Trinidadian rapper Nicki Minaj released her debut studio album titled "Pink Friday (Complete Edition)" on November 22, 2010. Last year the album celebrated its 10th anniversary, which was released via UMe/Young Money/Cash Money Records/Republic Records/Universal Music Canada, its leading music company. It reached #1 on the Billboard 200 album chart and was certified triple-platinum, spawned several hits, including the 8x-platinum “Super Bass.” The set consists of the original 13 "Pink Friday" tracks alongside bonus songs from the era like “BedRock” and “Girls Fall Like Dominoes.” There’s also an additional version of “Roman’s Revenge” with Lil Wayne.

Here is Houston's born Beyonce's sophomore album titled "B'Day," as it was the follow-up to her debut solo album, "Dangerously In Love." With the release of "B'Day, she began to cement her status as a force to be reckoned with, both creatively and commercially. Half of its 10 tracks could as easily have been released as singles. This pop album was so carefully constructed that even the weakest tracks are radio-worthy. The mid-tempo track "Irreplaceable," which Ne-Yo was co-written, is one of the best songs on the album, which ended up being her fourth number-one in the U.S. The album, which this year celebrates 15 years as was released on September 6, 2006.

We look back at Grammy-nominated superstar Taylor Swift's third album, a beloved album by fans titled "Speak Now." The album released back on October 25, 2010, celebrated its 10th-anniversary last year. She decided not to write with anyone else and shows that she could make a catchy country song good enough to cross over to pop radio all on her own. In this era, Taylor continued to turn away from the country genre and into pop one and displays her sharpening songwriting skills, and includes songs like “Mean,” “Back to December,” and, of course, “Dear John.” She had just turned 20 years old when we had written "Speak Now," and by that age, she had already had accomplished a lot for herself. She released her 2006 self-titled debut and followed it up by her blockbuster 2008 album "Fearless," which won her first Grammy for Album Of The Year. With this album, her country background makes for the most enduring material: the songs, more often than not just Swift and her guitar. She’s at her best on songs like “Back To December,” which uses a single month as the pivot point for a failed relationship, and the withering “Dear John." Every song on the album sounds like a viable radio single and sure is no pop masterpiece, though it’s sure to be hailed as such in some circles.

Raised in Nashville, singer Kesha released her third studio album "Rainbow" on August 11, 2017. It arrives nearly three years after the beginning of a protracted legal battle that nearly destroyed the singer’s career, sparked when she accused her producer and labelled founder Dr. Luke of sexual and emotional abuse in the fall of 2014. She went from the party-girl shtick, the cowboy boots, and lyrics delivered in a bratty, almost spoken snarl to "Rainbow," a much more comprehensive work that feels much more organic rock and country influence that places her much more firmly in a lineage, a tradition, instead of the weird, airless, EDM-influenced like her past work. "Rainbow" is in a far different place than when her last album, which was released five years ago, having dropped the dollar sign from her stage name and become, for her high-profile supporters and fans, a symbol of women standing up for themselves and not tearing them down. The biggest lesson of "Rainbow" should be that our days of underestimating the ambitions and abilities of Kesha Rose Sebert are over.

Australian singer and songwriter Betty Who's third studio album, "Betty," was released on February 15, 2019. She has been a rising talent for quite some time now, with two previous albums and a recent tour with Panic! At The Disco. Much of the album has an upbeat and carefree sound that leans heavily on synth-pop, R&B, and electronica. The production is polished, but stills allow for Who to shine through vocally and lyrically. A fantastic record from front to back, the second half feels much more immediate than the first, with a varied style between the tracks. The album's first single, “Ignore Me,” is a kiss-off to an ex that’s trying to crawl their way back into her life, trying to shake off someone with power over her on “Whisper,” taking cues; from NSYNC-inspired eleventh track “The One.” Her approach is most effectively represented on tracks such as “Old Me” and “Do With It,” showcasing notable exuberance in her performances. The album carries a strong sense of urgency and pacing and sustains its momentum with style and flair. Overall, "Betty" is an enormously fun pop album with a strong showcase of Who’s star power, potential, and honest yet electric sound. Who songs represent timeless pop classics that many millennials and Generation Z babies grew up listening to. There’s something undoubtedly different about Who’s music than her pop competition.

