The album sounds beamed in from an earlier decade, but it runs deeper than nostalgia.
Romance, as always, takes center stage on Erasure’s 11th studio album, Nightbird.
It’s the jarring excursions into hip-hop that ultimately inject some much-needed life into the project.
It’s telling that two of Vanessa Williams’s last three studio albums were Christmas-themed.
Trail of Dead’s Worlds Apart succeeds, in part, by accurately capturing at least a segment of our country’s social unrest.
Legend needs to drive toward an original angle on neo-soul before he truly earns his moniker.
Push the Button is tinged with fatigue, but a decade of LSD has been known to have such side effects.
Another year, another award for multimedia synchronicity over artistic merit.
Blink-182 might just be the band’s best album to date.
Brian Wilson should be proud.
Free Me follows patently European pop trends, blending bossa-lite rhythms with subtle acoustic flourishes and disco strings.
Ali would be better off using her feline powers for evil.
Before The Poison is a markedly personal record, earmarking another chapter in Faithfull’s 40-year career.
As make-out music goes, Love Songs might only be fit for frantic masturbation, but as a tribute to a unique stylist, it’s essential.
Let’s hope Ashanti is a woman of her word.
Evolution is essential to the survival of an artist, and it’s what’s kept Ani DiFranco captivating for so long.
Kelly Clarkson heads in an edgier, rockier direction with Breakaway.
Madvillainy is a chameleonic masterpiece that alone validates the artistry of sampler culture.
It’s a rare, special thing when a band creates an album that speaks for an entire generation.
No Doubt’s Rock Steady is as consistent an album (and as enjoyable a listen) as one can expect from a band that refuses to stand still.
There’s no doubt that those in Nas’s loyal fan base will keep the first disc in their players.