In many ways, Travis satisfies a popular need in the absence of the Radiohead of yesteryear.
Who does Radiohead think they are?
At a time when pop music doesn’t leave much for adults and electronica all but neglects the older demo, along comes Mandalay.
Like Up, Reveal is drizzled with electronica-lite, only this time the effects are less abstract.
Much of the band’s distinct sound has been watered down by Glen Ballard’s lush over-production.
For the most part, Miss E is less R&B-oriented than it is dance-rooted.
Half of the soundtrack’s material comes directly from the film and features its stars Nicole Kidman and Ewan McGregor.
To hell with making the career move from actress to pop singer or vice versa.
Weezer’s fillerless third album doesn’t leave much to complain about.
While the album isn’t groundbreaking, it at least shows the new trio breaking out on their own.
Trouble in Shangri-La sounds more like a retrospective than an album of all new material.
To the Teeth, like most of her studio albums, is best taken as part of a whole.
What you see is exactly what you get with R. Kelly’s fourth effort, TP-2.com.
The biggest of hardcore fans will of course need to own this album, because they believed in his potential.
Sade can wait as long as she likes between albums and there will always be an audience waiting.
The album brims with a revolutionary undercurrent.
Gung Ho is Smith’s flawed yet admirable attempt to keep it spinning in the age of change.
To Badu, music equals inspiration.