Apocalipse is a 1997 roots reggae album by Edson Gomes & Banda Cão de Raça, reflecting the artist’s strong commitment to socially conscious themes and the traditional foundations of Brazilian reggae. The album combines classic roots reggae rhythms with Latin influences, creating a sound that is both grounded in Jamaican musical traditions and shaped by Brazilian cultural identity. Lyrically, the record focuses on political criticism, social inequality, spiritual reflection, and resistance against oppression, consistent with Edson Gomes’ reputation as one of Brazil’s most important reggae voices. Tracks such as “O País É O Culpado,” “Fogo Na Babilônia,” and the title track “Apocalipse” highlight the album’s critical perspective on societal issues, delivered through steady grooves, warm basslines, and melodic guitar skanks. The production maintains a raw and organic feel, emphasizing rhythm and message over commercial polish. Throughout the album, the band balances urgency with musical cohesion, reinforcing the roots reggae tradition of combining powerful messaging with deeply rhythmic and hypnotic instrumentation. Apocalipse stands as a significant entry in Brazilian reggae, both musically and thematically impactful.

Double Exposure is a 1997 live release by Dazz Band, capturing the group’s energetic stage presence and showcasing many of the funk and R&B hits that defined their success during the 1980s. Known for blending dance-oriented grooves with polished vocal harmonies, the band delivers a performance that highlights their signature fusion of funk rhythms, soulful melodies, and upbeat party atmosphere. Recorded live, the album emphasizes audience interaction and extended arrangements that give the songs a more dynamic and spontaneous character compared to their original studio versions. Tracks such as “Joystick,” “Let It Whip,” and “Keep It Live” demonstrate the group’s ability to maintain infectious rhythmic momentum while preserving strong melodic hooks and tight instrumental execution. The live setting adds an additional layer of energy, particularly through the expanded rhythm section and expressive vocal performances. Double Exposure serves as both a retrospective celebration of the band’s classic catalog and a strong representation of their enduring appeal as a live funk and R&B act.

Candle In The Wind by Acoustic Sound Orchestra is a large-scale instrumental collection released in 1997, presenting orchestral interpretations of well-known pop and contemporary classics. The album focuses on transforming iconic vocal-driven songs into soft instrumental arrangements, emphasizing melody, atmosphere, and relaxing orchestral textures. With a strong easy listening aesthetic, the project is designed to offer a calm and accessible reinterpretation of widely recognized hits across multiple decades. Strings, light piano passages, and gentle orchestral layering dominate the sound, creating a smooth and consistent listening experience across all three discs. The selection includes global pop standards such as “Wind Of Change,” “Careless Whisper,” “Hotel California,” and “Imagine,” alongside emotional ballads and European pop classics. Each track is carefully arranged to maintain the identity of the original composition while replacing vocal lines with expressive instrumental lead melodies. The result is a cohesive and immersive orchestral compilation that blends nostalgia with relaxation, making it suitable for background listening, relaxation, or instrumental pop appreciation.

The New Amadeus Mozart by The New London Chorale is a refined crossover classical album that combines the timeless elegance of Mozart-inspired orchestration with contemporary pop melodies and emotional ballad arrangements. Released in 1997, the album continues the ensemble’s signature approach of blending classical influences with accessible songwriting and polished vocal harmonies. Under the creative direction associated with the group’s sophisticated production style, the album delivers lush orchestral textures, dramatic choral passages, and melodic compositions that appeal to both classical listeners and fans of orchestral pop music. Tracks such as “My Love,” “Stay With Me 'Til The Morning,” and “Journey's End” balance emotional lyricism with cinematic instrumentation, while pieces like “No. 39” and “Gloria” reflect stronger classical inspirations rooted in Mozart’s musical legacy. The album flows gracefully between romantic ballads and majestic symphonic arrangements, creating a rich and atmospheric listening experience. With its elegant production, expressive vocals, and timeless melodic sensibility, The New Amadeus Mozart stands as a memorable example of late-1990s crossover classical music.

