The track is a bustling pop-rock song bolstered by a clangy guitar riff and searing synth line.
To hell with making the career move from actress to pop singer or vice versa.
Weezer’s fillerless third album doesn’t leave much to complain about.
While the album isn’t groundbreaking, it at least shows the new trio breaking out on their own.
Despite seven different producers, the album sounds surprisingly cohesive and consistent.
To the Teeth, like most of her studio albums, is best taken as part of a whole.
What you see is exactly what you get with R. Kelly’s fourth effort, TP-2.com.
Martin’s second English-language album can be divided into two relatively equal parts: the English part and the good part.
Sade can wait as long as she likes between albums and there will always be an audience waiting.
The biggest of hardcore fans will of course need to own this album, because they believed in his potential.
The album brims with a revolutionary undercurrent.
Listening to Production gives one a more complete sense of Madonna’s talent for recruiting the next big thing.
Gung Ho is Smith’s flawed yet admirable attempt to keep it spinning in the age of change.
To Badu, music equals inspiration.
The Smashing Pumpkins’s final major label release is at once sad and strangely prophetic.
The special limited edition is a double-disc set that includes one disc of studio material and a bonus disc of live and previously unreleased tracks.
Her voice, viewed by some as one of the best of our time, is the album’s centerpiece and it rarely leaves the spotlight.
Jennifer Lopez is a child of the ’80s.
Much like Moby, Fatboy Slim continues to prove that techno can have soul and that it’s a legitimate subgenre of rock.
With her new album, Lil’ Kim finds new and inventive ways to demand oral pleasure from her men.
U2 wants a hit…bad.