Kiss is the second studio album by Canadian recording artist Carly Rae Jepsen. It was released on September 14, 2012, by 604, Schoolboy and Interscope Records. After her debut, Tug of War (2008), which managed to receive success in Canada but was never released worldwide, Kiss became Jepsen's first internationally released album. Songs on the album are in the nu-disco,[3] dance-pop, and teen pop genres, drawing inspiration from The Cars, Madonna, and Swedish performer, Robyn. Featuring production from a wide collection of producers including Dallas Austin, Josh Ramsay, and Redfoo, the album features a track with guest vocals from Justin Bieber

Свежий материал вновь был спродюсирован, записан и смикширован давно сотрудничающим с группой Stefan Kaufmann'ом (ACCEPT, U.D.O.), который также сыграл в нескольких треках на акустической гитаре. Обложку для альбома нарисовал Thomas Ewerhard. Среди новых песен появится дуэт вокалиста Steven'a Mageney c вокалисткой BATTLE BEAST Noora'ой Louhimo.

Cassandra Wilson, coming off a three-year recording break, returns to our ears with a tribute of sorts to one of the most alluring voices of the 20th Century in Billie Holiday. The current performer wisely avoids challenging her icon's renditions of jazz and blues standards, opting instead to take the singles best known by Holiday fans and reprocess them for her own vocal style. It would be difficult to label Coming Forth By Day as a Holiday tribute if Wilson herself hadn't told us that it was.

Although the material on Douglas' initial outing may seem somewhat routine these days, it's actually quite notable considering it preceded the actual fruition of disco. The perennial "Doctor's Orders" alone would make this a classic, but the quality is far from limited to that track. Earthy dance gems like "A Friend in Need" and "Baby Don't Let This Good Love Die" are a nice cross between the late-'60s sound of Detroit soul and late-'70s dancefloor soul. Meanwhile, the mellow "Take Me (Make Me Lose Control)" and "I Fell in Love With Love" show a calmer side, while still keeping the groove alive. Douglas has a sophisticated, understated approach that is fully soulful without any dramatic gestures, and she brings a rich vibe to each tune. The only drawback is the presence of somewhat formulaic melodies and lyrics at some points — an aspect usually overcome by the classy arrangements.

Fresh Cream занимет 101 позицию в списке 500 лучших альбомов всех времён журнала Rolling Stone.

While it may be tempting to simply call Dialectics a straight-ahead session, Kevin Sun's liner notes set the record straight: According to Sun, "neo-hard bop" is a more accurate term for this music. What's most important to note, however, is that the music is pretty irresistible, regardless of what you call it. Nowosad, Greene, Gardner, Bonness, and bassist Steve Kirby have a good thing going here. These men have real musical chemistry, not the fabricated camaraderie that comes with so many jazz releases today. While it will likely be difficult for Nowosad to keep this group going, here's to hoping that he does.

Stockholm is the debut solo album by American singer Chrissie Hynde, lead singer of The Pretenders. It was released on June 10, 2014. It features several guests such as Canadian musician Neil Young and former tennis player John McEnroe.

Неисправимый и вечно юный красавец-романтик, голос SMOKIE, дарит слушателю чертову дюжину мелодичных треков и еще одну песню. Безошибочно узнаваемая стилистика, тот же сексуально-хрипловатый вокал.
Новых, бесспорных хитов в «постсмоковский» период у Криса – по пальцам пересчитать. Нет их и на этом альбоме. Все ровненько, приятно, не без love’извержений. В коллекцию фэнам.

A Child in the Mirror is an absolutely outstanding debut for this band from Athens, Greece. Don’t be fooled by the fact that they’re on the AltrOck label, which usually specializes in more RIO-styled bands. Ciccada sounds like a mixture of Jethro Tull and Gentle Giant with a bit of Hatfield and the North and Renaissance thrown in (mostly due to Evangelia Kozoni‘s Gaskin/Haslam styled vocals, but also musically). If I hadn’t already read about them before, I would have sworn this must be an English band just judging from their sound. My favorite features are the Tullish flute passages (and even guitar stylings) and organ solos that sound like “Apocalypse in 9/8″ performed by Dave Stewart. Completely riveting.

Brilliant in spite of its ragged texture, Cassandra Wilson's Silver Pony justly illuminates the important influence Wilson has had on all jazz vocals, since her artistic breakthrough with 1993's Blue Light 'Til Dawn (Blue Note). A sharp solution of live and studio performances, Silver Pony reveals the depth and breadth of both Wilson's enigmatic singing and instrumentation, that rich Delta organic approach disseminating throughout all of jazz vocals of the past 20 years. Always close to the blues, Wilson puts forth an extended live "Saddle Up My Pony," originally recorded by Charlie Patton in 1929, that succinctly frames her earthy method.

Cassandra Wilson has explored a lot of experiences, a lot of music, and that is testament to her curiosity, imagination, and intellect; and her album Another Country, created in collaboration with Fabrizio Sotti, has an elegance that is thoughtful and timeless. Cassandra Wilson’s song “Red Guitar” is painterly, poetic, its instrumentation classical and bluesy, with drumming that is precise and lively, whereas “No More Blues,” a song of determination in which misery is shown the door, is itself a light blues tune with finger-snap rhythm, a slowed-down beat with jangling assets, mellow, verging on strange. (“Just like Frank, I’m gonna do it my way,” Wilson says, an aside acknowledging Sinatra.) “O Sole Mio,” mellow, a little melancholy, has a Latin flavor; and, the Italian-language composition, a popular Neapolitan tune sung by Enrico Caruso and Mario Lanza, is here given a casually propulsive syncopation, and is pretty, possibly beautiful, followed by the meditative instrumental “Deep Blue.”

The first part of the sacred singspiel Die Schuldigkeit des ersten Gebots, which was first performed in the Knights’ Hall of the Archbishop of Salzburg’s Palace on 12 March 1767, represents Mozart’s first extended dramatic work. He was eleven years old when he wrote it. Even without making allowances for the composer’s remarkable youth, Mozart’s music for the first part of Die Schuldigkeit des ersten Gebots is highly accomplished, full of descriptive flair and artistry. The allegorical figures of Barmherzigkeit and Gerechtigkeit are clearly differentiated, the former’s sympathetic compassion contrasting with the latter’s more matronly severity, while Weltgeist’s carefree hedonism is given full reign in arias of considerable virtuosity and difficulty.