Beck's debut, Mellow Gold, was a glorious sampler of different musical styles, careening from lo-fi hip-hop to folk, moving back through garage rock and arty noise. It was an impressive album, but the parts didn't necessarily stick together. The two albums that followed within months of Mellow Gold — Stereopathetic Soul Manure and One Foot in the Grave — were specialist releases that disproved the idea that Beck was simply a one-hit wonder. But Odelay, the much-delayed proper follow-up to Mellow Gold, proves the depth and scope of his talents. Odelay fuses the disparate strands of Beck's music — folk, country, hip-hop, rock & roll, blues, jazz, easy listening, rap, pop — into one dense sonic collage. Songs frequently morph from one genre to another, seemingly unrelated genre — bursts of noise give way to country songs with hip-hop beats, easy listening melodies transform into a weird fusion of pop, jazz, and cinematic strings; it's genre-defying music that refuses to see boundaries. All of the songs on Odelay are rooted in simple forms — whether it's blues ("Devil's Haircut"), country ("Lord Only Knows," "Sissyneck"), soul ("Hotwax"), folk ("Ramshackle"), or rap ("High 5 (Rock the Catskills)," "Where It's At") — but they twist the conventions of the genre. "Where It's At" is peppered with soul, jazz, funk, and rap references, while "Novacane" slams from indie rock to funk and back to white noise. With the aid of the Dust Brothers, Beck has created a dense, endlessly intriguing album overflowing with ideas. Furthermore, it's an album that completely ignores the static, nihilistic trends of the American alternative/independent underground, creating a fluid, creative, and startlingly original work.

Cheryl Lynn (born Lynda Cheryl Smith; March 11, 1957) is an American singer. She is best known for her songs during the late 1970s through the mid-1980s, including the 1978 R&B/disco song "Got to Be Real".

"Move over Broken Social Scene and Arcade Fire - Margot & The Nuclear So & So's are stepping up. This Indianapolis band's expansive sound is as broad and accomplished as the aforementioned Canadian collectives, but they're more focused and their songs display a fluency in genres beyond indie-pop...brims with tight, inventive vision rather than rehashing its tricks again and again." - SPLENDID Richard Edwards cements his reputation as a fast-rising singer-songwriter on this debut from Margot & the Nuclear So & So's. Just as there's never been an actual Marshall Tucker or Pink Floyd, there's no Margot in this group's lineup. Edwards borrowed the name from 2001's The Royal Tenenbaums, and his fascination with Wes Anderson's work should not be a mystery as both artists specialize in wry, bittersweet stories. When accompanied by nothing more than an acoustic guitar, his songs are strong enough to break hearts and shake convictions. But when his Margot bandmates add cello, trumpet, banjo and synthesizer in all the right places, the group makes music to please fans of folk, chamber pop and modern rock, working in the heady neighborhood of Elvis Costello and Paul Westerberg.

Captain & Tennille were American recording artists whose primary success occurred in the 1970s. The husband-and-wife team were "Captain" Daryl Dragon and Toni Tennille.

The IRS Tapes: Who'll Buy My Memories? is an album by American country and western singer Willie Nelson. The album, featuring only Nelson and his guitar, was released in 1992 to pay Nelson's tax debt with the Internal Revenue Service (IRS). Initially, the album was only distributed by phone order, but later negotiations with Sony Music saw it being distributed in stores. The album generated US$3.6 million for the IRS, who requested a further US$9 million from Nelson to satisfy his debts. It was well received by critics.

Limited 2008 UK 180gm vinyl pressing of this classic album, released to coincide with the 60th anniversary of the long-playing record. This is an exact replica of the original packaging and contains a voucher enabling the purchaser to download MP3 versions of the songs within. Happy Birthday, my dear vinyl LP! Universal.

