The album gives voice to female rage in a way that finds truth in the ugliness.
Depeche Mode’s Violator seamlessly marries dance, goth-rock, and synth-pop with good ol’ fashioned funk and rock n’ roll.
Each of the tracks on 10,000 Maniacs’s swan song, Our Time in Eden, is like a miniature parable on the state of America, past and present.
Sheryl Crow’s self-titled sophomore effort remains her most consistent and distinctly modern album to date.
Each song was a unique arrangement that reflected a then-new pop-cult personality and voice.
Dido’s is a relentless love and it informs almost all of Life for Rent.
Voyageur’s palette is virtually nondescript.
Amorino matches Campbell’s delicate, paper-thin voice effortlessly with a myriad of styles.
Some Devil might just be the jam-band frontman’s best work since Before These Crowded Streets.
Unwrapped is weighed down by its slightly overzealous production and seemingly perpetual sameness.
Despite some finely crafted moments, Doll Revolution is far from the revolution its title implies.
Different Light sounds surprisingly fresh in hindsight.
The album is a starkly personal statement that effectively set the artist’s professional downfall into motion.
To Big Boi’s socially-charged yin is Dre’s horny yang.
A quiet storm album without the sex, Butterfly is, above everything, idiosyncratic.
Rancid’s sixth full-length release is a bold continuation of the neo-punk band’s brazen yet accessible style.
Erykah Badu’s Worldwide Underground is less daring than it is just plain indulgent.
Rufus Wainwright is like a giant peacock.
Beyoncé shows that she can command a choir on the quickie “Swing Low Sweet Chariot” as easy as she can a pop group.
Call it what you will, background music is rarely this lovely.
Fresh and inventive, Deliverance sheds light on the fact that certain troubles affect both sides of the track.