Good Girl Gone Bad is the third studio album by Barbadian singer, Rihanna. It was released on May 31, 2007, by Def Jam Recordings and SRP Records. Rihanna worked with various producers on the album, including Tricky Stewart, The-Dream, Neo da Matrix, Timbaland, Carl Sturken, Evan Rogers and Stargate. Inspired by Brandy's fourth studio album Afrodisiac (2004), Good Girl Gone Bad is a pop, dance-pop and R&B record with 1980s music influences. Described as a turning point in Rihanna's career, it represents a departure from the Caribbean sound of her previous releases, Music of the Sun (2005) and A Girl like Me (2006). Apart from the sound, she also endorsed a new image for the release going from an innocent young woman to an edgier, more mature look. A deluxe edition of the album, featuring a bonus disc with dance remixes, was launched on June 27 in Japan.

You Want It, You Got It is the second studio album by Canadian singer-songwriter Bryan Adams, released on July 28, 1981 by A&M Records. This was the album that created Adams' signature sound, which he has maintained throughout his recording career. Unlike Adams' debut album where he and Jim Vallance played most of the instruments themselves, You Want It You Got It was recorded live in the studio. The album was recorded at Le Studio in Morin-Heights, Quebec over a two-week period during the spring of 1981 and was mixed at The Power Station in New York City. The album was originally to be titled Bryan Adams Hasn't Heard Of You Either (due to critics' indifference to his first album and singles) but Adams' sense of humour didn't make it past the gatekeepers at the record company, who opted for the safer title.

Bill Withers created mellow, downhome-style soul for barely more than a decade before retreating from the industry to pursue craftsman interests. Yet over the course of the handful of albums he made for Sussex and CBS, the Appalachian native struck lasting emotional chords in legends ranging from Booker T. Jones to Stephen Stills – not to mention the millions of listeners that fell under the spell of now-standard tracks such as "Lean on Me," "Use Me," and "Ain't No Sunshine." The antithesis of the sweaty R&B shouter that prowled the edge of stages, Withers dealt in calm and vulnerability, qualities that come to fore on the seminal Bill Withers' Greatest Hits. Characteristics ranging from the tension of the guitars, funky bends of the bass, whisper-soft coo of the formal strings, airiness of the backing harmonies, and sharpness of the snare drum emerge with utmost clarity and lifelike presence. Always prized for its naked honesty and pure conviction, Withers' music positively caresses the senses on this SACD, the unadulterated production and beautiful soundscapes revealed anew with each listen.

Gramophone Magazine Editor's Choice - January 2017. Ich habe genug is a timeless, transcendental masterpiece: a profound expression of Christian faith at the very end of life. It demands artistry of a special order, and Iestyn Davies now joins the likes of Dietrich Fischer-Dieskau and Lorraine Hunt Lieberson in the work’s distinguished discography. The couplings are equally ravishing performances of two other great solo cantatas, while the two orchestral sinfonias which complete the album will prove refreshingly familiar.

Although it's slightly uneven, Sense and Sensuality is a rather enchanting collection of sweeping, orchestral pop. Strings and keyboards are inerlaced throughout the record, providing the perfect instrumental bed for Nicky Holland's wispy voice. Considering that she has written hits for a variety of artists, including Celine Dion, Tears for Fears and Cyndi Lauper, it isn't surprising that the songs on Sense and Sensuality are sturdy and well-constructed. What is surprising is that the songs don't sound manufactured, but intimate and personal, and that's what gives the album its edge.

Peter Donohoe is a pianist known for Liszt, Prokofiev, and other virtuoso repertory, but with this 2024 release, he attempts something of a different kind and with considerable success. The program is devoted to the shades the waltz took on in the 19th and early 20th centuries, and none of it is particularly daunting technically. All the music is relatively well known, although Schumann's Abegg Variations, Op. 1, one of his very few encounters with the waltz form, is not played terribly often. Donohoe nicely captures the explosive quality of the young Schumann's talent.

rguably the first consistently strong album Fleetwood Mac ever recorded – all the way back into the Peter Green/Jeremy Spencer era, the Mac's albums had previously consisted of individual moments of brilliance in a sea of uninspired filler – 1972's Bare Trees is also the album where the band finally defines its post-blues musical personality. Low-key but less narcoleptically mellow than 1971's sleepy Future Games, Bare Trees is a singer/songwriter album in the traditional early-'70s style, backed up with just enough musical muscle to keep from sounding like weedy soft rock in the manner of Bread or Cat Stevens. This is the one Fleetwood Mac album on which singer/guitarist Danny Kirwan is the dominant figure, writing five songs to Christine McVie and Bob Welch's two apiece.