Singer-songwriter Janet Jackson released her fourth studio album, "Rhythm Nation 1814," released on September 19, 1989, by A&M Records. In celebration of her recent announcement, the socially conscious album "Rhythm Nation 1814" will be inducted into the US Library of Congress. This album serves as a platform for Janet to address her concerns with the world, but perhaps surprisingly, given her background, she manages to do so without sounding too pushy or out of touch. It ended being the biggest selling album in the United States in 1990. All seven singles hit the top 5 in the United States, which no other album has matched. It spawned four number 1 singles, including one in 1989, 1990, and 1991, becoming the first album to have a number 1 single in three separate years. The album definitely sounds as if it came from 1989; it still packs a great punch, and Janet injects each song with enough personality to make it memorable. If "Control" had chronicled Janet’s personal call for independence and established her as an artist in her own right, "Rhythm Nation 1814" put forward her views of the world and cemented her legacy as a bona fide superstar, breaking several records.

The album "Circus" by Britney Spears was released on her birthday, December 2, 2008. The weight of media expectation at the time was huge as her last album, "Blackout," truly divided critics, and it was difficult to foresee what would be regarded as being a ‘return to form’ considering just how radical her last work was. She recorded the album in the summer of 2008 after her much-publicized personal struggles saw her placement under conservatorship, as we know now as the #freebritney movement. Larry Rudolph and Teresa LaBarbera Whites, the album's executive producers, enlisted collaborators, including Spears' longtime colleagues Max Martin and Danja. Their efforts resulted in a primarily pop and dance record with urban influences. The album opener, providing great promise for what is to come. It was played to death around the country, and am grateful for its success. However, in comparison to the other fifteen tracks, Womanizer was comparably mediocre. It was a safe bet as she needed to make a comeback, though intensely devoid of the richer quality stemming from lead-off singles such as "Gimme More." A wide array of old friends and fresh faces rallied around Spears to write and produce material. Further, the singer took her own tentative steps toward additional songwriting sovereignty with four to co-write credits via “Mmm Papi,” “Mannequin,” “My Baby,” and “Rock Me In.” The album's title track was a highlight as I found it impossible to move forward from “Circus” without repeating it multiple times. The chugging, the ringtone-ready chorus comes storming in with an awe-inspiring amount of attitude-infused energy, roaring in like a classic Britney. "Circus" is absolutely instant; an unstoppable explosion of energy and sound and peaked at number three on the US Billboard Hot 100, Excluding the controversy of “If U Seek Amy” and the reappearance of “Radar” from "Blackout." Although, songs like “Out from Under,” “Unusual You,” and “My Baby” lean into a general sense of introspection that only incidentally hint at the emotional storms Spears had weathered up to that point. Britney Spears has proven herself to be the entertainer I have always adored and will continue to love. You have to admit that just about every track manages to worm its way under your skin and into your eardrums, no matter how hard you try to resist. The album is sweet, sexy, and entirely fulfilling. "Circus" delivers in its purpose: Pure, unapologetic pop.

With Her debut album, "Pure Heroine," Lorde became respected for her honest, mature reflections on being a 21st-century teen. With "Melodrama," she became a legend. The New Zealand native released her sophomore album "Melodrama" on June 16, 2017, via Lava and Republic Records. Her sophomore album features some of the decade’s best writing, with the then-20-year-old dissecting a breakup and the ensuing solitude. The album was executive-produced by Lorde and Jack Antonoff as he dives into the deep end of her own heartbreak, sadness, and loneliness. Depending on when you tune in to the dialogue, it’s either a sombre breakup album or a playful post-breakup record. It’s all wrapped up in the lead single, “Green Light,” in which Lorde admits she “can’t let go” even as the beat drifting in and out of the song suggests the green light she’s waiting for to get on with her life is to be found in the comfort of a disco ball. The downfall of her relationship is depicted as flashbacks on the tracks “Sober,” “Homemade Dynamite,” and “The Louvre.” “Liability” is the climax, when the said relationship crumbles and solitude storms in. The last six tracks find the singer trying to cope with her loneliness before falling back on drug use, only to realize that there are no such “perfect places” and ultimately move on. "Melodrama" is one of my personal favourite albums as it has something for every mood. The album is so inherently Lorde but so deeply probing that it could mean many things to anyone. I’ve listened to the album on repeat since its release and, I still feel I haven't absorbed it all in yet. “Melodrama” is the best modern-pop album that I have heard in a while, and hopefully, new music is on the way soon.

