The track is a bustling pop-rock song bolstered by a clangy guitar riff and searing synth line.
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.
The Preacher’s Son finds the former Fugee a little nostalgic.
Part of Morissette’s evolution as a musician and individual is recognizing and accepting her own imperfections.
Despite its flaws, In Time is a must-have for ardent R.E.M. fans.
Control was every bit the hit machine that Thriller was.
With their first full-length release, the band dumped lo-fi jangle-pop for much bleaker themes.
Pink has certainly earned the right to do whatever she damn well pleases.
The Divine Comedy stands as one of the best lost pop albums of the ‘90s.
The trouble with the album’s title is that she never fumbles.
Afterglow drips and oozes its way from start to finish.
Sonically intricate and emotionally raw, Sophie B. Hawkins’s Tongues and Tails is about as complex as pop music can get.
The artist’s sophomore effort upped the ante by plugging listeners into the diverse pop mixtape playing inside her mind.
The album is suffused with the spirited energy of a man who’s finally gotten something off of his chest.