Future seems content to be set dressing for Metro Boomin’s elaborate production.
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.
Rancid’s sixth full-length release is a bold continuation of the neo-punk band’s brazen yet accessible style.
A quiet storm album without the sex, Butterfly is, above everything, idiosyncratic.
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.
The compositional uncertainty and sometimes scruffiness of its relatively brief 11 tracks seem just slightly ungenerous.
John Mayer may have titled his sophomore disc Heavier Things, but don’t expect the album to rock you like a hurricane.
Chain Gang of Love could be the soundtrack to a murderous, perverted remake of Dirty Dancing or Grease.
First the good news: Love & Life is vintage Mary.
BT might be better off taking Beck’s lead and focus on one musical genre at a time.
Is this a metamorphosis from tween to teen? Actress to pop singer?
The Other Side of Daybreak takes Orton’s customary mixing of folk-rock songwriting and electronic studio wizardry to a literal level.