The songs rarely cohere into anything greater than the sum of their individual parts.
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.
As versatile as Gibbons’s vocal is, though, you won’t find her wailing in the sinister Portishead style.
The average measure of a man is approximately 5.877 inches.
Mandy Moore boldly goes where no teen-pop starlet has gone before: the vinyl bins at the back of her local record shop.
No album, movie, or book should ever have to live up to the expectations attached to the label “biggest selling of all time.”
The house of Jaxx is a carnival labyrinth of smoke, mirrors, and liquid insanity.
Compromise may have shrunk the band’s fanbase at the time, but it left behind a thought-provoking, near-perfect pop album.
Kill Hannah’s major label debut is a worthy addition to the melody-driven, heavy rock releases which largely shape the genre today.
It’s Weezer’s Pinkerton all over again.