We look back at the debut album from Lady Gaga titled "The Fame," released on August 19, 2008, by Interscope Records. In 2008, American Idol was still on TV. Disney Channel television starlets are climbing up the bubblegum Billboard charts, and Britney Spears suffers a major public breakdown followed by a musical breakthrough. So if there ever were a time for a pop-centric commentary on fame and its manufactured, tear-jerking iPod Shuffle of a psychological roller coaster. She appeared virtually out of nowhere, suddenly dominating popular music. She had an interesting image which she spent a few years cultivating a deliberate and elaborate look and style and became an overnight success. "The Fame" delivered the featured dance tracks like the fan-crazy love note of "Paparazzi" and self-proclaimed notoriety of "Beautiful, Dirty, Rich." It was definitely catchy. Let's be honest, very Repetitive; yes, as most pop songs tend to be, but there was a carnival mirror quality to this record that reflected a harmless, likable and head-bobble criticism of the lives of the rich and famous. That summer, it proved to be a slow burner, with its singles “Just Dance,” “Poker Face,” “LoveGame,” and “Paparazzi” climbing the charts in an increasingly speedy manner. Other tracks on the album included “I Like It Rough,” “Money Honey,” “Beautiful Dirty Rich,” “Boys Boys Boys,” and the like, and you can kind of guess what these songs sound like before ever hearing them. The only saving grace on the album is the one non-hit single “Eh, Eh (Nothing Else I Can Say),” a charming bit of ’90s throwback featuring airy vocals and an irresistible chorus. Her development in the past years is nothing short of astonishing since her debut and excitement aren’t enough to describe my anticipation for what's to come next. One might even go as far as to say she already exceeds Madonna, having more command of her career and image at such an early stage. One thing’s for sure: now that Lady Gaga’s music is catching up with her image, she is utterly unstoppable.

"My Love Is Your Love" was the first album by Whitney Houston in eight years, and while it doesn’t boast a classic like “I Will Always Love You” or “Exhale (Shoop Shoop),” it’s easily one of her most consistent albums. Released worldwide on November 17, 1998, it is hard to believe that she had only had three studio albums to her credit. All that changed in 1998 when Arista, her career-long record label, announced the arrival of her album "My Love Is Your Love." The work marked Houston’s first non-soundtrack-based album since the 1990s, "I’m Your Baby Tonight." The album, which was created in six weeks, found Houston back in the studio with longtime collaborators Babyface and David Foster. She also gathered a pack of new songwriters and producers like Rodney Jerkins, Missy Elliott and Wyclef Jean to refine her polished sound. Nothing came more of a surprise than Houston and Mariah Carey uniting their glorious voices for an inspirational duet. Curated by the legendary Babyface, the powerful hymn listened to two rip-roaring forces encourage doubtful hearts to hold on to their faith as they waited for the possible to happen. The track was featured on the Disney film "The Prince Of Egypt" and went on to win the 1998 Oscar for Best Film Song. Although, One of the most impressive songs on this set is her second single, "Heartbreak Hotel." Soulshock and Karlin are on production on this cut which they wrote with Tamar Savage. Whitney sticks mainly to the verses, and it features Faith Evans & Kelly Price, who take the run on the choruses. It makes the song very accessible and not a battle for vocal supremacy. It works so well. The song is mid-tempo and runs a relaxed mood. It pulls no punches, no vocal acrobatics, just soulful interpretations of the lyrics. The first song on the album ‘It’s Not Right, But It’s Okay’ also served as the third single, has an effortless beat and complements Whitney’s voice well. She’s in great form here with spot-on ad-libs, chanting and falsetto. The lyrics remain contemporary as Whitney sings about her partner who supposedly left to be out with friends "last Friday night" ('..Six of y'all went out, but four of you are really cheap, 'cause only two of you had dinner....I found your credit card receipt') - the evidence of deception. The fourth single lifted from the album was ‘Your Love Is My Love’ which peaked at number four on the US hot 100, and it became Houston’s second best-selling single after ‘I Will Always Love You." Her vocals are soft and clear, and the echo that follows her voice adds a haunting effect to the song. This song is heavily influenced by social issues and has strong links to faith. "My Love Is Your Love" contains a magnificent selection of songs. Although it is impossible to review all of them, it is worth highlighting 'Get It Back,' a funky R&B song that features the classic Darkchild production, 'In My Business,' a modern up-tempo R&B track with Hip-Hop influence featuring rapper Missy Elliott, who is also in charge of the production and is the most urban theme of the album or 'I Bow Out,' a mid-tempo R&B ballad under the production of Babyface and Darkchild. All in all, this is a classic album of immense proportions at a critical juncture of Whitney's musical career. The album pulls no punches and doesn't pretend to be anything or anyone else. It's Whitney. That's what makes this album a resounding success at the end of the day.

