Alicia Keys' debut album, Songs in A Minor, made a significant impact upon its release in the summer of 2001, catapulting the young singer/songwriter to the front of the neo-soul pack. Critics and audiences were captivated by a 19-year-old singer whose taste and influences ran back further than her years, encompassing everything from Prince to smooth '70s soul, even a little Billie Holiday. In retrospect, it was the idea of Alicia Keys that was as attractive as the record, since soul fans were hungering for a singer/songwriter who seemed part of the tradition without being as spacy as Macy Gray or as hippie mystic as Erykah Badu while being more reliable than Lauryn Hill. Keys was all that, and she had style to spare – elegant, sexy style accentuated by how she never oversang, giving the music a richer feel. It was rich enough to compensate for some thinness in the writing – though it was a big hit, "Fallin'" doesn't have much body to it – which is a testament to Keys' skills as a musician.
Songs in A Minor is the debut studio album by American recording artist Alicia Keys. It was released in the United States on June 5, 2001 by J Records. After graduating from high school, Keys signed with Columbia Records to begin her music career. She recorded an album in 1998 under the label, which they rejected. Her contract subsequently ended with Columbia after a dispute with the label, and Keys later signed with Clive Davis. An accomplished, classically trained pianist, Keys wrote, arranged and produced a majority of the album, including "Jane Doe", which was the only song in the key of A minor.
The Book of Genesis tells us that in the beginning was the Word and that the Word was sound. But what if it was music? What if God, in contemplating the creation of Creation, sang being into being? If so, it might have sounded something like the Sacred Songs of Valentin Silvestrov. In this seventh ECM album devoted to the Ukrainian composer’s music, we thusly encounter a sense of space unique to the Russian liturgy: the more the voices unify in movement, the more they lift from one another like temporary tattoos, leaving behind mirror images that wash away with baptism into infinite oneness with the Holy Spirit. Sin as sun. Firmament as fundament.
The 21st studio long-player from the British electronic music legend, Savage (Songs from a Broken World) is the follow-up to 2013's acclaimed Splinter (Songs from a Broken Mind), which saw Numan delivering his highest-charting album since 1983's Warriors. A willfully dark, narrative-driven concept album concerning the melding of Eastern and Western cultures in a post-apocalyptic world that's been decimated by the effects of climate change, Savage is awash in ambient horrorscapes, blast-furnace percussion, and electro-goth synth leads that suggest Depeche Mode by way of Nine Inch Nails. Numan made the shift from new wave robot bard to industrial soothsayer in the 2000s or so ago – his adenoidal voice is as captivating as ever – so longtime fans aren't expecting the next Tubeway Army or Pleasure Principle…
This double-CD budget set brings together two performances by Spanish pianist Alicia de Larrocha, collaborating both times with Georg Solti as conductor. Each disc includes a pair of Mozart piano concertos. The music on the first CD, recorded in 1985, has never been released, because, the booklet asserts, post-production work was needed to clean up the acoustics.