The track is a bustling pop-rock song bolstered by a clangy guitar riff and searing synth line.
It’s Bahia’s cheeky Manilow and Stewart-sorta covers that stick out like the plumage of a Rio drag queen.
A more fully fleshed-out rock sound might have served this rock-at-heart chick better.
Grace is possibly the most sensuous album to have emerged in the aftermath of grunge.
Fireflies is less an “album” than a goddamn dissertation on everything rotten at the core of mainstream country music.
Teairra Marí is a combination of Ciara’s slink, Beyoncé’s bounce, and Teena Marie’s against-all-odds coolness.
It might not be innovative or progressive, but Spelled In Bones is as straightforwardly good as any pop album this year.
Soft Dangerous Shores is sure to reward those willing to explore its varied terrain.
Babyface makes it clear that he’s going to “keep it grown, keep it sexy.”
The Understanding plays like a storybook romance.
The Free Design layered intricate folk harmonies with baroque pop, jazz melodies, and bossa nova rhythms.
Okemah and the Melody of Riot is heady stuff, to be sure, but it’s also one of the year’s best straight-up rock albums.
TP.3 Reloaded represents everything that’s wrong with mainstream hip-hop and R&B today.
Leave it to Miss E to be able to make ecstasy sound like penitence, and vice versa.
If Multiply is all an elaborate, ironic put-on, it’s executed so flawlessly that Lidell’s intentions barely even matter.
The album is pop-art of the highest caliber, cementing Stevens as one of the most vital voices in music today.
Stina Nordenstam’s simultaneously tremulous and tremendously moody The World Is Saved is something of a homecoming.
Blame the Vain nonetheless represents a new peak in a career full of them.
Hot Apple Pie too-often adheres to mainstream country’s conservative formula to generate much legitimate heat.
Esthero’s music will undoubtedly be a prize for any pop fan that finds it.
X&Y promises to make it even easier to resent Coldplay’s success.