Madonna’s most focused effort in decades, the album earns its nostalgia by prioritizing it.
It’s the rare album that values vocal talent and production prowess with equal measure.
Mika’s Life In Cartoon Motion is the album Robbie Williams has been trying to make for years…almost.
Three records into their career, the Ponys still sound like a really young band.
Great dance music is almost always blithely ignorant of irony.
Slow, yes, but “core?” No way.
Black Sheep Boy is nearing classic status, at least as far as emo concept albums based on old folk songs are concerned.
To say that Melankton is a hodgepodge of sounds and influences would be an understatement.
Sunday evening proved that the fest has some cajones underneath all that tie-dye.
Norah Jones has given more than just an offhand indication that she’s ready to break out of her Starbucks niche.
The worst of Pocket Symphony is dull and overly familiar, and the best is familiar and gently gorgeous.
Myth Takes is a record that’s tough not to enjoy, even while you’re wondering if you shouldn’t.
Its sharp thematic focus draws from the difficult emotions surrounding specific events.
The Weirdness never sounds like anything more than a competent but ultimately unremarkable band that sounds a little like the Stooges.
The album’s songs might be apocryphal, but they’re certainly relevant to what’s happening in the world outside.
Children Running Through positions Griffin as a true artist, rather than just a well-regarded singer-songwriter.
Winehouse and company aren’t just expert mood-setters or crafty reconstructionists.
Luckily, “Candyman” delivers the best video from Back to Basics so far.
Splenda may be derivative, but it sure is tasty—even if it leaves a bad aftertaste.
As long as drugs, sex, rock ‘n’ roll, and war continue to drive the human race, though, there will always be a place for the Doors.
The album’s unsexiness says more about the mentality of the early ’90s than any other musical document of its time.