William L. Griffin (born August 15, 1950) is an American singer and songwriter. He replaced Smokey Robinson as the lead singer of the Miracles in 1972.

"… simply loaded with proud pop songs … reads like a Greatest Hits: Then I Kissed Her, Help Me, Rhonda, You’re So Good To Me and California Girls are up there with any icons of West Coast sunshine."

"Cross Road Blues" (commonly known as "Crossroads") is a song written by the American blues artist Robert Johnson.

A lot happened to Motörhead – or more accurately to Motörhead's once and future leader, Lemmy Kilmister – after the release of 2013's Aftershock, and most of it wasn't good.

Coming four years after the previous trio album Ding Dong. You’re Dead, it´s the longest period ever between Hedvig albums. That, however, is no indication she´s been idle, quite the contrary, actually.

Joe Williams (born Joseph Goreed; December 12, 1918 – March 29, 1999) was an American jazz singer. He sang with big bands, such as the Count Basie Orchestra and the Lionel Hampton Orchestra, and with small combos.

Ethel Llewellyn Ennis (November 28, 1932 – February 17, 2019) was an American jazz musician whose career spanned seven decades.

Since the dawn of the gramophone era Grieg’s Lyric Pieces have attracted the greatest pianists to the microphone.

A 22-year-old stands on stage with his guitar, surrounded by more than 100,000 people demanding equal rights for whites and blacks in Washington on August 28, 1963.

Once again pianist/composer David Chesky courts a dark, masterful muse on this second recording by his Jazz in the New Harmonic quintet.

Yep Roc to release new career retrospective of 'Sam Phillips - the man who invented Rock 'n' Roll'. This 2CD/3LP collection is curated by Peter Guralnick, companion to Guralnick's "monumental" (Kirkus Reviews), and featuring tracks by Elvis Presley, Howlin' Wolf, Johnny Cash, B.B. King, Jerry Lee Lewis and many more…. Also includes an exclusive essay by Guralnick. "Sun Records and Sam Phillips himself created the most crucial, uplifting and powerful records ever made." - Bob Dylan On October 30, Yep Roc will release 'Sam Phillips: The Man Who Invented Rock 'n' Roll,' a companion to Peter Guralnick's forthcoming biography of the same name, and a personal, idiosyncratic survey of one of the most important bodies of work in recording history.

It's not surprising that Lou Reed finds a kindred spirit in Edgar Allan Poe. The godfather of punk's early ambition was to bring the darker elements of great literature–decay, death, and decadence–to rock & roll. The Raven was born following a spoken-word performance of Poe's "The Tell-Tale Heart" during which Reed "came to understand it in a way I never had before." Accordingly, The Raven may strike Reed's longtime fans in a way the artist never has before. Although dark, the music is stylistically all over the place–from Velvet Underground-like rock instrumentals to actor Steve Buscemi's creepy lounge-lizard take on the anti-showbiz "Broadway Song," to moments that recall such diverse past Reed ventures as Metal Machine Music and the Bells. He even reprises two classics–"Perfect Day" and "The Bed" from Transformer and Berlin, respectively – in almost unrecognizable forms. Ornette Coleman and David Bowie drop in, and actors read text in which Reed mixes Poe's poems and stories with his own words. The opium references are surely Poe's; the explicit images probably all Reed's. It's hard to tell, though; the blend's that good. – Bill Holdship

Without identifying who it was, Isaak made his mood clear with Forever Blue by including a farewell letter in the liner notes to the lover who had dumped him. Kicking things off with the snaky, almost guttural "Baby Did a Bad Bad Thing," later made a theme song for Stanley Kubrick's Eyes Wide Shut, Isaak lives up to the confused, fractured message in that letter, turning Forever Blue into his own exorcism…

The title track of For Ladies Only is a classic slice of Steppenwolf's brand of hard rock: gritty chord guitar from Blues Image refugee Kent Henry (Steppenwolf went through as many or more guitarist changes as the Guess Who), elegant piano from Goldy McJohn, even jazz flavors on a nine-minute-plus track as blatantly sexist as the album gatefold. The graphic photo of a huge penis car alongside the Hollywood walk of fame tucked inside the cardboard is completely juvenile, while the back of the LP features the boys all reading books, from The Sensuous Woman to Snow White & the Seven Dwarves – interesting imagery that doesn't complement the music as much as the artists might have thought it did at the time. The Jerry Edmonton/Goldy McJohn composition "I'm Asking" has a heavy "Jumpin' Jack Flash" riff that's all sludged out and a weak non-John Kay vocal – like, why bother? Kay's snarling voice was as much a part of the sound as the heavy keys, and without it the otherwise fine performance and production are just totally eradicated; it's a song that would've worked better as an instrumental. Ditto for Jerry Edmonton's "Jaded Strumpet," which is also in desperate need of Kay's authoritative tone, which is refreshingly surreal on the singer's co-write with George Biondo that is "Sparkle Eyes."

Released in December 1974, Dark Horse capped a prolific year for George, during which he had established his own Dark Horse record label, built a recording studio in his Friar Park home in England, and completed an ambitious tour of North America. Throughout the year, Harrison produced albums for several artists while also recording his own. The songs on the LP document both George’s fallibility, in “Simply Shady,” and his spirituality, in “It Is ‘He’ (Jai Sri Krishna).” Dark Horse reached the top five in America, sounding a high note at the end of Harrison’s rather frenetic year. The new release adds “I Don’t Care Anymore,” a sought after B-side making its CD debut, and a previously unreleased early, acoustic take of “Dark Horse.” The CD booklet includes newly written historical notes by Kevin Howlett.