James Blunt returns with a piano-driven period piece that’s about as edgy as an episode of Desperate Housewives.
If possible, the terrain is headier, the edges are sharper, and the album is, at times, a more arduous listen than its predecessor.
Britney’s opening number at this year’s VMAs set the tone for the entire night.
Curtis is equal parts gratuitous violence and romance.
Kismet is a fitting title for singer-songwriter Jesca Hoop’s debut album.
Fiddy and Kanye’s egos have been bolstered by huge album sales and huge critical praise, respectively, but Fif takes the cake.
The album feels fully fleshed out and, ironically, more lively than Nastasia’s 2006 effort On Leaving.
Her performance is both a testament to how well written a song “Umbrella” is and a reminder of how underrated a singer Moore is.
Swizzy’s best work has always been laying down beats for other artists.
The album is regal, majestic, and allegorical, a debut rife with images of war, dragons, and ghosts.
Finding Forever is something to be admired, even if it is uneven.
Unlike many other Christian rock albums, Theology is for the oppressed, not the oppressors.
The Con is undoubtedly as sweet as it is short.
Coco is the kind of album that’s only worth discussing in terms of its popularity and path to success.
The series hit a new low this summer with its two-part Jersey Shore edition.
Beginning next month, Billboard will once again tool around with the formula that comprises their Hot 100 Singles chart.
Leave it to the creative minds at the New York Post to twist Kelly Clarkson’s words and fabricate a story.
The compilation serves as an anthropological study of the musical relics of a bygone era.
Zeitgeist is the Smashing Pumpkins’s most aggressively metal album to date.