The Magic Position is a euphoric listening experience not even being a critic can spoil.
It’s only the songs seemingly constructed for radio play that mar the otherwise radiant Reminder.
The Others might be terrorists, but they have families, homes and moments of humanity just as real as the show’s protagonists.
Apparently we’ve been listening to the wrong album for decades.
Strange Days exists as a document of a sometimes beautiful, sometimes scary, and often twisted era of fear and idealism.
Waiting for the Sun features some of the Doors’s most combative, political work.
The Soft Parade wasn’t the end of the Doors, but it was certainly the beginning of it.
Jim Morrison fancied himself a blues singer.
New York may have adopted the Doors as their own, but the band belonged to the dusty desert roads and highways of the West.
At least when Avril’s being bratty it’s minimally entertaining.
Despite some complaints to the contrary, Beyoncé’s B’Day does not sound like it was recorded in two weeks.
Tracey Thorn sure sounds attuned to teen angst on Out of the Woods.
The use of the word isn’t offensive because of Carnes or Oscar’s sexuality, a point lost on Michael Scott, Elvis, and apparently many others.
It’s easily the best thing she’s released in years and features one of her best vocals to date.
Gus Gus takes yet another step away from the trip-hop and dance-pop of their late-‘90s output with Forever.
The album is certainly a more organic, stripped-down departure for the former Lamb singer.
Timbaland is an auteur.
Duff doesn’t dig very far within, but that’s probably because there’s not that far to go.
Como Ama Una Mujer is less than a shrewd move for one of pop culture’s savviest icons.
Thirteen Tales of Love and Revenge is delicate, thoughtful, and utterly captivating.