2Pac releases his fourth album : ‘All Eyez on Me’ featuring ‘I Love L.A.’How Do U Want It’ and ‘California Love’ (1996)
2Pac‘s ‘All Eyez on Me’ feat. ‘California Love’ is his fourth studio album released on February 13, 1996 by Death Row Records and Interscope Records.
Taj Mahal records ‘The Real Thing,’ a live album at Fillmore East, New York City (1971)
Taj Mahal‘s ‘The Real Thing’ is a live album recorded on February 13, 1971 at Fillmore East, New York City with a band with four tuba players and released the same year by Columbia.
Concord publish Sérgio Mendes’ ‘Timeless,’ a collaborative album produced by will.i.am (2006)
Sérgio Mendes’ ‘Timeless’ is a collaborative album produced by will.i.am released on February 13, 2006 by Concord.
Charles Mingus records ‘The Clown,’ an album for Atlantic (1957)
Charles Mingus ‘The Clown’ is an album recorded on February 13 and March 12, 1957 and released the same year by Atlantic.
Dianne Reeves releases ‘The Calling: Celebrating Sarah Vaughan’ produced by George Duke (2001)
Dianne Reeves‘ ‘The Calling: Celebrating Sarah Vaughan‘ is a studio album produced by George Duke and released on February 13, 2001 by Blue Note.
Ella Fitzgerald records ‘Ella in Berlin’ a live album for Verve (1960)
Ella Fitzgerald‘s ‘Ella in Berlin’ is a live album recorded on February 13, 1960, at the Deutschlandhalle, Berlin and released the same year by Verve.
Benny Goodman records ‘Together Again!’ a reunion album with Lionel Hampton, Teddy Wilson and Gene Krupa (1963)
Benny Goodman‘s ‘Together Again!’ is a reunion album recorded on February 13 & 14, 1963 with Lionel Hampton, Teddy Wilson and Gene Krupa and released the same year by RCA.
Me:nu Du Jour February 12 (EN.FR.ES)
>> EN FRANCAIS | >> EN ESPAÑOLTODAY We Listen To Allman Brothers, Robert Wyatt, Rush, Return to Forever, Miles Davis, Billie Holiday, Dave Brubeck We Celebrate Michael McDonald, Steve Hackett, Screamin Jay Hawkins, Eubie…
‘L’Amour Toujours’ N°692 – 2010s Music Videos
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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 earning a Grammy nod. Its quiet introspection marked a shift, resonating on the UK Rock Chart but drawing mixed feelings about its restrained predictability. Similarly, Marina’s "How to Be a Heartbreaker" paired cheeky breakup rules with a polished pop backdrop. Produced by Benny Blanco and Dr. Luke, the track aimed for mainstream success, achieving platinum status but peaking modestly on UK and US charts, balancing humor with a team-driven sound.
Jack Savoretti’s "Candlelight" leans into cinematic elegance with lush, atmospheric instrumentation, hinting at James Bond vibes but sanding down emotional edges for mass appeal. Meanwhile, Ne-Yo’s Disney piece, "Never Knew I Needed," oozes romance with polished R&B stylings but feels like a chapter in a broader narrative rather than a standout. Sugarland’s "Stuck Like Glue" blends country and reggae, delivering an earworm that polarized fans with its quirky energy, while Alyssa Reid’s "Alone Again" borrowed Heart’s ’80s hit, blending nostalgia with crisp pop charm to climb European charts. These tracks highlight diverse approaches to balancing emotional weight and commercial appeal.? Take our 12-track quiz.
‘Vous Avez Dit Bizarre’ N°328 – Vintage 80s Music Videos
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Slade’s “Run Runaway” combined glam rock energy with Scottish folk vibes, reaching No. 7 in the UK and breaking into the US top 20. Its electric fiddle and infectious rhythm gave it an arena-rock edge. The Police’s “So Lonely,” with its punk-reggae fusion, went from initial chart failure to a UK top 10 hit upon re-release in 1980, featuring Sting’s angsty yet self-aware vocals that became a fan favorite.
Chas & Dave’s “London Girls” celebrated Cockney charm but struggled to stand out, peaking at No. 63 on the charts. Meanwhile, David Bowie and Pat Metheny’s “This Is Not America” blended jazz textures with introspective lyrics, hitting No. 32 in the US. Madness’s “Michael Caine” pushed narrative boundaries with its noir vibe and reached No. 11 in the UK, while The Style Council’s slick, brassy “My Ever Changing Moods” became Paul Weller’s highest US charting single.