In 2011, Beyoncé was coming off her biggest album yet, "I Am… Sasha Fierce." That album housed hits like “Single Ladies” and “Halo” and gifted Beyoncé her most Grammys for a single album and her biggest tour at that point. Then came her next album, which she opted to return to her R&B roots with her fourth studio album, "4," released on June 24, 2011. The album arrived at a transitional period in the superstar's solo career, a career that's since come to be clearly delineated by two defining eras. There's the incredibly commercial, Top 40-friendly period that centers "Dangerously in Love," "B'Day," and "I Am...Sasha Fierce"—her first three albums. And then there was "4." The album’s lead single, “Run the World (Girls),” is the closest thing you’ll find to an EDM track on 4. Built around a sample of Major Lazer’s “Pon de Floor,” the modern-day feminist anthem peaked at #26 on the Billboard Hot 100. The song features Beyoncé’s signature sing-rapping on the verses and her knack for beautiful harmonies on the bridge. “Run The World” World” marked clear growth from "B’Day‘s" “Freakum Dress” and set the stage for “Flawless” and “Formation.” Aside from “Run the World,” "4" explored the different subgenres of R&B with deceptive effortlessness. Rock and R&B have a close musical chemistry thanks to gospel music, and Beyoncé flexes the relationship between the two genres on “I Care” and “1+1.” Both built around guitars, Beyoncé shows off her matured voice and expansive vocal range on the two songs. On “1+1,” she exercises excellent vocal control on what could have been an easily sappy ballad. Contemporary R&B is represented by the album’s biggest single, “Best Thing I Never Had,” a pop-influenced ballad, and “Start Over,” another rousing ballad. In addition, there’s the sultry “Dance for You” on "4‘s" deluxe edition, a tribute to R&B’s freaky side. Some of my favourite tracks on the album draw their influence from doo-wop music: “Rather Die Young” and “Love On Top.” The whimsical “Rather Die Young” is especially interesting as Beyoncé portrays the reckless love described in the lyrics through her growling vocal performance. The famed “Love On Top” houses an incredible four key changes and recalls doo-wop’s influence on male R&B groups like Boyz II Men and New Edition. On “Countdown,” Beyoncé recalls the ’90s R&B with the sample but flips the song on its head and brings it closer to hip hop-influenced R&B. The post-chorus, where Beyoncé raps in an expressive almost disconnected manner. The post-chorus, where Beyoncé raps in an expressive almost-staccato manner, is an amusing bit. ’90s R&B is also referenced in “Party,” a collaboration with André 3000. Although "4" is Beyoncé’s most acclaimed albums, it is also her least-selling and least-successful solo album ever. Despite debuting at #1 and selling over three million copies worldwide. In recent years, fans and critics had begun to recognize how important "4" was for Beyoncé’s career and the entire genre of R&B. When Beyoncé said she was hoping to create songs that were classics, songs that could "last," what she was really saying was she was hoping to craft a body of work that was timeless. And by the very nature of "4" standing outside of even her own career's timeline.

