Supernature is the comeback album Blondie has yet to make.
Mariah did eventually take to the stage for her performance of the Grammy-winning “We Belong Together” and the rousing “Fly Like a Bird.”
Despite the generally poor digital transfers, the set is still worth owning for Toriphiles and music video aficionados.
If In My Mind sags, it’s not because Heather Headley is in any danger of a sophomore slump.
Even Johansen’s second outing as Magnet doesn’t stray too far from the Norwegian singer-songwriter’s previous efforts.
Angelenos are lucky. Our FM airwaves are second-to-none in terms of diversity and quality of programming.
There are several songs here that might make you forget all about David Fisher’s unfortunate picnic table demise from Six Feet Under.
In many ways, Breakthrough does present a more grown-up Mary.
The clean version of James Blunt’s Back to Bedlam dulls the edges of the U.K. singer-songwriter’s often pointed lyrics
Mariah wasn’t the only one making a comeback in 2005.
Vol. 2 finds Shakira straddling the line more than ever, one part Natalie Merchant and one part Jewel.
For all the so-called weighty subject matter, there’s not much meat on these bones.
At times, it’s difficult to determine if Arrested Development is good or just really fast.
Much like Stevie Nicks’s Trouble In Shangri-La, Aerial sounds dateless.
Eurythmics’s Peace was a marked departure from the new wave duo’s more famous synth-pop output from the 1980s.
The album documents an impressive career, even if it eschews Alanis Morissette’s pre-history for what she considers her finer moments.
A dance-pop odyssey with an emotional, if not necessarily narrative, arc.
It’s fitting that Stefani should open her Harajuku Lovers Tour with Debbie Deb’s “When I Hear Music” booming from a giant tower of speakers.
Blame Mariah.
I Am Me isn’t half bad, but it’s only half good.