CBS publish Soft Machine’s first fully instrumental album : ‘Fourth’ (1971)
Soft Machine's 'Fourth' is a studio (and first all-instrumental ) album released on February 28, 1971 by CBS.
Soft Machine's 'Fourth' is a studio (and first all-instrumental ) album released on February 28, 1971 by CBS.
Soft Machine's 'Volume One' is their debut album also titled 'The Soft Machine' and released in December 1968 by Abc Probe.
Soft Machine's ‘Third' is a double album (each side of the vinyl version consisting of a single composition) released on June 6, 1970 by Cbs /Columbia.
Depeche Mode's 'Delta Machine' is their thirteenth studio album produced by Ben Hillier and released on March 22 , 2013 by Columbia /Mute Records.
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Jamiroquai’s "Cosmic Girl" blends disco-funk revival with '90s electronic flair, boasting syncopated rhythms and galactic-inspired lyrics, though its mechanical edge may feel rigid. Critics like Caroline Sullivan liken its harmonies to
…Robert Wyatt's 'The End of an Ear' is his debut solo album while he was still with Soft Machine, released on December 4, 1970 by Cbs.
Mike Oldfield's 'Tubular Bells' is his first album recorded when he was 19 and released on May 25 ,1973 by Virgin Records.
James Taylor 'Mud Slide Slim and the Blue Horizon' feat. 'You've Got a Friend' is his third studio album released on March 16, 1971 by Warner Bros.
Yeah Yeah Yeahs' 'It's Blitz!' is their third studio album produced by Nick Launay and David Andrew Sitek and released on March 6, 2009 by Interscope
Dive into 29 vintage music genres where nostalgia meets innovation. This month, Kasabian’s "Goodbye Kiss" joins 2000s Garage Rock, while Bryan Adams’ heartfelt "Straight From The Heart" makes its mark on Heartland Rock. Del Amitri returns
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…Grant Lee Buffalo's 'Fuzzy' is their debut studio album produced by Paul Kimble, released on February 23, 1993 by Slash
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…The page highlights diverse ‘80s tracks, like Dexys Midnight Runners’ brassy tribute "Geno," blending fan-to-idol narrative with fiery saxophones, and The Icicle Works’ "Evangeline," a moody neo-psychedelic piece reflective of its late-'80s
…Tracks like Flo Rida's "Low" with its crunk-era vibe and T-Pain's iconic hook captured mid-2000s nightlife, while Usher’s "Yeah!" featuring Lil Jon and Ludacris blended R&B charm with crunk energy to dominate charts globally. Beyoncé’s "If
…Taylor Dayne’s "Don’t Rush Me" pairs assertive patience with glossy production, landing it a No. 2 Billboard spot, just behind Phil Collins's "Two Hearts," while Pat Benatar’s "Love Is a Battlefield" redefined her sound with drum machines,
…Pat Metheny’s reworking of Carly Simon’s "That's The Way I Always Heard It Should Be" transforms its emotional weight into intricate instrumental nuances, highlighted by the unique 42-string Pikasso guitar. Shawn Lane’s "Rice with the
…Coheed and Cambria’s "The Suffering" fuses progressive complexity with radio-ready hooks, driven by Claudio Sanchez’s piercing vocals and a sleek blend of metal crunch and melody. Matchbox Twenty’s "Disease," co-written with Mick Jagger,
…Paramore’s "The Only Exception" showcases a softer, stripped-down ballad in 6/8 time, veering from their usual energy. Hayley Williams’ heartfelt delivery anchors the track, which gained commercial traction, hitting No. 17 in Australia and
…Bob Dylan’s "Knockin' on Heaven’s Door" stands out with its minimalist lyrics on mortality, becoming a timeless, adaptable classic reinterpreted by over 150 artists, including Guns N’ Roses and Eric Clapton. Similarly, U2’s "11 O’Clock Tick
…Annie Lennox’s haunting "Love Song for a Vampire" stands out with its gothic atmosphere and evocative grief, tying perfectly to Coppola's *Dracula*. Another highlight, Michael Bolton’s "How Am I Supposed to Live Without You," channels
…Angélique Kidjo and Buddy Guy's rendition of Hendrix's "Voodoo Child" blends Beninese vocal finesse with emotive guitar riffs, striking a balance between homage and cultural reinterpretation. Buddy's sharp solos and Angélique's intricate
…Michel Petrucciani’s take on Miles Davis’ "So What" from a 1998 Stuttgart concert highlights its staying power, with Anthony Jackson’s steady bass and Steve Gadd’s subtle drumming anchoring restrained improvisation. Meanwhile, John
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