A rich, moving body of work. The voice is stellar, production sounds expensive and the lyrical content is sweet.

With a single good track Standing In The Way of Control is a weak effort. Gossip have just started scratching the surface of what they’re capable of here, but the weak songwriting is no match for the off pitch and off beat stylings present across almost every track. Dark Lines was a surprising ending that oozes style and potential but I wish their more bombastic tracks hit the same highs on this one.

Bad lyrics and boring songs. Not a single memorable moment on the whole album. While it’s largely inoffensive, the whole things come off as tired and redundant in a world already filled with several other Jamiroquai albums doing the exact same thing as this one.

Expected club bangers all the way through and ended up with quite a surprising array of sounds. It feels like the past few Madonna albums were taken to the club, shown a good time then told to make a record.

While sonically completely inoffensive, Chapter 3: The Flesh is painfully dull. Syleena’s voice cannot carry this length of an album and I would love to have seen a version of this with the fat trimmed. This album’s biggest crime is doing exactly what every other R&B singer was doing but without anything new to add to the mix.

A beautiful soundscape of an album. At its best when it doesn’t compromise on the world Imogen Heap is building within the music. The weakest points come when more expected instrumentation or musical choices are introduced.

A near perfect album (if it weren’t for Off On It). This has been a classic in my house for a decade and a half and it will continue to be!!! Beautiful lyricism, intriguing motivations and quirky production. Great musicianship, underrated vocal stylings and interesting artistic choices are Roisin Murphy’s signature.

Such a great album. Every song has its place and brings something interesting to the table. It’s fun, it’s groovy, it’s funny, it’s uplifting. Will.i.am. and Fergie really steal the show across the album. The guest features are all standout moments. A couple moments (mainly from Apl) where the flows come across as corny, but they are so few it barely takes away from the experience.

This album is solidly in the camp of “just not for me.” While I can appreciate the incredibly solid vocals, quirky lyrics and melodic riffs when they pop up, the soundscape just becomes too same-y by about halfway through. It’s not my taste but I was grateful for the moments I did enjoy.

The ultimate comeback album. So many really standout tracks, and on the few not so stellar tracks there are still incredible moments. Once or twice Mariah’s ultrasonic range becomes a bit tiring, but with the right production and mixing she comes back around to blow our minds with yet another option up.

Genuinely exciting and extremely varied across the whole effort. The singles stand head and shoulders above most of the album cuts, but even the worst of the album songs are still quirky and interesting.

While JoJo’s voice is undeniable even at such an early age, the vocals are not treated with care across the entire album. Pitchiness and tonal issues lead to a laborious album packed with mostly filler songs. Leave (Get Out) stands head and shoulders above the rest of the tracks, but basically nothing is worth hearing past that halfway point.

The sounds of a rainy, British spring day. Chaplin’s vocals soar and whisper over each track, never getting old. The sonic cohesion of the album is great while also never getting too same-y. Melodic focused writing provides instantly memorable tracks. A really solid album through and through.

Stellar production, humour and a strong autobiographic narrative. The length of the album is a problem for me, but at the same time I don’t know where you would trim it down. Every song feels important.

Built on previous work to provide not only an ambient and floaty album, but one with variation and range. Extremely calming.

The adult Britney starts to shine through on In The Zone. Aside from the actual presence of Madonna (which is largely underwhelming), Madonna’s influence is all over the record. The best moments are when the album leans into this influence, and the weakest are when the younger version of Britney cuts through. These songs land as cheesy rather than emotionally powerful. Everytime is genuinely beautiful and a surprise from an artist like Britney.

Some really great songs and some absolute skips on this compilation, but the range of No Doubt is apparent. Gwen Stefani’s distinct voice is very much love or hate it depending on the song.

Nowhere near the masterpiece that is Fever, but Kylie switches gear into more laid back and subtle electronic pop and R&B on this album. She leans further into the breathy vocals and almost impish stylings her voice really shines in. Several standout tracks but largely not as strong of an album as her previous.

Gorgeous work but with similar arrangements in every song, the relatively short album starts to drag.

There is one good song on this album, and you know which one it is. The rest are poorly written and boringly produced. Blu has a great voice but it’s not enough, especially considering Beyoncé’s debut album dropped on the same day.