The songs rarely cohere into anything greater than the sum of their individual parts.
Ripe for repeat listens, the album quickly takes on its own identity.
Cookie seems like an effortless page in the evolution of Ndegeocello’s revolution.
Ah, side projects: a rock star’s oasis of songwriting freedom.
Pop music doesn’t get much more manufactured than it does on Marc Anthony’s second English-language effort.
George Lucas is obsessed with timelessness.
The Eminem Show finds its star hyper-aware of the state of hip-hop (and the world) and even more conscious of his place in it.
In case your high school coach didn’t already tell you, then Weezer will: timing is everything.
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.
Aim’s acute sense of mood and soul is that of a true beat master.
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.
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.