A singer and songwriter since childhood, Gwen Stefani has sold close to 30 million records as the frontwoman for the band No Doubt and as a multi-platinum solo artist. However, Gwen took a 12-year hiatus until the release of her third studio album, "This Is What The Truth Looks Like." Released on March 18, 2016, it is by far her most personal work to date. With intimate songs such as Make Me Like You, Misery Truth and Used To Love You, there's an emotional through-line to the album that highlights Gwen's songwriting and impassioned themes of love and loss. Gwen Stefani, who’s never been shy about her struggles with artistic motivation, and It took a high-profile gig on The Voice to motivate her to finally resuscitate her dormant solo career, reuniting with producer Pharrell Williams, among others, for her first album in a decade, before scrapping the whole thing when her 13-year marriage to Gavin Rossdale disintegrated. She’s always been an honest kind of pop star, one whose best songs are also her most personal: 1995’s epic melodrama of intra-band tension “Don’t Speak”; 2001’s tender, vulnerable “Underneath It All”—and more recently "This Is What The Truth Looks Like" lead single, the actually-ripped-from-the-headlines “Used to Love You.” Part torch song and part kiss-off, it’s strung with the small, telling details (“Suitcase, Band-Aids/Pulling back out the driveway/You go, I’ll stay”) that help ground the record when it wanders into more generic dear-diary reflections on love lost and found. Then on some tracks, like the sunny, reggae-boosted “Where Would I Be” and roller-­disco bounce “Make Me Like You,” are so mindlessly fun they could have their lyric sheets fully told in emojis. She stated in an interview that the second single, "Make You Love Me," is actually about her new love, Blake Shelton. But, she says, "I will admit that song is about that guy." This doesn't come as a huge shock, especially after watching the video for the hit—which features a neon sign that reads "Blake," which was created from his own signature." Much of the album is, however, about the discovery of new love. “You’re in so much trouble,” Stefani warns on the standout “Misery,” yet despite the implication of the song’s title, her target isn’t Rossdale but a prospective lover. “They’re all gonna say I’m rebounding, so rebound all over me,” she sings on “Truth,” and playful puns aside, one instantly worries for the obviously vulnerable Stefani, ever the hopeless romantic, falling all over again. “I can love whoever I want/Say whatever I want/Do whatever I want,” she declares on “Me Without You,” capturing the sense of relief and possibility that can often line the dark clouds of a painful breakup. Unfortunately, that track, along with most of the rest of the album’s back half, foolishly tries too hard to recapture the attitude and urban-leaning beats in abundance on Stefani’s first two albums. “Red Flag” is a cathartic, eccentric quirk that finds Stefani tempering her anger with irony, her cries morphing into laughter, but the dated “Asking 4 It,” featuring Fetty Wap, and bonus tracks like “Obsessed” is no more worthy of Stefani’s emotional magic than 2014’s “Start the Fire,” which was wisely left off the album. "This Is What the Truth Feels Like" feels satisfying from the perspective of an old-school Stefani fan and offers enough fresh material to make the uninformed modern listeners fall for her of their own accord. Given the rocky state of her solo career up to this point, it’s a miracle that another Gwen Stefani album managed to see the light of day. That "This Is What the Truth Feels Like" turned out as such an amazing piece of work.

Victoria Beckham, Melanie Brown, Emma Bunton, Melanie Chisholm and Geri Halliwell had already conquered their native homeland, England—and most of the globe. After their debut album, they were met with international tours, major sponsorship offers, and even a movie deal within a year of the release. It’s always best to strike while the iron is hot, and the Spice Girls weren’t about to let their careers cool down. Thus, "Spiceworld" was born. This sophomore album was recorded while filming their movie "Spice World," meaning that the entirety was written and recorded in stolen moments between takes. While the Spice Girls hung onto the creative control and writing process they had fought for while creating "Spice," their contributions were gradually at times due to the chaotic nature of filming. Spiceworld" didn’t reach the same height of success that "Spice" did. However, it sold over thirteen million copies worldwide and landed on the Billboard Top 100 chart, making them the first British band to have two separate albums in the top ten at the same time since the Rolling Stones over twenty years prior. "Spiceworld" takes what the Girls built with Spice and expands their sound, further developing their amalgamation of pop, R&B, and disco with dips into Latin influences (“Spice Up Your Life,” “Viva Forever”), Motown sound (“Stop,” “Too Much”), and interestingly enough, jazz (“The Lady is a Vamp”). While some critics weren’t in love with the experimentation, others were impressed that the Spice Girls expanded their horizons musically without sacrificing any of their instantly memorable melodies. For instance, the album opener “Spice Up Your Life” was slammed in reviews for its lyrical hodgepodge, but its effervescence and infectious energy made it worldwide. Thematically, "Spiceworld" helped the Spice Girls continued to build their girl-power brand. Self-respect continued to be a major topic on the album. The Motown-influenced “Stop” is all about slowing down a relationship to prove that it’s more about the chase. While it may not have seen the same level of commercial success as Spice, Spiceworld is just as important to fans. The album garnered positive feedback for its boundless energy and infectious spirit and the Girls’ dedication to inspiring their fans. Part heart, part mind, all cotton candy, "Spiceworld" might be the answer to one of life’s most vexing perplexities. "Spiceworld" may not have been the be-all-end-all of pop music, but it was insanely energetic, fun as hell, and furthered the idea that the Spice Girls had established with their first album: young girls have voices they should use them, regardless of what anyone tells them to do.