The best black female singer of the 20th century. This is a stunning album. the definitive late 60’s Aretha Franklin, bold, beautiful, vulnerable, earthy, sexy, defiant, spiritual and strong.. Full of great songs. A seminal session that furthered her deep soul agenda with key backings from Arif Mardin and Tom Dowd! The Sweet Inspirations provide sublime backing vocals behind Franklin’s maturing delivery of the lyrics — and the music is by an all-star group of players that includes Spooner Oldham, Bobby Womack, Jimmy Johnson, King Curtis, Tommy Cogbill, Roger Hawkins, and even Eric Clapton! After all, she is the Queen, the Lady Soul!! 1 Ranked #84 in Rolling Stone’s “500 Greatest Albums of All Time,” Aretha’s position as soul music’s premier female vocalist was consolidated by Lady Soul. Her strident reading of “Chain of Fools” set the tone on which the singer unveiled several stellar original compositions and reinterpreted a batch of classic songs. Franklin’s gospel roots were clearly displayed on “People Get Ready” while her interpretation of “(You Make Me Fell Like A) Natural Woman” showed both her vulnerable and assertive qualities. The album also features the fine soul ballad “Good to Me as I Am to You” with Eric Clapton on guitar. Lady Soul captures a performer at the peak of her power, restating her ability to take material and make it uniquely her own. This 1968 tour de force is one of the absolute pinnacles of the Queen’s incredible artistic legacy. 2 At a 1968 concert in Chicago, Aretha Franklin was publicly and officially crowned the Queen of Soul in front of her fans by a DJ named Purvis Spann. This body of work shows why Aretha continues to reign supreme. The Queen takes on the Kings of Soul/Rhythm & Blues and pulls no punches as she covers Ray Charles’s “Come Back Baby” and “Be as Good to Me as I Am to You,” James Brown’s “Money Won’t Change You,” and Curtis Mayfield’s “People Get Ready”. She’s classical, bluesy, funky, and right-down soulful on every cut. The poet Nikki Giovanni once wrote–”Aretha can sing Money Won’t Change You, but can James Brown sing Respect?” In other words, when the Queen covers a song, it becomes hers and one can easily forget about the original artist. For example, Carol King wrote and recorded “Natural Woman” but that song is and probably will always be associated with Aretha Franklin. Aretha wails and gets right-down funky on cuts like “Chain of Fools” and “Nikki Hokey.” She’s operatically soulful on “Ain’t No Way”–which to this day no female artist, including Whitney Houston, has been able to successfully cover.You have an absolutely classic and indispensable piece of American music history here. The one and only Aretha Franklin: “Lady Soul.”

Hedwig and the Angry Inch is a rock musical about a fictional rock and roll band fronted by an East German transgender singer. The text is by John Cameron Mitchell, and the music and lyrics are by Stephen Trask. The musical premiered in 1998 and has been performed throughout the world in hundreds of stage productions. The story draws on Mitchell's life as the son of a U.S. Army Major General who once commanded the U.S. sector of occupied West Berlin. The character of Hedwig was originally inspired by a German divorced U.S. Army wife who was a Mitchell family babysitter and moonlighted as a prostitute at her Junction City, Kansas trailer park home. The music is steeped in the androgynous 1970s glam rock era of David Bowie (who co-produced the Los Angeles production of the show), as well as the work of John Lennon and early punk godfathers Lou Reed and Iggy Pop. The musical opened Off-Broadway at the Jane Street Theater on February 14, 1998. The theater was located in the ballroom of the Hotel Riverview, which once housed the surviving crew of the Titanic (a fact which figured in the original production). Originally directed and produced by Peter Askin, the play won a Village Voice Obie Award and the Outer Critics Circle Award for Best Off-Broadway Musical. The Off-Broadway production ran for two years, and was remounted with various casts by the original creative team in Boston, Los Angeles, and London.

released February 5, 2016 This entire project was financed by the supporters at patreon.com/amandapalmer. The minimum price here is $1 - $.54 of which will go to Bowie's publisher for the use of the songs. The remaining proceeds from the first month of sales (until August 15th) will go to the cancer research wing of Tufts Medical Center, in memory of David Bowie. If you want to support THE MAKING OF MORE MUSIC, join the patreon at

01 Tear Me Down 02 Origin Of Love 03 Angry Inch 04 Wicked Little Town (Tommy Gnosis Ver.) 05 Wig In A Box 06 The Long Grift 07 Hedwig'S Lament 08 Exquisite Corpse 09 Midnight Radio 10 Nailed 11 Sugar Daddy 12 Freaks 13 In Your Arms Tonight 14 Wicke Little Town (Hedwig Ver.)

