After bouncing around Philips, Atlantic, and Capitol playing Brazilian jazz or searching for an ideal blend of Brazilian and American pop, Sergio Mendes struck gold on his first try at A&M (then not much more than the home of Herb Alpert & the Tijuana Brass and the Baja Marimba Band). He came up with a marvelously sleek, sexy formula: dual American female voices singing in English and Portuguese over a nifty three-man bossa nova rhythm/vocal section and Mendes' distinctly jazz-oriented piano, performing tight, infectious arrangements of carefully chosen tunes from Brazil, the U.S., and the U.K. The hit was Jorge Ben's "Mas Que Nada," given a catchy, tight bossa nova arrangement with the voice of Lani Hall soaring above the swinging rhythm section…

U.S. progressive rockers Spock's Beard released their 13th studio album, "Noise Floor". For this disc, Ted Leonard, Alan Morse, Dave Meros and Ryo Okumoto are joined in the studio once again by drummer and original member Nick D'Virgilio. Spock's Beard is a band that is in a continual state of evolution, as is always the case with genuinely creative musicians. And "Noise Floor" fits perfectly into this process. "We are always about evolution, not revolution. But what we have done this time is make the songs more melodic," believes vocalist/guitarist Ted Leonard. "We still love our crazy prog, but now appreciate how important it is to grab people's attention early on."
As with all Spock's Beard songs, most of the new album was written by the individual members, and then brought to the rest of the band as high-quality demos…

Brian Eno's second album collaboration with Dieter Moebius and Hans-Joachim Roedelius of Cluster consists of slow-moving instrumentals full of repeated synthesizer sound patterns and sustained guitar notes in the ambient style familiar from Eno's collaborations with Robert Fripp and albums of his own, such as Discreet Music. (One song, "Broken Head," features recited vocals by Eno, and on another, "The Belldog," he sings. On "Tzima N'Arki," he sings backwards.)

Five years after the release of Cher's last album I Paralyze and her decision to focus on a film career, Cher signed with Geffen Records (which would later absorb one of her former labels, MCA Records) and was rushed to the studio to record what would become her comeback album. The self-titled album Cher was released in the fall of 1987. The record was produced by Michael Bolton, Jon Bon Jovi, Richie Sambora and Desmond Child. Among the notable guest artists, Bonnie Tyler and Darlene Love were backing vocalists on "Perfection". After a series of pop and disco records, Cher moved to a radio-friendly rock sound, which helped her get back onto the charts. The album includes a new version of her 1966 hit "Bang Bang (My Baby Shot Me Down)", Michael Bolton's "I Found Someone" (originally written for and recorded by Laura Branigan), several songs written by Desmond Child and two by Diane Warren, who would go on to write many more songs for the singer.

Shinin' On is the eighth album by Grand Funk Railroad and was released in 1974. Although not as successful as its predecessor, We're an American Band (1973), it peaked at #5 in the US and was certified gold, and its first single, a cover of "The Loco-Motion" topped the U.S. charts. The original cover was done in bi-visual 3-D and included the required blue and red lensed glasses to view it. A Quadraphonic mix of the album was available in the Quadraphonic 8-Track cartridge format. The title song was featured in The Simpsons' 7th season episode "Homerpalooza" on May 19, 1996.

Unplugged: The Complete 1991 and 2001 Sessions is a 2014 live album from alternative rock band R.E.M., released initially on vinyl recordings through Rhino Records for Record Store Day, later made available on compact disc and digitally. The album is composed of two performances that the band made on the U.S. television show MTV Unplugged. Among the album's 33 tracks are 11 performances which were not aired on either broadcast.

Good Girl Gone Bad is the third studio album by Barbadian singer, Rihanna. It was released on May 31, 2007, by Def Jam Recordings and SRP Records. Rihanna worked with various producers on the album, including Tricky Stewart, The-Dream, Neo da Matrix, Timbaland, Carl Sturken, Evan Rogers and Stargate. Inspired by Brandy's fourth studio album Afrodisiac (2004), Good Girl Gone Bad is a pop, dance-pop and R&B record with 1980s music influences. Described as a turning point in Rihanna's career, it represents a departure from the Caribbean sound of her previous releases, Music of the Sun (2005) and A Girl like Me (2006). Apart from the sound, she also endorsed a new image for the release going from an innocent young woman to an edgier, more mature look. A deluxe edition of the album, featuring a bonus disc with dance remixes, was launched on June 27 in Japan.

You Want It, You Got It is the second studio album by Canadian singer-songwriter Bryan Adams, released on July 28, 1981 by A&M Records. This was the album that created Adams' signature sound, which he has maintained throughout his recording career. Unlike Adams' debut album where he and Jim Vallance played most of the instruments themselves, You Want It You Got It was recorded live in the studio. The album was recorded at Le Studio in Morin-Heights, Quebec over a two-week period during the spring of 1981 and was mixed at The Power Station in New York City. The album was originally to be titled Bryan Adams Hasn't Heard Of You Either (due to critics' indifference to his first album and singles) but Adams' sense of humour didn't make it past the gatekeepers at the record company, who opted for the safer title.