Music and novels are decidedly different art forms, but they both demonstrate the power of a good story. Topics that strike a chord, characters that you root for. These elements can make us rewind an album or turn the page all the same. This understanding helped shape "Confessions," the fourth album by Usher released on March 23, 2004, via Arista Records. If R&B were a story, lots of characters would be involved. But few would dominate a chapter the way Usher did with his breakthrough LP. Usher was already one of R&B’s biggest stars before Confessions. He had Platinum albums, high-charting singles and big TV performances. But for Usher's team, there was still another level for him to reach. He was a star but not an icon. Famous, but not ubiquitous. It was three years (and several high-profile label mergers) since the former teen idol’s last album, "8701," but not much changed in Usher’s world. He’s was still flaunting his abs and playing loverboy to all the ladies, crooning atop slick, pulsating beats courtesy of super-producers like Jimmy Jam & Terry Lewis, as well as a host of new collaborators. Usher was in his mid-20s, which is the right age for taking a chance on a one-night stand (the bareback anthem “That’s What It’s Made For”) and getting his “chick on the side” knocked up (“Confessions Part II”). There’s plenty for those who like Sensitive Usher, too: “Truth Hurts” finds Usher suspicious of his girl but then ends with a “surprise” twist while “Superstar” boasts a cute metaphor that’s perhaps a little too obvious (“I’m your number one fan/Give me your autograph/Sign it right here on my heart”). The edgy, guitar-driven “Bad Girl” is one of the only tracks that live up to the album’s strapping lead single “Yeah!” which has elevated the singer to a whole new level of crunk. Another possible contender is “Take Your Hand,” an unmistakably Rich Harrison-helmed track that sounds like a slinkier, stripped-down cousin to Beyoncé‘s “Crazy In Love”—same style, same sample pattern. Still, this time it’s “Is There A Place For Me?” by Harold Melvin and the Blue Notes. "Confessions" appeared to be the start of a long reign for Usher. But over the years, his star dimmed amid changes to his image and the high standard he set for himself. Usher's marriage to Tameka Foster interfered with his image as a playboy. And though he released good albums and singles, he has never recaptured the magic of "Confessions." It's unfair to expect Usher to match such a monumental album. But fans' desire for him to do so is a testament to the album's quality and impact. Few R&B albums can match the level of singing and production heard on "Confessions." Even fewer tell a story that compels millions of listeners. And no album since has spawned as many big hits that are unmistakably R&B. These feats have made "Confessions" a landmark—one that casts a shadow across all of Usher's other work but is too big ever to be overlooked.

