We weren’t sure if Madonna could surprise us anymore. Until she did.
When’s the last time listening to a record felt so much like you were competitively getting drunk with your friends?
Because O=of You is just one example of the impact that Quincy Jones-era MJ has had on today’s crop of young R&B performers.
The songs on American Doll Posse that really work are reminders of how gifted a songwriter Amos is.
It’s in between the showboating that you realize what you’re listening to is pretty fucking close to genius.
Playing it safe could not be more inappropriate for a Patti Smith album.
For an act that lives and dies based on their energy and conviction, Tied & True sets a bad precedent.
From the Cradle to the Grave is steeped in death, but Dale Watson’s stories are alive with real wit and insight.
Even the angrier, more polemical moments on Cassadaga are too rooted in allegory to energize the listener.
The Magic Position is a euphoric listening experience not even being a critic can spoil.
It’s only the songs seemingly constructed for radio play that mar the otherwise radiant Reminder.
The Soft Parade wasn’t the end of the Doors, but it was certainly the beginning of it.
Jim Morrison fancied himself a blues singer.
New York may have adopted the Doors as their own, but the band belonged to the dusty desert roads and highways of the West.
Apparently we’ve been listening to the wrong album for decades.
Strange Days exists as a document of a sometimes beautiful, sometimes scary, and often twisted era of fear and idealism.
Waiting for the Sun features some of the Doors’s most combative, political work.
If you give a Nine Inch Nails album a cookie, it’ll want a glass of milk.
As strong as the uptempo cuts are, it’s Rhinestoned’s ballads that best showcase Pam Tillis’s phenomenal interpretive skills.
Their songs are cute and brisk and, despite its foibles, Spells won’t put anybody to sleep.
At least when Avril’s being bratty it’s minimally entertaining.