Taylor Swift’s Speak Now (Taylor’s Version) is a nod to one of life’s central truths: you can’t go back in time, but there are always new paths forward.
In her tribute album, Juliana Hatfield Sings Olivia Newton-John, Hatfield gives us a direct line to the heady days of the ’80s and makes us wonder if shiny, electric blue lycra was really so bad.
Robert Ellis’ Yesterday’s News is different from what came before. This is soft rock with a singer-songwriter edge. Just being cool can be its own reward.
Country music’s Jessica Willis Fisher discusses her new memoir Unspeakable: Surviving My Childhood and Finding My Voice and the process of healing trauma.
Taylor Swift’s Red and its reissue Red (Taylor’s Version) realign the goals of pop music, making an album’s perceived imperfections the new standard.
In the ten years since Red‘s release, it’s easy to take for granted just how pivotal it was in solidifying the visage of Taylor Swift—the woman, the myth, and the machine.
The Williams Brothers twins’ tight vocal harmonies evoke the past’s classic country pop sibling acts. Memories to Burn is finally released after decades.
Kelsea Ballerini’s Subject to Change suggests another genre-bending, boundary-pushing country crossover record, but it’s her most conservative work to date.
With Big Time, Angel Olsen draws inspiration from some of popular music’s most perennial templates, revamping them and reinventing herself.
Wynonna captured country star Wynonna Judd’s specific brilliance wonderfully, so it’s no wonder she once called the debut solo EP her favorite.
CMAT’s If My Wife New I’d Be Dead is a fully formed debut, replete with big choruses, imaginative song ideas, and enough charm to carry the hour runtime.