The album sees the singer-songwriter moving in a different direction.
Whether it be soothing techno-ballads or custom-made clubs tracks, Goldfrapp knows how to draw you in.
The biggest liability of becoming the “American Idol” is evident on winner Kelly Clarkson’s debut album, Thankful.
Fleetwood Mac’s new album, Say You Will, may well have been titled The Buckingham & Nicks Show.
Presley’s twangy brand of rock and sultry vocals sound more like Sheryl Crow or Cher than the King.
The Androids’s lead singer Tim Henwood is not your typical rock god.
If nothing else, it is a consistent and hook-laden attempt to get noticed.
To celebrate American Life’s release, Slant Magazine has delved into Madonna’s catalog and reevaluated her key releases.
The album is a middle-of-the-road mix of restrained pop ballads and club-friendly house anthems.
Eat your heart out, Fred Durst.
Watley’s sultry, smoky voice is a perfect match for the housey beats of a few tracks here.
Tracks like “Mercury” and “Pretty or Not” explode into their respective choruses while others are simply noisy and boorish.
702 are all grown-up and have regrouped for their third album.
Copenhagen’s the Raveonettes have delivered a deeply fertile debut.
A grassroots punk rock tribute to the late punk icon, Joe Strummer, at New York City’s premier underground venue, CBGB’s. What could be more fitting?
The lil’-folksinger-who-could took on a twangier twist on Puddle Dive, her fourth album in as many years.
With four extremely varied #1 singles, Madonna’s third album was the supreme archetype for late ’80s and early ’90s pop music.
“Vogue,” given its homage to old Hollywood, is ultimately a more than fitting finale to a daringly nostalgic album.
The singer never sounded as vulnerable or cerebrally plugged in as she does here.
The album is the sound of a queen, sitting on her throne, taking inventory of her icy, empty fortress.
DiFranco’s eponymous debut begins with the now-classic “Both Hands,” the unmistakable first chords of which sparked a folk revolution.