The album sees the singer-songwriter moving in a different direction.
Perhaps this retrospective could reframe the group’s thinking and put them back on the path to credibility.
The seams are starting to show in Jack Black’s shtick.
The album is an 18-track retrospective of Our Lady Peace’s string of singles that fared far better in the Great White North than in the U.S. of A.
The album only scratches the surface of what Osborne could do were she to stick around long enough to record an album that’s a little bit riskier.
“The Saints Are Coming” is a dubious collaboration between U2 and Green Day.
The music gods have not been kind to former members of Belle and Sebastian.
With Sordid Sentinels you get the joy of Pavement’s top-shelf rarities without the hassle of tracking them down.
Cazwell’s mini-album is the queer-eyed rap cousin to Justin Timberlake’s blue-eyed soul.
9 is enough of a departure to prove that Rice can rock as well as he can lull—and still tug heartstrings.
The album gives you the sense of hearing something truly ancient being married to something very modern and present.
Wintersong is a seasonal showcase for McLachlan’s cathedral-ready soprano.
Playing with Fire settles into its mediocre groove early.
What the hell is Nikki Sixx doing writing the title track for a Bat Out of Hell album?
The Killers’s Sam’s Town is the kind of autofellatio that could destroy a band’s career.
When is Willie Nelson going to work with Toby Keith again?
The album’s strings are sexy and cinematic, the guitars ominous and foreboding.
Supply and Demand is every bit as polished and confident as Amos Lee’s debut.
As 2006 winds down, Lloyd Cole must be feeling like he’s having a pretty great year.
Public Warning is less of an instant classic and more of a promise of things to come.
Once Again never really reaches the heights of Get Lifted.