The singer has yet to discover a sound or sensibility that truly distinguishes her.
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.
Rowland’s solo debut, Simply Deep, gave us no reason to think she could deliver a track as hot and fresh as “Like This.”
Judging by the photographs in the CD booklet for My December, it seems David Hodges may have done more damage to his ex than simply break her heart.
It’s A Bit Complicated is an album of the most ephemeral sort of pleasures.
It almost entirely ignores what it is that gives the duo its claim as perhaps the greatest rock act of its generation.
It’s often hard to tell whether Wade is singing about God or a girlfriend.
We can’t wait until some turntablist uses the album to drop the science.
Though often criticized for over-saturation, Ryan Adams is as efficient as he is prolific.
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.
S.O.S. feels too much like a rote genre exercise from an artist who has already proven that he’s capable of something far more inspired.
While it has the depth that her fans have come to expect, Translated from Love is Willis’s coolest record yet.
Singing about being destitute or outrunning death, Cook is never less than convincing.
Porter Wagoner’s exceptional Wagonmaster finds the 80-year-old Grand Ole Opry legend at his most vital.
Between Raising Hell isn’t flawed in any ways that speak to an underlying creativity, ambition, or significance.
The MOR approach to the music doesn’t do Mandy Moore any favors.
The greatest artists have taught by example that if you follow your instincts, the fans will usually follow.