Fellowship is a testament to the power and relevance of gospel music when it’s approached with intelligence and grace.
No Ghost’s structural depth truly demands and rewards active attention.
For their sophomore album, Reckless, the SteelDrivers face a rather unusual dilemma.
Good Southern Girl proves that Shaw is a fearless, whip-smart young talent worth following.
Foundling impresses for its monotony.
Back to Me is yet more evidence that Fantasia’s instincts as a singer don’t fit well with a contemporary R&B production style.
The album is easily among Stuart’s most focused, most powerful collections of bedrock country.
The Capitol Years is as promising a look forward for the Dandy Warhols as it is a testament to the pretty fantastic work they’ve already done.
The deeply textured arrangements on the album work perfectly with LaMontagne’sdistinctive vocal presence.
No Better Than This works as well as it does because it plays to Mellencamp’s strengths.
The Reason Why stands as the quartet’s most consistent set to date.
The pop landscape doesn’t need another Justin Timberlake knockoff or another internet flash in the pan.
Since Come and Get It is Reed’s first major release, his style is still refreshing.
Lazers never Die accomplishes more than most of the year’s full-length hip-hop records.
Caldwell does her damndest to sell the terrible material with conviction and sincerity.
100 Miles from Memphis proves that Sheryl Crow may have an affinity for Southern soul, but she doesn’t necessarily have an aptitude for it.
An album like Wildwood leaves Chatham County Line in something of a no-man’s land.
Fables of the Reconstruction is, on a song-for-song basis, one of R.E.M.’s strongest collections.
Masts of Manhatta boasts real structural depth, as Bonham finds an effective balance of contemporary folk and modern rock.
Not only does the album have an actual pulse, but it also lacks any pretenses of being more than what it is.