From Taylor Swift to The Tortured Poets Department, we’ve ranked all of the singer’s studio albums.
Many of Hill’s political messages are unfocused and vague, weighed down by buzz words like “system,” “deception” and “corruption.”
Carlton’s classical training surfaces throughout the album on ballads like “Rinse” and “Wanted,” but where her piano soars, her voice hesitates.
It’s a sad reminder of another young talent’s seemingly squandered potential.
We remember Lisa “Left Eye” Lopes and Layne Staley.
Perhaps 18 should have been called 13 and ended with the eerie yet comforting sentiments of “Sleep Alone.”
Elvis Costello returns from hibernation and reminds us what good music sounds like.
Aim’s acute sense of mood and soul is that of a true beat master.
With this album, Midtown earnestly tries to smooth out its power pop sound and succeeds so well that the album becomes barely noticeable.
Rancid and NOFX have teamed up on a new split disc on which each covers six of the other band’s songs.
Brill, formerly of the much-sought-after and now disbanded Envelope, is one step away from his “big night.”
Every once in a while, you’ll find a great pop record in the least likely of places.
C’mon, C’mon achieves its intended classic rock ether and even revives Sheryl Crow’s trademark quirk.
Trial by Fire’s debut comes in a fast-firing package reminiscent of Bad Religion’s equally quick and exciting classic Suffer.
Michelle Williams’s solo debut, Heart to Yours, affords the singer an opportunity to prove she can hold her own.
Even more by-the-numbers than his debut, Avant’s Ecstasy draws on the proven formulas of his fellow R&B crooners.
The Dolls’s generic brand of pop/rock makes one yearn for the prescription strength of Third Eye Blind or Soul Asylum.
The largely downtempo Uninvisible is couch music (or table tennis music) at its best.
South, though inconsistent at times, is an album you don’t want to end.
Brisebois’s angst-ridden attack on the world’s hypocrisies mysteriously failed to strike a chord the way Alanis Morrisette’s did just one year later.
A compilation steeped in techno, ’80s retro, French new-wave, and Detroit house, all deftly mixed by house maestro Steffen “Dixon” Berkhahn.