The songs rarely cohere into anything greater than the sum of their individual parts.
This remix album proves that the quieter moments are often McLachlan’s best.
Ashanti’s Christmas isn’t what you’d expect from multi-platinum-selling royalty.
It’s debatable whether Starsailor contributes anything new to the genre of symphonic Brit-pop to which they so earnestly belong.
This year, the music biz continued to wage war against P2P file-sharing by suing its own customers.
Soulful is a painfully predictable mix of traditional R&B glop and comparatively forced contemporary hip-hop.
On the album, Prince pushes the question of mortality straight into an apocalyptic realm.
We have done our best to keep the culinary metaphors to a minimum
Ben Gibbard ardently builds castles in the sky because everything looks perfect from far away.
Despite all the fanfare that surrounded her debut, the singer remains grounded in the music.
Once again, Furtado and her crew artfully mix the traditional with the modern.
Missy has become the Maya Angelou of hip-hop.
While it’s unlikely to match the success of Rod Stewart’s recent Great American Songbook albums, At Last is infinitely more bearable.
Impossible Princess runs the gamut of styles, but manages to remain cohesive and fresh, even years later.
After almost two decades in the business, Whitney Houston is just now releasing a Christmas album.
It’s a midway point between the alternative/electronica of 1997’s Impossible Princess and Minogue’s more mainstream post-millennium work.
Tori Amos’s Tales of a Librarian might just be one of the most ambitious greatest hits collections ever made.
Transatlanticism attempts to negotiate the expanse of a long-distance (or distant, or deceased) relationship.
For the most part, In The Zone is a big, fat, thumping love letter to the dancefloor.
Gaye makes political consciousness feel as intimate as a night in his boudoir.
Little Earthquakes is largely concerned with reconciling or reflecting on the past, particularly Tori Amos’s youth.