Madonna’s most focused effort in decades, the album earns its nostalgia by prioritizing it.
It sure looks like an awesome party I would’ve loved to been able to afford.
Do we need the Wu-Tang Clan?
The impulse to follow the cues of Judy Garland’s command performance carries over to many aspects of the album.
While Pete Doherty’s deathwatch continues, the legacy of the Libertines remains in limbo.
The album proves once again that Pitbull is a savvy curator of Latin-inflected rhythms, classic crunk, and dance-floor R&B.
The Clientele are really pushing it.
SuperMayer only really seem interested in pushing the boundaries by interpreting forms previously foreign to them.
Freeway is still nothing more than a well-connected hype man.
It’s a smart move for the Eagles to market their latest album directly to the country market.
There hasn’t been a more consistent singles artist in mainstream country music over the last decade than Keith Urban.
The album places Turner in the company of mainstream country acts like Brad Paisley, LeAnn Rimes, and Dierks Bentley
Despite the aggressive nature of his devil’s dance music, Sean Brennan never gets overly excited while making the vamps shake it.
And it all begins to make some sense.
Miss Sparks is the youngest Idol winner to date, and for the most part, she doesn’t try to play older.
The album suggests that Little Big Town is perhaps the only currently popular band in mainstream country worth following.
U2’s The Joshua Tree might not be as magnificent as the masses claim, but it’s not without its share of magnificence.
Like clove cigarettes and emo hoodies, some things just go better with teen angst.
Sawdust is a cute name for an album of b-sides and rarities.
Heaven, Heartache, and the Power of Love is an album characterized by significant departures for Trisha Yearwood.
Black and White finds the Hives making their first real effort toward diversifying their sound.