Genre : Compilations black/soul, Compilations hip hop
Le concert évènement dans le plus grand Zénith de France (9.000 personnes), la crème du rap et du R&B français s'est retrouvée pour une nouvelle session

The Segovia heard in these recordings, made between 1927 and 1939, is quite different from the somewhat enfeebled legend who toured and recorded through his 80s. The flashing virtuosity and color of the best of these 78s compares better with the virtuosic standards of the '90s. Just hearing Tárrega's familiar Recuerdos de la Alhambra in this 1927 recording is enough to convince you that you're listening to one of the great guitar virtuosos of all time. It's unclear why Segovia's often-sentimentalized Bach became so famous, and the transcriptions that lead off this disc are quite unstylish by our contemporary standards. But once you get past those and the following Baroque items, which take up only a few minutes, you're into the romantic and 20th-century repertoire that Segovia played so brilliantly. The amazing transfers make the recordings sound much more recent than they actually are. –Leslie Gerber

Though probably nobody fully appreciated it at the time - perhaps least of all the band! - Depeche Mode's debut is at once both a conservative, functional pop record and a groundbreaking release. While various synth pioneers had come before - Gary Numan, early Human League, late-'70s Euro-disco, and above all Kraftwerk all had clear influence on Speak & Spell - Depeche became the undisputed founder of straight-up synth pop with the album's 11 songs, light, hooky, and danceable numbers about love, life, and clubs. For all the claims about "dated" '80s sounds from rock purists, it should be noted that the basic guitar/bass/drums lineup of rock is almost 25 years older than the catchy keyboard lines and electronic drums making the music here. That such a sound would eventually become ubiquitous during the Reagan years, spawning lots of crud along the way, means the band should no more be held to blame for that than Motown and the Beatles for inspiring lots of bad stuff in the '60s. Credit for the album's success has to go to main songwriter Vince Clarke, who would extend and arguably perfect the synth pop formula with Yazoo and Erasure; the classic early singles "New Life," "Dreaming of Me," and "Just Can't Get Enough," along with numbers ranging from the slyly homoerotic "Pretty Boy" to the moody thumper "Photographic," keep everything moving throughout. David Gahan undersings about half the album, and Martin Gore's two numbers lack the distinctiveness of his later work, but Speak & Spell remains an undiluted joy.