The album is acrid, elegiac, a little ridiculous.
The album glows when the singer focuses on the unambitious melodies that follow you long after the disc comes sputtering to an end.
Nova’s sugary melodies and bittersweet lyrics are often wrapped in anguish.
As usual, Lady Miss Kier used Dewdrops as a platform for her own social and sexual revolution.
With Living Proof, Cher has single-handedly redefined the meaning of “guilty pleasure.”
Like Williams’s pop offerings, the album is doused with cheeky humor.
Mandy Moore continues to prove she’s one step ahead of the teen-pop pack with the stirring piano ballad “Only Hope.”
New Adventures in Hi-Fi, their last album with drummer Bill Berry, might have been R.E.M.’s last great album period.
Love Is Here is from the bruised heart, the chattering mind, and, well, every place that matters.
The album is a fashionable mix of neo-soul, gooey R&B balladry, and trendy hip-pop.
The album is a spiritual sister to The Miseducation of Lauryn Hill.
Wannabe hit singles eclipsed the popular and the most enterprising videos rarely induced a yelp on MTV’s Total Request Live.
The Icelandic imports are indeed off to an alright start.
In light of Carey’s post-Columbia track-record, Greatest Hits may be all one needs to get their Mariah fix.
Missundaztood may not be flawless, but it’s the multi-sonic platform from which Pink differentiates herself from the pop pack.
The album’s concept consists of a string of failed, ultimately hollow parables.
With their third album, Creed have mastered the art of echo.
Spin with caution.
Just when we thought we knew who Jill Scott was, she deepens her definition.
With Exciter, Depeche Mode creates a startlingly minimalist backdrop for obsessive love.
The disc runs the gamut of social consciousness, from inner-city school system politics to child molestation.