The good songs on Golden Delicious are very good, and Doughty remains a clever wordsmith.
Places Like This gushes with the manic energy of its predecessor.
It’s often hard to tell whether Wade is singing about God or a girlfriend.
If you’re going to make an album called Insomniac, you’d be wise not to include a bunch of songs likely to put people to sleep.
On Eat Me, Drink Me, Manson bares himself lyrically and explores new musical avenues.
It’s the new Cold War, and it’s being fought by sensitive musicians in tight pants.
What the hell is Nikki Sixx doing writing the title track for a Bat Out of Hell album?
For once, Yankovic’s originals are better than his parodies.
Decemberunderground is destined to give AFI that larger mainstream audience they missed out on the last time around.
Keys to the World demonstrates that Ashcroft is finally hitting his stride as a solo artist.
For that crowd, this is a good record. For everybody else, it’s essentially irrelevant.
Carrie Underwood is trying to beat the odds with her debut album Some Hearts.
Honkytonk University sounds like it was recorded by somebody who has no desire to challenge himself.
Audioslave’s sophomore effort, Out of Exile, is the sound of a band coming into its own.
Stand Up is the band’s most lively album in years, and one of its best.
Colour by Numbers helped establish the blueprint for the boy bands that would follow in Culture Club’s wake.
Like it or not, Incubus is the prototypical rock band for the 21st century.
They Were Wrong So We Drowned might be a train wreck, but it seems that’s what the Liars were going for.
Here’s how questionable this whole affair is: The highlight of the record is a vocal appearance by the girl from “The Wonder Years.”
Blink-182 might just be the band’s best album to date.