) had no songs that any amateur band couldn't write and tape in its basement.