We ranked the Queen of Pop’s discography, from her self-titled debut to Confessions II.
Junior Senior’s Hey Hey My My Yo Yo sounds every bit as fresh and exuberant now as it first did in the summer of 2005.
While Stage Names’s songs and production should appeal to a far wider audience than the band’s previous efforts, Will Sheff’s voice is as grating as ever.
The album is regal, majestic, and allegorical, a debut rife with images of war, dragons, and ghosts.
Finding Forever is something to be admired, even if it is uneven.
Unlike many other Christian rock albums, Theology is for the oppressed, not the oppressors.
The Con is undoubtedly as sweet as it is short.
Coco is the kind of album that’s only worth discussing in terms of its popularity and path to success.
After Hours wants for the fire that Raul Malo brought to his recordings with the Mavericks throughout the 1990s.
Beginning next month, Billboard will once again tool around with the formula that comprises their Hot 100 Singles chart.
Leave it to the creative minds at the New York Post to twist Kelly Clarkson’s words and fabricate a story.
The computer blue waters of Planet Earth might not be warm enough yet to start hoping for Prince to reunite with the Revolution.
What makes Vanderslice perhaps the most consistently compelling songwriter on the indie scene is the critical fecundity of his text.
Relentless as a bionic metronome, the Chemical Brothers’s Dig Your Own Hole burns red raw with the fever of neutron dance.
The compilation serves as an anthropological study of the musical relics of a bygone era.
We Are the Night, like most high school reunions, fails to kick-start anything other than nostalgia.
Zeitgeist is the Smashing Pumpkins’s most aggressively metal album to date.
Def Jam threw some serious bread behind Fabolous’s new album.
I’m partial to scores, but for purposes of discussion, I consider songs to be movie music.
Marry Me isn’t quite a religious experience, but it’s unequivocally divine.