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‘Vous Avez Dit Bizarre’ N°669 – 2010s Music Videos
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Sam Smith’s "Lay Me Down" carries raw emotion, evolving from a modest 2013 release to gaining wider notice with a 2015 reissue and a remix featuring John Legend that hit No. 1 in the UK. Similarly, James Blake’s haunting "Retrograde" highlights sparse production, delicately blending post-dubstep and soul. Rihanna’s "Needed Me" pairs cool detachment with DJ Mustard’s grinding beats, sticking to a slow-burn electro-R&B vibe, while Miley Cyrus’s "Wrecking Ball" leans on emotional heft paired with over-the-top visuals for cultural impact.
Bombay Bicycle Club’s "Luna" layers vibrant harmonies and tabla rhythms, balancing exotic textures with indie sensibility, whereas Rag’n’Bone Man’s "Skin" delivers cinematic emotionality rooted in TV-inspired drama. Tracks like One Direction’s "Steal My Girl" and Imagine Dragons’ "I Bet My Life" favor polished production over innovation, while Tinie Tempah and Labrinth’s "Lover Not a Fighter" leans into radio-ready pop-rap charm. Elbow’s "Magnificent (She Says)" and Example’s "Perfect Replacement" round out the list, offering tracks that feel precise yet miss risks that could truly resonate.? Take our 12-track quiz.
This week In ’80s Throwback’ Videos 07/52
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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 Tock" reflects the band’s early ambition, blending raw energy and atmospheric production, further solidified by its powerful live performances.
Peter Gabriel’s "Sledgehammer" dazzles with its funk-driven brass and groundbreaking visuals, while Laurie Anderson’s "Sharkey’s Day" layers experimental instrumentation with surrealist spoken-word delivery. Michael McDonald’s "I Keep Forgettin’" expertly melds R&B groove with smooth studio precision, and Joe Jackson’s "Steppin’ Out" captures the electric allure of NYC nightlife with finely crafted sophistication.
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‘We Are Live’ N°15 – Vintage 2000s Music Videos
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The Kills’ "The Good Ones" thrives on raw minimalism, with Alison Mosshart’s snarl paired against Jamie Hince’s taut guitar, creating electrifying tension. Its success on the UK Singles Chart (#23) and sharp Rojo-directed video amplify its gritty outsider aesthetic. Elsewhere, The Strokes’ "Reptilia" blends Julian Casablancas’ detached vocals with tightly wound guitar interplay and gained long-term appeal through its presence in games like *Guitar Hero III*.
U2’s "All Because of You" aims for anthemic energy but lacks depth, performing better live during their Vertigo Tour. Meanwhile, The Duke Spirit’s "Lion Rip" offers moody rawness tied to their early ambitions, showcasing Liela Moss’s mesmerizing vocals. Nada Surf’s "Hi-Speed Soul" delivers vibrant alt-rock dynamics, balancing melody and propulsion, while The Datsuns’ "Harmonic Generator" captures rowdy garage rock urgency with brash intensity.
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‘L’Amour Toujours’ N°106 – Vintage 90s Music Videos
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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 theatrical heartbreak with his dramatic delivery, earning commercial and Grammy success. Meanwhile, Boyzone adds a polished touch to Tracy Chapman’s "Baby Can I Hold You," crafting a tender, chart-climbing ballad.
Thunder's "Dirty Love" captures late '80s hard rock energy without overindulgence, while Lalah Hathaway’s "Baby Don’t Cry," with Angela Winbush's production, delivers smooth R&B polish. Right Said Fred’s fun "Don’t Talk Just Kiss," featuring Jocelyn Brown, blends cheeky energy with early '90s dance vibes. King’s X’s "It’s Love" leans into melodic clarity, exploring lighter sonic textures while retaining a touch of the band’s rock roots.? Take our 12-track quiz.
‘Music For The Dancers’ N°333 – Vintage 2000s Music Videos
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Garbage's "Cherry Lips (Go Baby Go)" mixes quirky glam-pop with retro-futuristic vibes, featuring Steve Marker's tuba through a wah-wah pedal and Daniel Shulman's groovy bassline. Its playful energy earned solid global chart positions, peaking at No. 7 in Australia and No. 8 in Italy, thanks partly to a clever ad campaign. The eccentric Dawn Shadforth-directed video amplifies its quirky charm, nodding to pop-art and manga influences.
Meanwhile, Dirty Vegas’ "Days Go By" pairs wistful acoustic roots with polished house beats, gaining major traction through a Mitsubishi commercial and earning a Grammy in 2003. On the other end, Safri Duo’s percussion-heavy anthem "Played-A-Live (The Bongo Song)" electrified dance floors worldwide, selling 1.5 million copies. Standouts like Hi Tack’s "Say Say Say [Waiting 4 U]" reimagine classic hooks with modern house production flair, while Ice MC’s 1994 Eurodance hit "Think About the Way" wraps rapid raps and Alexia’s soaring vocals in iconic '90s club energy.? Take our 12-track quiz.
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