Tori Amos’s Tales of a Librarian might just be one of the most ambitious greatest hits collections ever made.
Transatlanticism attempts to negotiate the expanse of a long-distance (or distant, or deceased) relationship.
For the most part, In The Zone is a big, fat, thumping love letter to the dancefloor.
Little Earthquakes is largely concerned with reconciling or reflecting on the past, particularly Tori Amos’s youth.
The Preacher’s Son finds the former Fugee a little nostalgic.
Part of Morissette’s evolution as a musician and individual is recognizing and accepting her own imperfections.
Despite its flaws, In Time is a must-have for ardent R.E.M. fans.
Pink has certainly earned the right to do whatever she damn well pleases.
The Divine Comedy stands as one of the best lost pop albums of the ‘90s.
The trouble with the album’s title is that she never fumbles.
Afterglow drips and oozes its way from start to finish.
Sonically intricate and emotionally raw, Sophie B. Hawkins’s Tongues and Tails is about as complex as pop music can get.
As versatile as Gibbons’s vocal is, though, you won’t find her wailing in the sinister Portishead style.
The average measure of a man is approximately 5.877 inches.
Mandy Moore boldly goes where no teen-pop starlet has gone before: the vinyl bins at the back of her local record shop.
Compromise may have shrunk the band’s fanbase at the time, but it left behind a thought-provoking, near-perfect pop album.
It’s Weezer’s Pinkerton all over again.
There’s a handful of notable remixes and b-sides missing from the album.
The band’s debut album is filled with succinct, pretty songs about timeless lovelorn truths.
I Say I Say I Say is Erasure’s gayest, most unabashedly precious album.