Atlantic publishes ‘Déjà Vu,’ the first album by Crosby, Stills, Nash & Young (1970)
'Déjà Vu' by Crosby, Stills, Nash & Young is an album (their second as 'Crosby, Stills & Nash' and their first with Neil Young) released on March 11, 1970 by…
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'Déjà Vu' by Crosby, Stills, Nash & Young is an album (their second as 'Crosby, Stills & Nash' and their first with Neil Young) released on March 11, 1970 by…
Elvis Costello's 'Brutal Youth' is an album recorded with his band the Attractions and released on March 8, 1994 by Warner Bros.Track Listing : 1.Pony St. (Declan Macmanus) - 03:25…
This day (March 6, 1946), in Cambridge, England, is born David Jon Gilmour, simply known as David Gilmour, English artist who became a member of Pink Floyd in replacement of…
Tricky's 'Maxinquaye' is his debut album featuring Martina Topley-Bird on vocals and released on February 20, 1995 by Island. Track Listing : 1.Overcome (Marcella Detroit, Tricky) - 04:30 . [Sample…
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Lenny Kravitz’s “Fly Away” delivers effortless grooves with its four-chord simplicity, blending pop-rock and funk for wide appeal—it even snagged a Grammy and topped the UK charts. Jamiroquai’s “High Times” stands out with polished R&B-funk, showcasing tight production and Jay Kay’s vocal charisma, though its tame lyrics on travel fatigue leave it feeling safe rather than bold.
Urban Cookie Collective’s “Sail Away” rides the ’90s Eurodance wave with radiant vocals by Diane Charlemagne, climbing charts across Europe while sticking to a familiar formula. Meanwhile, “Crispy Bacon” by Laurent Garnier masters minimalist techno, its relentless bassline and stripped-back intensity epitomizing late ’90s club culture with playful menace.? Take our 12-track quiz.
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Dumdums’ “Army of Two” blends crisp production, plaintive vocals, and rhythmic precision, capturing early-2000s British guitar pop but plateauing at number 27 like their previous singles. JJ72’s “Snow,” marked by melancholic energy and Mark Greaney’s theatrical vocals, saw a delayed rise to number 21 on its re-release, contrasting their fragile yet defiant presence with peers like Coldplay and Embrace.
Oasis’s “Songbird,” Liam Gallagher’s tender ode, strips back typical bombast for raw simplicity, maintaining a modest spot in their catalog. Beth Orton’s “Conceived” is understated and intimate, leaning on her folk-pop blend yet leaving ambitions underexplored. Meanwhile, Freefaller’s “Do This! Do That!” delivers catchy, straightforward pop/rock, reflecting early-2000s radio’s formulaic appeal.? Take our 12-track quiz.
Carolina Chocolate Drops’ take on Blu Cantrell’s “Hit ‘Em Up Style” transforms modern pop into a string-band jam with banjos and fiddles, tying it to their Piedmont roots. Prince’s “Fury” mixes acid rock and funk with blistering guitar but feels restrained, contrasting its live performances where his energy electrifies the track. Meanwhile, Tenacious D’s “Dude (I Totally Miss You)” walks the line between humor and heartfelt emotion, thriving in their animated live sets.
Beth Hart’s “Hiding Under Water” channels her raw blues-rock energy, with live renditions cutting deeper into her vulnerability. Robbie Williams’ “Monsoon” sits comfortably on “Escapology,” blending polished instrumentation with emotional volatility. PJ Harvey’s “The Sky Lit Up” sprints with controlled chaos, while George Benson and Al Jarreau’s “Summer Breeze” reimagines soft rock as jazzy sophistication, contrasting nostalgia with urbane warmth.
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Andreas Johnson’s “Glorious” embodies late-90s polished pop-rock, delivering catchy, radio-ready melodies but leaning more on marketability than artistry. Shivaree’s “Goodnight Moon” stands out with its haunting Southern Gothic vibe, blending Ambrosia Parsley’s vulnerable vocals with noir-like instrumentation. Meanwhile, Richard Hawley’s “Baby, You’re My Light” embraces understated tenderness, offering warmth but skirting predictability.
Counting Crows’ “Big Yellow Taxi” revamps Joni Mitchell’s original with Vanessa Carlton’s vocal addition, balancing nostalgia with commercial sheen. Simple Plan’s “When I’m Gone” softens their pop-punk roots into radio-friendly polish, while Antony Costa’s cautious “Do You Ever Think Of Me” reflects a transitional solo effort. Plumb’s “Real” focuses on self-acceptance, though its safe production misses potential depth.
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