Love. Angel. Music. Baby. is the debut solo album by American singer Gwen Stefani. It was released on November 12, 2004, by Interscope Records. Stefani, who had previously released five albums as rock band No Doubt's lead singer, began recording solo material in early 2003. She began working on Love. Angel. Music. Baby. as a side project that would become a full album after No Doubt went on hiatus. Stefani co-wrote every song on the album, collaborating with various songwriters and producers including André 3000, Dallas Austin, Dr. Dre, the Neptunes and Linda Perry.
There is poignant irony in the fact that Enigma's Michael Cretu chose painter Wolfgang Beltracchi, the world's most famous art forger, to illustrate The Fall of a Rebel Angel, his first album in eight years. …
Enigma brings the first album in eight years, and its Japanese edition exclusively includes two Japan only bonus tracks "Sadness" and "Return to Innocence." Also features Japanese original cover artwork & sleeve case packaging. The musical project, known globally as ENIGMA, has proved one of the most successful of the last quarter-century. It has delivered more than 70 million sales across seven albums, 60 Number One albums around the world, and received over 100 Platinum awards. Now, in 2016, Cretu reconnects with that very first multi-platinum album to transfer its bold, pioneering sound-world to here and now. The Fall Of A Rebel Angel is the musical parable of a sensitive artist's view on the human condition. The album tells the story of a protagonist setting off on a symbolic journey of development and change to find a new, fulfilling life.
“Avenging Angel” is Craig Taborn’s distinguished contribution to the great solo piano tradition at ECM, a powerful, purposeful and rigorous album, which rises to the challenges of the format and transcends them. The disc explores the textural dimensions of sound, builds new structures, uncovers a rugged lyricism. Recorded in the optimal acoustics of the recital room at Lugano’s Studio RSI, with Manfred Eicher producing, it’s Taborn’s first disc under his own name for ECM, following on from inspired sessions with Roscoe Mitchell, Evan Parker, David Torn and Michael Formanek.
Angel in the Dark is a lovely recording featuring the graceful vocals and finely crafted songs that everyone expects from Laura Nyro. These sessions were completed in the summer of 1995 and represent the last music Nyro recorded. The title cut and "Sweet Dream Fade" mine the same soul terrain as her late '60s recordings, featuring horns and underlined by heavy guitar riffs. These upbeat pieces perfectly integrate voice, arrangements, and lyrics to create an organic whole, and are two of the best cuts on the album. Slower, piano-based songs like "Triple Goddess Twilight," "He Was Too Good to Me," and "Serious Playground" are mixed in-between these songs. These pieces are quieter and introspective, with Nyro's voice more intimate. It is almost as though she was sitting at the piano, late at night, and singing to herself. There are also several covers including "Will You Still Love Me Tomorrow" and "Let It Be Me." The first of these is over five minutes and has been slowed down so much that it drags. In fact, she slows down all of the covers as if to convert them into heartfelt ballads.
Anyone reckless enough to have typecast Angel Olsen according to 2013's Burn Your Fire For No Witness is in for a rethink with her third album, MY WOMAN. The crunchier, blown-out production of the former is gone, but that fire is burning wilder. Her disarming, timeless voice is even more front-and-center. Yet, the strange, raw power and slowly unspooling incantations of her previous efforts remain. Over two previous albums, she gave us reverb-shrouded poetic swoons, shadowy folk, grunge-pop band workouts and haunting, finger-picked epics. MY WOMAN is an exhilarating complement to her past work, and one for which Olsen recalibrated her writing/recording approach and methods to enter a new music-making phase.
The new recording from Magdalena Kožená features deeply-felt interpretations of sacred songs from the Baroque to the 20th Century. In a rare recording collaboration, she is joined by virtuoso Christian Schmitt, in music for voice and organ from the sacred traditions of Germany, Austria, France and England, as well as her native Czechoslovakia. Of course, the album includes music by J.S. Bach – a composer with whom Magdalena Kožená has long been associated - with sacred aspects of German song represented by Hugo Wolf and Schubert.