Solo is a 1997 instrumental album by Raul Di Blasio, centered around expressive piano performances that blend Latin pop sensibilities with easy listening and contemporary instrumental music. The album highlights Di Blasio’s romantic and melodic piano style, moving through emotional ballads, cinematic themes, and Latin-inspired compositions. With its smooth production and strong emphasis on piano-led arrangements, the record reflects his signature approach of combining classical technique with accessible pop and Latin influences, creating a warm and expressive listening experience throughout.

Dance To Boi Bumba is a 1997 release by Carrapicho featuring Chilli, built around the international hit "Tic, Tic Tac" and its multiple remixes. The album blends Brazilian regional influences—especially the Boi Bumba folkloric rhythm—with Eurodance and pop production styles typical of the late 1990s. Across its versions and remixes, the record alternates between festive dancefloor energy and Latin pop melodies, showcasing how traditional Amazonian sounds were adapted for global dance music markets. The collaboration with Chilli adds a more mainstream dance-pop layer, making the project both culturally rooted and club-oriented.

The richest transmission of printed wedding compositions comes from the prosperous Hanseatic cities. From this rich trove we have recorded for the first time a marvelous selection of interpretations by Manfred Cordes and his WESER RENAISSANCE ensemble: motets, sacred concertos, and ensemble songs, true to the motto: 'The wedded state originated in an ancient land; it was instituted in Paradise by Gods command'.

All That I Am is the breakthrough second studio album from American R&B singer Joe, released in 1997 through Jive Records. The album established Joe as one of the leading male vocalists in contemporary R&B during the late 1990s, blending smooth soul melodies with modern hip hop-influenced production. Featuring rich vocal performances, emotional ballads, and polished grooves, the record became a commercial and critical success. The album includes several standout singles, most notably the hit “All The Things (Your Man Won't Do),” which gained major popularity after appearing on a film soundtrack and became one of Joe’s signature songs. “Don’t Wanna Be A Player” also achieved strong chart success and further expanded his audience. Throughout the album, Joe delivers heartfelt lyrics about romance, desire, and relationships, supported by sophisticated arrangements and memorable hooks. The combination of sensual slow jams and radio-friendly production helped make All That I Am a defining R&B release of its era and an important step in Joe’s long-lasting career.

This anthology, which tries to sum up Isao Tomita's recordings for the Red Seal Label, actually managed to give a fairly complete panorama of his work. Tomita can be thought of as the precursor of ambient music - but unlike people who think that ambient is a sustained 23 minute sine wave, here music has Direction. Granted, most of the stuff is synthesized renditions of "impressionistic" classical works, but the imaginative use Isao makes of his array of synths (most of this stuff was recorded in the early 70's, so we're talking about modular synths mainly - long before computer programming was available). The sonic pallete fits perfectly, and he makes good use of repetitive arpeggiator sequences to get a pulse going - and then he works his magic, specially in the arranging department. A truly unique - and sadly underestimated - artist.

The Immaculate Mix by The Vision Mastermixers is a continuous DJ-style megamix project that blends some of the most iconic pop, dance, and house-influenced tracks of the late 80s and early 90s into a seamless listening experience. Structured as a series of extended medleys, the album reinterprets globally recognized hits from artists such as Madonna, Michael Jackson, Snap!, and others, merging them into high-energy transitions designed for club play and non-stop dance flow. The production emphasizes rhythm continuity, layered sampling, and dynamic beat matching, reflecting the era’s fascination with megamix culture and remix craftsmanship. Each section functions as a thematic collage rather than isolated songs, showcasing how popular music motifs can be reassembled into new hybrid forms. This release captures the essence of 90s dance compilation culture, where DJ creativity and remix technology reshaped mainstream pop into continuous club-oriented experiences.

French Baroque instrumental music (in this case from the last two decades of the seventeenth century) enjoys a somewhat doubtful reputation as being mannered and all cast in the same mould. Well, there is no smoke without fire, and sure enough, the individual movements on this recording do all sound in some wise “typical”, with the usual French dance movements (sarabande, gigue, rondeau, menuet, gavotte) predominating. And yet, there are here some outstanding passages: If you want a sample of what Marin Marais was capable of in an area other than that of his belovèd viola da gamba, then listen in to CD 1, Track 8 (Passacaille) or CD 2, Track 6 (Chaconne), where the instruments intertwine and swirl around each other for well over five minutes at a time.