There have been several recent album anniversaries, as these classics are worth highlighting. Including records from Primal Scream, Nirvana and Red Hot Chili Peppers, it is a busy time for anniversaries! One album that turned twenty-five in 2021 is her self-titled second studio album released on September 24, 1996, by A&M Records. Unlike its predecessor, "Tuesday Night Music Club," written by a casual collective formed by Crow and several other musicians, "Sheryl Crow" was entirely produced by Crow, who wrote most of the songs alone or with only one collaborator. Most of the album was recorded at Kingsway Studios in New Orleans, Louisiana. The album is more rounded and varied than her debut. Noticeably more confident as a singer and songwriter on "Sheryl Crow," one can hear the differences. "Sheryl Crow" was a commercial success, being certified 3× platinum by the RIAA and 3× platinum by the BPI. It's one of these albums where the deeper cuts are as rich and rewarding as the singles. For anyone growing up in the 1990s, we would have heard singles from "Sheryl Crow" on the radio in 1996/1997. "If It Makes You Happy," "Everyday Is a Winding Road," and "A Change Would Do You Good" are all-time classics tracks. Released in 1996, "Sheryl Crow" sounded right at home next to other post-grunge, postmodern albums like Beck’s "Odelay" and Ani DiFranco’s "Dilate." The mid-‘90s was a sort of wasteland for alternative pop of this kind—the standard was to mix ordinary pop songwriting with samples, hip-hop beats, and electronic effects—which produced a seemingly endless list of one-hit wonders not unlike the similar synth-driven boom of the ‘80s. But on her sophomore effort, Crow, like Beck, found that rare balance between retro, organic rock, and slick, glam-pop. However, there’s no doubt that Crow’s voice sounds more assured when she’s sober. The singer took full reign of the album’s production duties, partially responding to suggestions that she was a puppet to her all-male "Tuesday Night Music Club." As such, there’s a palpable, fear-driven ambition to the album. Her drive paid off, and not only did Crow avoid the dreaded sophomore slump, but "Sheryl Crow" is easily her best album. The album’s lead single, the crunchy rocker “If It Makes You Happy,” was both a retort to the criticism Crow received as well as an exhausted reflection on two years of fame and touring, which included a stint at Woodstock ‘94, referenced explicitly on the track. While the song’s structure is relatively straightforward, other tracks on the album are filled with quirky, stream-of-conscious lyrics (pop-culture references abound: to Kurt Cobain, John Lennon, Ouija boards, etc.) and a collage of drum loops, organs, and layered voices. Songs like “Ordinary Morning,” with its lazy piano figures and raw blues vibe, are cushioned comfortably next to loopy tracks like “Maybe Angels” and understated ballads like “Home,” in which Crow recounts the emotional strains of a deteriorating marriage. Crow’s lyrics always take a decidedly moralistic stance but never sound preachy. “Hard to Make a Stand” touches on pro-life terrorism, while “Love Is a Good Thing” sees the solution to the world’s problems in the same four-letter word, so many other rockers have enthusiastically endorsed over the years. This is certainly not the same hippie mentality of the ‘60s and ‘70s, and one can’t help but think that Crow is a tad less confident with her miracle product than, say, Lennon ever was. “These are the days when anything goes,” she sings on the buoyant “Everyday Is a Winding Road,” and the sentiment speaks for both the song’s playful optimism and the album’s sonic adventurousness. Both" Tuesday Night Music Club" and 1998’s "The Globe Sessions" are solid pop-rock efforts, but neither is as consistent, immaculately produced, or distinctly modern as "Sheryl Crow."

Nivea has been getting busy in the kitchen and the studio lately. The “Don’t Mess With My Man” singer, known for her candid interviews and recently appearing on the reality show "BET Presents: The Encore," is back with a new single. She begins 2022 with the song “Virginia,” her first new music since her album "Mirrors" in 2019. We’ve all heard the state slogan, “Virginia is for lovers.” But Nivea’s plight shows us that maybe love isn’t enough. Over sultry keys and guitar licks, Nivea sings about a man who makes her feel warm when the world feels so cold. However, this love thang is a situationship, not a relationship; she’s wifey, but not the wife. Nivea is trying to hold on to a dream that may not turn into reality, singing, “I still remember I told you I would / I told you I would wait for you, stick it out, keep it on the low / I put you in a frame, and then I put you up for show.” We’re not sure if “Virginia” is just a one-off single or if it will be part of a new project later down the road. Maybe she's finally ready to unveil "The Randy Watson Collection" project that she's kept under wraps for years? Who’s to say? But we will say Nivea’s latest deserves a place on your next playlist.