此专辑获第四十二届格莱美最佳另类音乐奖 来自洛杉矶、被喻为「音乐拼贴美学大师」的Beck/贝克，总是创意十足的将hip-hop、rap、funk、scratch、民谣、灵魂、摇滚、蓝调、乡村、雷鬼、电子…等乐风，与扭曲的、讽刺的、奇想的、如诗一般的歌词天马行空结合。而在始终如高中生般年轻的外表下，Beck还拥有得天独厚、干净明亮又充满男性魅力的迷人高音音色。 94年以一曲风靡全美地下与另类摇滚电台、扬威英美排行榜的TOP10单曲“Loser”崭露头角，引发各大主流唱片公司签约争夺战。投效Geffen唱片后推出首张大碟「Mellow Gold」，获Spin10分满分评价，更入选滚石、Spin、Q等音乐杂志94年度最佳专辑之列。96年专辑「Odelay」展现强烈的颠覆性及自我风格，获滚石杂志与洛杉矶时报4颗星推介，抱回英国音乐奖「最佳国际艺人」、MTV音乐录像带奖「最佳男艺人」等大奖！ 98年再获滚石杂志4颗星的「Mutations」，给人耳目一新的Space Age Folk Rock感受！99年「Midnite Vultures」将最土最草根的音乐元素到最酷最新潮的新世代精神，作了最精彩的化学实验，滚石杂志继续送上4颗星！

Cookin' is the first of four albums derived from the Miles Davis Quintet's fabled extended recording session on October 26, 1956; the concept being that the band would document its vast live-performance catalog in a studio environment, rather than preparing all new tracks for its upcoming long-player. The bounty of material in the band's live sets -- as well as the overwhelming conviction in the quintet's studio sides -- would produce the lion's share of the Cookin', Relaxin', Workin', and Steamin' albums. As these recordings demonstrate, there is an undeniable telepathic cohesion that allows this band -- consisting of Miles Davis (trumpet), John Coltrane (tenor sax), Red Garland (piano), Paul Chambers (bass), and Philly Joe Jones (drums) -- to work so efficiently both on the stage and the studio. This same unifying force is also undoubtedly responsible for the extrasensory dimensions scattered throughout these recordings. The immediate yet somewhat understated ability of each musician to react with ingenuity and precision is expressed in the consistency and singularity of each solo as it is maintained from one musician to the next without the slightest deviation. "Blues by Five" reveals the exceptional symmetry between Davis and Coltrane that allows them to complete each other's thoughts musically. Cookin' features the pairing of "Tune Up/When Lights Are Low" which is, without a doubt, a highlight not only of this mammoth session, but also the entire tenure of Miles Davis' mid-'50s quintet. All the elements converge upon this fundamentally swinging medley. Davis' pure-toned solos and the conversational banter that occurs with Coltrane, and later Garland during "When the Lights Are Low," resound as some of these musicians' finest moments.

Duet albums were rare in 1962 and encounters of this quality are still rare. Bill Evans and Jim Hall, two modern jazz giants, were in peak creative form at the time, Evans leading his own trio and Hall working with Sonny Rollins's quartet at the time. These two masters challenge and complement each other brilliantly on a series of standards and jazz originals. Newly remixed and remastered in 24 bit, this new edition of Undercurrent, which contains two more tunes (tracks 7 & 8) and two alternate takes (tracks 9 & 10) added to the original United Artists album, sound exceptional.

繼1961年在紐約前衛村連續五天，充滿驚奇與自由前衛演奏色彩的現場演奏會之後，柯川率領由他和鋼琴手麥考伊．泰瑞、貝斯手吉米．泰瑞森以及鼓手艾文．瓊斯所組成的經典四重奏，重回錄音室灌錄了這張滿足喜愛抒情樂曲的經典演奏『抒情演奏輯』。 原發行於1962的『抒情演奏輯』，總共收錄8首唯美深情的好歌，柯川驕傲地以次中音和高音薩克斯風精巧流暢地詮釋樂曲優美的旋律與浪漫的意境，"You Don’t Know What Love Is"、"All Or Nothing At All"、"What’s New"，特別具有濃烈的情緒投射，每每引人無盡遐想。 1-6&8: John Coltrane(ts) McCoy Tyner(p) Jimmy Garrison(b) Elvin Jones(ds) 7: John Coltrane(ts) McCoy Tyner(p) Reggie Workman(b) Elvin Jones(ds) Engineered by Rudy Van Gelder