The track is a bustling pop-rock song bolstered by a clangy guitar riff and searing synth line.
Despite assistance from a sex-kitten-voiced electronic navigator, Ashlee arrives several hours late to the meeting.
The album is an utterly guileless celebration of the pop diva as shape-shifting drama queen.
It’s not exactly a secret that greatest hits packages can be hit or miss, especially for an act that has had no recognizable singles.
The crowd was young and boisterous, and one particularly drunk teen was making yours truly look like a no-fun-having old coot.
Gone are the so-called “ugly verses,” the ones that made Donelly’s big, bleeding choruses even more potent.
The Tipping Point might just be the Roots’s most jovial effort yet.
Nina Sky is a surprisingly solid debut, but the one thing the album lacks is its own distinct personality.
The Fever just wants to party like it’s 1999…or 1969.
Not much has changed in the universe since the release of The Orb’s Adventures Beyond The Ultraworld.
It’s obvious that Martina’s the one wearing the pants this time around.
Championing the art of oral sex may seem daring but it just ends up sounding downright regressive.
A Ghost Is Born, like R.E.M.’s Automatic for the People, is a refreshingly instrumental work.
Brandy’s got some big shoes to fill on her fourth album, and it’s a challenge she willingly signed up for.
Luckily the album’s sound is as intriguingly stripped down as the Crossfire bits are jacked up.
More Mariah than Whitney, the former Miss Atlanta shows promise as a songwriter.
Prince reminded the crowd of what a true talent was capable of, throwing the town’s biggest block party, a celebration of musicality.
Enter the Mother of Reinvention. Madonna would probably prefer Mother of Evolution, or even Revolution.
The Empire Strikes First is Bad Religion’s bold and satisfying re-entry into the punk rock fray.
Compared with the bubblegum pop of their debut, Underneath reveals a more mature, guitar-based sound.
JoJo is pretty damn creepy.