Bill Withers created mellow, downhome-style soul for barely more than a decade before retreating from the industry to pursue craftsman interests. Yet over the course of the handful of albums he made for Sussex and CBS, the Appalachian native struck lasting emotional chords in legends ranging from Booker T. Jones to Stephen Stills – not to mention the millions of listeners that fell under the spell of now-standard tracks such as "Lean on Me," "Use Me," and "Ain't No Sunshine." The antithesis of the sweaty R&B shouter that prowled the edge of stages, Withers dealt in calm and vulnerability, qualities that come to fore on the seminal Bill Withers' Greatest Hits. Characteristics ranging from the tension of the guitars, funky bends of the bass, whisper-soft coo of the formal strings, airiness of the backing harmonies, and sharpness of the snare drum emerge with utmost clarity and lifelike presence. Always prized for its naked honesty and pure conviction, Withers' music positively caresses the senses on this SACD, the unadulterated production and beautiful soundscapes revealed anew with each listen.

Gramophone Magazine Editor's Choice - January 2017. Ich habe genug is a timeless, transcendental masterpiece: a profound expression of Christian faith at the very end of life. It demands artistry of a special order, and Iestyn Davies now joins the likes of Dietrich Fischer-Dieskau and Lorraine Hunt Lieberson in the work’s distinguished discography. The couplings are equally ravishing performances of two other great solo cantatas, while the two orchestral sinfonias which complete the album will prove refreshingly familiar.

Although it's slightly uneven, Sense and Sensuality is a rather enchanting collection of sweeping, orchestral pop. Strings and keyboards are inerlaced throughout the record, providing the perfect instrumental bed for Nicky Holland's wispy voice. Considering that she has written hits for a variety of artists, including Celine Dion, Tears for Fears and Cyndi Lauper, it isn't surprising that the songs on Sense and Sensuality are sturdy and well-constructed. What is surprising is that the songs don't sound manufactured, but intimate and personal, and that's what gives the album its edge.

Peter Donohoe is a pianist known for Liszt, Prokofiev, and other virtuoso repertory, but with this 2024 release, he attempts something of a different kind and with considerable success. The program is devoted to the shades the waltz took on in the 19th and early 20th centuries, and none of it is particularly daunting technically. All the music is relatively well known, although Schumann's Abegg Variations, Op. 1, one of his very few encounters with the waltz form, is not played terribly often. Donohoe nicely captures the explosive quality of the young Schumann's talent.

rguably the first consistently strong album Fleetwood Mac ever recorded – all the way back into the Peter Green/Jeremy Spencer era, the Mac's albums had previously consisted of individual moments of brilliance in a sea of uninspired filler – 1972's Bare Trees is also the album where the band finally defines its post-blues musical personality. Low-key but less narcoleptically mellow than 1971's sleepy Future Games, Bare Trees is a singer/songwriter album in the traditional early-'70s style, backed up with just enough musical muscle to keep from sounding like weedy soft rock in the manner of Bread or Cat Stevens. This is the one Fleetwood Mac album on which singer/guitarist Danny Kirwan is the dominant figure, writing five songs to Christine McVie and Bob Welch's two apiece.

Sixteen years may have gone by since Isaac Hayes' untimely passing at the age of just 65, but he remains one of the most popular and iconic singer-songwriter-arrangers in the history of Soul music. The albums Hayes made for Stax's Enterprise label remain the benchmark in 'symphonic soul', and sound as breathtakingly brilliant as they did when they were new releases. As well as being one of a small group of artists who expanded the growth of the soul albums market, Ike was a consistently successful singles artist, who placed 16 consecutive 45s on the R&B chart between 1969 and 1976 - most of which also crossed over to pop. The biggest hits have been anthologised on previous occasions - but "Hot Buttered Singles" is the first series to present the A and B sides of all of Hayes' 'Yellow Stax'-era 45s in chronological order, and in their original singles versions - several of which have not appeared on CD before. Many of these tracks are among his best loved recordings. Here you will hear them as you would have heard them on soul and pop radio over half a century ago. Extensively annotated, handsomely illustrated and coming to you - on CD AND double vinyl - in a package that an artist of Ike's stature thoroughly deserves

Procol's Ninth is the eighth studio album (ninth including Live) by Procol Harum, and was released in August 1975. Produced by songwriters Jerry Leiber and Mike Stoller, Procol's Ninth featured a slightly different direction from the previous album, with a much starker sound than Chris Thomas's more elaborate productions. According to an interview with guitarist Mick Grabham, conducted by Roland Clare for the 2009 reissue, Leiber and Stoller focused less on the production sound and more on "the structure of the songs". The band appeared on the cover of the album in a straightforward unassuming photograph, mirroring the sound of the album itself. The cover featured simulations of each band member's signature.