We weren’t sure if Madonna could surprise us anymore. Until she did.
Basic Instinct strictly observes a no-ballads policy.
It may not be the year’s worst pop album, but Strip Me might just be the most exhausting and heavy-handed.
I don’t want to overstate the case for our new decade’s first breakout star, but I can’t help hearing 2010’s pop music in terms of the Gaga Effect.
Dare I say I miss the days when he was comparing his lover’s bush to a damp, swampy rainforest?
Bowersox has the goods to stick around long after most other Idol alumni have reached their sell-by dates.
Despite its conceptual underpinnings, Love Remains never sounds overburdened by theory.
Michael is a bit like Bruce Lee’s Game of Death.
Reggie is billed as a concept album, but this proves another diversion for an artist running out of ways to market himself.
The Atlanta-born songstress managed to offer an interminably absorbing show with a performance that belonged on a far bigger stage.
Are those sleek Light Cycles equipped to run on fumes?
Whether you’re playing Spot the Sample or actually cutting a rug, All Day is a great deal of fun.
If Christmas Special were simply a matter of taking the piss out of the Christmas season, the album would come across as smug.
No Mercy is full of moments where suspect lyrical passages coast by under smooth surfaces.
There are plenty of “real” songs on the album, and the more simplistic sing-alongs sound boorish and annoying in their company.
4X4=12 is the same tired genre vehicle audiences have been hearing since the mid ’90s.
All I Want Is You blends slick, radio-friendly R&B with Prince-aping theatrics.
The Beginning is craven and depressing.
The DeAndre Way is another reminder of the infinite possibilities for self-aggrandizement.
Even without the affected singing, these ballads would still be unpalatably over-sweetened.
Only One Flo seems insistent on reminding us how dispensable Flo Rida actually is.