King Sunny Ade, original name Sunday Adeniyi, (born September 22, 1946, Oshogbo, Nigeria), Nigerian popular musician in the vanguard of the development and international popularization of juju music—a fusion of traditional Yoruba vocal forms and percussion with Western rock and roll.
“King” Sunny Ade enjoyed noble status not only through birth into the Yoruba royalty of southwestern Nigeria but also through popular acclaim as the “King of Juju” since the late 1970s. In his youth Ade played highlife, a type of urban dance music that emerged in Ghana in the late 19th century and blended elements of church music, military brass-band music, sea shanties, and various local African traditions. In the mid-1960s Ade abandoned highlife for juju, a related musical genre that arose in Nigeria in the 1920s as an expression of the urban Yoruba working class. He assembled his own juju band, the Green Spots, which he later renamed the African Beats, reflecting the re-Africanization of the genre that had been occurring since the early 1950s in conjunction with a growing sense of nationalism.

Laura Phillips Anderson is an American avant-garde artist, composer, musician and film director whose work spans performance art, pop music, and multimedia projects.

The second album from Montreal's Arcade Fire exceeds all expectations. With string and orchestral arrangements by two of the band members, "Neon Bible" is full of both half-assed punk rock mistakes and meticulously orchestrated woodwinds. Processed strings and mandolin. Quiet rumbles and loud rumbles. But mostly just eleven songs that the band thinks are really good.

Wild Honey is the thirteenth studio album by American rock band the Beach Boys, released December 18, 1967 on Capitol Records. It was the group's first foray into soul music and was heavily influenced by the R&B of artists such as Stevie Wonder. The album was the band's worst-selling at that point, charting at number 24 in the US. Lead single "Wild Honey" peaked at number 31, while its follow-up "Darlin'" reached number 19. In the UK, the album peaked at number seven.

Perhaps Licensed to Ill was inevitable -- a white group blending rock and rap, giving them the first number one album in hip-hop history. But that reading of the album's history gives a short shrift to the Beastie Boys; producer
Rick Rubin
and his label, Def Jam; and this remarkable record, since mixing metal and hip-hop isn't necessarily an easy thing to do. Just sampling and scratching
Sabbath
and
Zeppelin
to hip-hop beats does not make for an automatically good record, though there is a visceral thrill to hearing those muscular riffs put into overdrive with scratching. But, much of that is due to the producing skills of
Rick Rubin
, a metalhead who formed Def Jam Records with
Russell Simmons
and had previously flirted with this sound on
Run-D.M.C.
's
Raising Hell
, not to mention a few singles and one-offs with the Beasties prior to this record. He made rap rock, but to give him lone credit for Licensed to Ill (as some have) is misleading, since that very same combination would not have been as powerful, nor would it have aged so well -- aged into a rock classic -- if it weren't for the Beastie Boys, who fuel this record through their passion for subcultures, pop culture, jokes, and the intoxicating power of wordplay. At the time, it wasn't immediately apparent that their obnoxious patter was part of a persona (a fate that would later plague
Eminem
), but the years have clarified that this was a joke -- although, listening to the cajoling rhymes, filled with clear parodies and absurdities, it's hard to imagine the offense that some took at the time. Which, naturally, is the credit of not just the music -- they don't call it the devil's music for nothing -- but the wild imagination of the Beasties, whose rhymes sear into consciousness through their gonzo humor and gleeful delivery. There hasn't been a funnier, more infectious record in pop music than this, and it's not because the group is mocking rappers (in all honesty, the truly twisted barbs are hurled at frat boys and lager lads), but because they've already created their own universe and points of reference, where it's as funny to spit out absurdist rhymes and pound out "Fight for Your Right (To Party)" as it is to send up street-corner doo wop with "Girls." Then, there is the overpowering loudness of the record -- operating from the axis of where metal, punk, and rap meet, there never has been a record this heavy and nimble, drunk on its own power yet giddy with what they're getting away with. There is a sense of genuine discovery, of creating new music, that remains years later, after countless plays, countless misinterpretations, countless rip-off acts, even countless apologies from the Beasties, who seemed guilty by how intoxicating the sound of it is, how it makes beer-soaked hedonism sound like the apogee of human experience. And maybe it is, maybe it isn't, but in either case, Licensed to Ill reigns tall among the greatest records of its time.