Sixteen years may have gone by since Isaac Hayes' untimely passing at the age of just 65, but he remains one of the most popular and iconic singer-songwriter-arrangers in the history of Soul music. The albums Hayes made for Stax's Enterprise label remain the benchmark in 'symphonic soul', and sound as breathtakingly brilliant as they did when they were new releases. As well as being one of a small group of artists who expanded the growth of the soul albums market, Ike was a consistently successful singles artist, who placed 16 consecutive 45s on the R&B chart between 1969 and 1976 - most of which also crossed over to pop. The biggest hits have been anthologised on previous occasions - but "Hot Buttered Singles" is the first series to present the A and B sides of all of Hayes' 'Yellow Stax'-era 45s in chronological order, and in their original singles versions - several of which have not appeared on CD before. Many of these tracks are among his best loved recordings. Here you will hear them as you would have heard them on soul and pop radio over half a century ago. Extensively annotated, handsomely illustrated and coming to you - on CD AND double vinyl - in a package that an artist of Ike's stature thoroughly deserves

Procol's Ninth is the eighth studio album (ninth including Live) by Procol Harum, and was released in August 1975. Produced by songwriters Jerry Leiber and Mike Stoller, Procol's Ninth featured a slightly different direction from the previous album, with a much starker sound than Chris Thomas's more elaborate productions. According to an interview with guitarist Mick Grabham, conducted by Roland Clare for the 2009 reissue, Leiber and Stoller focused less on the production sound and more on "the structure of the songs". The band appeared on the cover of the album in a straightforward unassuming photograph, mirroring the sound of the album itself. The cover featured simulations of each band member's signature.

Night Music for John Lennon was composed by Lukas Foss between 1980-1981. It is a concertante work for a large or small orchestra and a brass quintet. The composition is structured in three movements: "Prelude," "Fugue," and "Chorale." The Boston Modern Orchestra Project (BMOP) has released a new album featuring this work. The album also includes Foss's Cello Concert and Concerto for Solo Percussion and Large or Small Orchestra.

Um álbum para celebrar a genialidade de Waldir Azevedo (1923-1980) e provar que música instrumental pode ser, ao mesmo tempo: elaborada, popular e comunicativa!

this 5 CD box marks the complete re-release of the complete recordings. Apart from the 5 CDs with in all ca 6 hours of material, the CD box contains a 60 page booklet with essays by Teddy Hultberg and Sten Hanson, as well as historical photographs taken by Lütfi Özkök during the festivals. The term text-sound composition was coined in 1967 in Sweden by the composers/writers Lars-Gunnar Bodin and Bengt Emil Johnsson, and was meant to serve to name a genre that was a vital art form in the no man's land between sound, poetry, and music. Text-sound compositions had influences from previous modernistic waves such as futurism, dadaism, lettrism, etc., but perhaps the most important influence was the Swedish poet and visual artist Öyvind Fahlström, who had just over a decade earlier coined the term "concrete poetry". The term concrete poetry related to Pierre Schaeffer's concrete music, and it is somewhere between concrete poetry and concrete music that text-sound compositions appear. The birth of the electronic music studio and concrete music's idea that every sound can be freed from its original context and given a new meaning when it is reworked and put together with other sounds in the electronic music studio became the catharsis for text-sound composition. The CD box contains works by the following text-sound composers and sound poets: Charles Amirkhanian, Lars-Gunnar Bodin, Svante Bodin, Henri Chopin, Bob Cobbing, François Dufrêne, Gust Gils, Jarl och Sonja Hammarberg-Åkesson, Sten Hanson, Bernard Heidsieck, C. Christer Hennix, Åke Hodell, Bengt Emil Johnsson, Sandro Key-Åberg, Bengt af Klintberg, Ilmar Laaban, Annea Lockwood & Harvey Matusow, Arrigo Lora-Totino, Ghérasim Luca, Arne Mellnäs, Franz Mon, Ladislav Novák, Diter Rot & Emmet Williams, Erik Thygesen, Paul de Vree.

A composer who led a dissolute life and ended up stabbed to death in Genoa, Stradella nevertheless left a distinctive stamp on the history of music. He is situated at the intersection of several stylistic paths and periods, at the crossroads between opera and sacred drama, since his output, and especially San Giovanni Battista (St John the Baptist), marks the encounter of the great Roman oratorio inherited from Carissimi with the Venetian opera of Cavalli. Stradella is also close to the next generation, that of Scarlatti and Handel. His music is characterised by liveliness, expressiveness and profound humanity. Although San Giovanni Battista enjoyed genuine success when it was premiered in 1675, it was only in 1949 that the work was exhumed from the libraries where its score lay slumbering. That event took place in Perugia, and the role of Salome was sung by Maria Callas.

Having dazzled us with her coloratura ability in arias by Mozart, Gluck, and her fellow Czech, Myslivecek, this luscious young mezzo-soprano now offers us a generous program of French arias–15 of them, widely varied in tone, weight, dramatic intent, and style–and conquers and convinces in them all. Beginning again in coloratura territory, an aria from Auber's rare Le domino noir catches our attention with the heroine's opening words, "Je suis sauvée enfin!" ("I am safe at last!"), in which she paints the picture of our out-of-breath heroine immediately.

At the ripe old age of 19 Mozart wrote five violin concertos, and they represent his coming of age as a composer of orchestral music. From here on, it's basically one masterpiece after another. Though not difficult works, technically speaking, they partake in full measure of Mozart's uniquely sensual brand of melody. That means that successful performances must know how to spin out a singing musical line, while at the same time making the most of the rare opportunities for soloistic display. Taste and musicianship are more important qualities than virtuosity, and that makes these pieces ideal vehicles for Arthur Grumiaux's aristocratic temperament and technical polish.