A refreshing antidote to the army of pop princesses and rap-metal bands that had taken over.
Like her previous work, it’s an interesting mix of sex and death.
Charmbracelet reprises the singer’s now-signature mix of hip-hop and pop.
Robbie Williams’s new album finds the singer as charmingly crass as ever.
Common’s fourth album, Like Water for Chocolate, is a seamless backdrop of funk, soul, and hip-hop for his rhyming prowess.
He’s like R. Kelly with a touch of British charm.
Under Construction is a living, breathing homage to old-school rap’s simpler days.
While TLC were once innovators, they’re mere followers on their fourth (and final) album.
Toni Braxton smartly balances hip-hop-skewed R&B with the kind of sultry balladry that made her famous almost a decade ago.
Greatest hits records almost never please everyone. But with an artist like Björk, it’s almost completely impossible.
On her seventh studio album, Tori Amos traces her steps across a post-9/11 America.
It’s not clear what decade Carter thinks he’s currently living in.
NSync’s golden boy has finally struck out on his own and the results are, ahem, golden.
May’s creations paved the way for later Detroit artists like Plastikman as well as rave culture as we know it.
It seems former Mousekateer Christina Aguilera has finally popped right out of her bottle.
The White Room is an album that helped bring rave culture to the fore.
A collection of minimalist house more refined than anything that has come before or since.
Kraftwerk’s meditative album is a sonic poem to Europe.
Who’s Afraid Of? is a brash blend of experimental rock and New Wave that was way ahead of its time.
Massive Attack are the undisputed godfathers of trip-hop and Blue Lines remains the genre’s most influential masterpiece.