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 hasn’t been a popular dance without an accordion, nor a dance-hall without a waltz, since the end of the Great War. You wonder if the genre was ever “modern” at all, so timeless does it seem… Yet it had to be born at some time, and its parents were a motley crowd indeed! First of all came the people from Auvergne, who began to settle in Paris at the beginning of the 19th century: they brought their “folk” instrument with them, and the “musette” tradition, turning their cafes and restaurants into dance-halls with an accordion band. Later, after 1870, it was the turn of the Italians, who crossed the Alps with an instrument of German origin, which they quickly adopted and began to manufacture themselves: the accordion. Then a third stream from Belgium and the North arrived in Paris to work in the factories, and, later still, the wandering gypsy communities of eastern Europe added their guitars to the sound of the accordion.
Digitally remastered and expanded two CD edition of this landmark 1993 live album from the veteran British Rock/Pop band. For the first time, this double disc set presents the entire 1992 concert as recorded at the famed Red Rocks Amphitheater in Colorado. When the album was originally released, it showcased 15 highlights from the show, but this deluxe edition offers all 23 great performances by Justin Hayward and Co.
Polydor/Chronicles' 2004 deluxe edition reissue of Eric Clapton's 461 Ocean Boulevard – long considered one of Clapton's best solo albums, ranking alongside Eric Clapton and Slowhand as one of his finest studio efforts – expands the original ten-track album to two discs. The original album is supplemented by five session outtakes on the first disc, all of which have been previously released on other reissues: "Walkin' Down the Road" appeared on 1996's Crossroads 2, "Ain't That Lovin' You" appeared on 1988's Crossroads, while "Meet Me (Down at the Bottom)" appeared on 1999's Blues and the other two tracks, "Eric After Hours Blues" and "B Minor Jam," appeared on the limited-edition bonus disc that came with the original release of Blues.
Mark Lanegan wrote most of the songs for Phantom Radio on his phone. He’d write drum parts, add synths and guitars, and then bring the results to Alain Johannes, his frequent collaborator from Queens of the Stone Age, who built the real tracks in his West Hollywood studio. By emphasizing different heavy sonic territories, from echoes of Angelo Badalamenti (“Torn Red Heart”) to trip-hop (“The Killing Season”) and ‘80s new wave circa Echo & The Bunnymen (“Floor of the Ocean”), Lanegan has broken past the deliberately monochromatic sounds of his youth. The five-track limited-edition vinyl EP No Bells on Sunday is included.
Dream Attic heralds the return of Richard Thompson, one of the most distinguished guitarists and songwriters of our time, with a magnificent collection of 13 new songs. This deluxe edition includes a bonus CD of all 13 tracks performed as acoustic demos.
This self-titled album was Elton John's second and breakthrough release in America. Mr. John and Bernie Taupin had been collaborating for a few years, but they really started to gel as a team on this release. The album has almost a baroque sound to it with alot of strings, harpsicords and airy syntheseisers. Of course everyone knows the megahit "Your Song", but the album contains others that would become Elton John classics. "Sixty Years On" is a stirring lament about growing old, "The Greatest Discovery" is a sweet ode to the birth of a brother, while "The King Must Die" ends the album in dark epic fashion. "I Need You To Turn To" & "First Episode At Hienton" carry on in the somber-like tone. The album is dominated by, but not regulated to classical stylings…