Fresh off the release of his fifth studio album, "Dawn FM," The Weeknd returns with a music video for the LP’s second single, “Sacrifice.” The visual—which comes with an epilepsy warning—was directed by Cliqua, the duo behind the video for "Dawn FM’s" lead single “Take My Breath.” Featuring production from Swedish House Mafia and Max Martin, as well as a sample of Alicia Myers’ 1981 single “I Want to Thank You,” “Sacrifice” is highlighted by Abel’s wavy vocals as he sings, “I hold you through the toughest parts/ When you feel likе it’s the end/‘Cause life is still worth living.” Dawn FM features Jim Carrey, Tyler, the Creator, Lil Wayne, Quincy Jones, and Oneohtrix Point Never. The Weeknd relies heavily on Max Martin, Matt Cohn, OPN, and Oscar Holter on the production side of things. "Dawn FM" serves as the official follow-up to 2020s "After Hours," which spawned The Weeknd’s biggest song to date, “Blinding Lights,” as the track went on to become the longest-charting song in Billboard Hot 100 history at 90 weeks.

British DJ Jonas Blue has kicked off the new year with a band as he drops the soon-to-be pop smash "Don't Wake Me Up" with hotly tipped US band Why Don't We. Opening with arpeggiated guitars and piano, the track is soaked in addictive melody. "Don't Wake Me Up" is the first new release from Jonas Blue's upcoming collaboration project, Together, that will see a stream of new music dropped across the year with exciting global talent. All these collaborations will feature the theme of togetherness, unity, and positivity - an important message that's needed in the world more than ever right now - and are synonymous with Jonas' music and successful career to date. Jonas says, "I've been wanting to get a collab going with Why Don't We since they first hit me up on Twitter back in 2019. These guys have amazing vocals, which grabbed me instantly, so I knew we could create something really special together. 'Don't Wake Me Up' has a real depth to the lyrics. If you break it down, it's about finding your true love in your dream. I can't wait to share it with the world!" Jonas Blue's career has been astounding to date. Having been certified platinum over 130 times around the globe, Jonas has amassed an army of instantly recognizable hit singles, including "Fast Car," "Perfect Strangers," "Mama," and "Polaroid," his collaboration with Liam Payne.

Norwegian singer-songwriter AURORA unveiled two new songs, “A Dangerous Thing” and “Everything Matters,” from her upcoming third studio album “The Gods We Can Touch." “A Dangerous Thing” was written and produced by AURORA and Martin Sjølie, and the second track, “Everything Matters,” features French singer-songwriter Pomme. It was written by AURORA, Jamie Hartman and Pomme and produced by AURORA, Jamie Hartman and Magnus Skylstad. She recorded the album at a castle Baroniet Rosendal in Norway. “I get affected by my surroundings, so it’s been very special to write an album in Norway in peace and quiet,” AURORA told Gay Times. “It has so much history, and it felt really right making the album there. Making albums is my favourite thing to do in life. I’ve started my next album already. It’s been amazing to make an album from home. It’s a very playful album inspired by that urge of not being ashamed of wonderful things.” AURORA upcoming album is due for release on January 21, 2022, "The Gods We Can Touch" will include “Giving In To The Love,” “Cure for Me,” and other tracks that are unique to the Norwegian singer-songwriter. Listeners can expect a few more singles in the months leading up to the release. AURORA sold out her shows in LA and NY last year, but EU and UK fans can catch her on tour in February through April 2022.

After announcing details of a ‘Greatest Hits’ tour that commences in March 2022, James Morrison is excited to release his first-ever "Greatest Hits" album, due out on February 11th, 2022. Ahead of the release, he has shared a new single, "Don’t Mess With Love," one of two new songs that appear on the collection and already released "Who’s Gonna Love Me Now?" In a twist on the ‘Greatest Hits’ format, James Morrison returned to the studio with his long-term producer Mark Taylor to record new versions of thirteen of his classic songs alongside his regular live band. James calls on fifteen years of experience to breathe fresh life into the songs. Not only has his voice matured – with a richer, deeper, more soulful timbre – but his live performances have uncovered other layers to the material, in many cases emphasizing different elements to the original recordings. And just like fans will find their interpretations of his lyrics changing as time passes, so does James. He was just 21-years-old when he first hit the limelight, and he has experienced so much in the intervening years: a long-term relationship, children, the loss of family and friends, substantial career highs, and moments of self-doubt. All of those things have inspired him – sometimes directly, others subliminally – to interpret his original lyrics in new ways, and he’s never sounded better as a result.