独一无二、强悍性感——Beyoncé 希望你听《RENAISSANCE》的时候能带走这些感受。这是她的第七张个人专辑，创作于新冠疫情比较严重的时期，可她却全身心投入了 House 舞曲的怀抱，用这 16 首歌承载解放自我、肯定自我、释放天性、无畏自信的信念，渴望为自由喝彩。《RENAISSANCE》整体氛围轻松的同时能量满满，就像周五晚上下了班，终于可以出门嗨一下，无数种可能性在蠢蠢欲动一样。重点是，专辑告诉我们，不必再去在意他人的目光、满足他人的期待，完全做你自己就好！
专辑的体量庞大，却细致地将丰富的音乐语言统合在一起，昂扬的乐段轮番上阵，让人立刻忘我地沉浸在音乐当中。主打歌《BREAK MY SOUL》分别采样了 Robin S. 和 Big Freedia 的曲子，four-on-the-floor 的经典 House 节奏贯穿始终；Afro-tech 单曲《MOVE》请到了时尚与音乐传奇人物 Grace Jones 和歌手 Tems 前来助阵；《CUFF IT》则把我们的记忆带到了轮滑迪斯科舞厅盛行的那个年代。
专辑也不乏温柔私密的瞬间。甜美的情歌《PLASTIC OFF THE SOFA》里，吉他和人声上演了精妙的对话，Beyoncé 得以充分发挥她精湛的唱功。她轻声细语地唱道：“我知道只要在我身边，你就会情不自禁卸下伪装。”（I know you can’t help but to be yourself around me.）有如夏日的野餐会上，耳畔传来的悄悄话。融合 R&B、Gospel 和 Hip-Hop 的《CHURCH GIRL》，则讲述了一个脱离苦海的故事：“我终于过了这关/我终于重展笑颜/我终于游过那片属于我和你的泪海。”（I’m finally on the other side/I finally found the extra smiles/Swimming through the oceans of tears we cried.）
与此同时，和 Beyoncé 的许多作品一样，《RENAISSANCE》坚定地为黑人身份喝彩。比如《COZY》就是一位自洽的女性送给自己的箴言，Beyoncé 在副歌部分思索道：“悦纳我的肤色/悦纳我的内在。”（Comfortable in my skin/Cozy with who I am）《PURE/HONEY》则展现了 Ballroom 文化的方方面面，歌曲前半段加入变装表演时 MC 应和音乐的说唱（chant），以及（美国变装皇后）Kevin Aviance 的语音采样，后半段则长驱直入，完全陶醉在迪斯科的氛围中，想必这首歌立马会在舞池受到热捧。《PURE/HONEY》铺陈好气氛，就轮到专辑收尾曲《SUMMER RENAISSANCE》登场了。这首歌采样了 Donna Summer 70 年代的迪斯科金曲《I Feel Love》，它自身或许就是一个支点，要把逃离现实的幻梦，推向遥远的、看不见的未来。

Arthur Blakey was an American jazz drummer and bandleader. He was briefly known as Abdullah Ibn Buhaina after he converted to Islam for a short time in the late 1940s. Blakey made a name for himself in the 1940s in the big bands of Fletcher Henderson and Billy Eckstine.

Star Time is a 1991 71-track, 4-CD box set by James Brown. Its contents span most of the length of his career up to the time of its release, starting in 1956 with his first hit record, "Please, Please, Please", and ending with "Unity, Pt. 1", his 1984 collaboration with Afrika Bambaataa. It includes a few previously unreleased tracks.

滚石音乐(Rolling Stone Magazine )史上最佳Top 500 Albums之008#
Digitally remastered from the original production master tapes, this a reissue of the 1979 & third album by 'the only band that matters'. Features the original artwork and all 19 of the original tracks, including the hidden hit 'Train In Vain (Stand By Me)', their first U.S. single to chart (it reached #23 at the time). Also contains reproductions of the original LP sleeves, including the lyrics. 1999 release.

When one thinks of Ornette Coleman's innovative Prime Time Band, it is of crowded ensembles played by the altoist/leader, two guitars, two electric bassists, and two drummers. Actually, Jamaaladeen Tacuma, who plays enough for two musicians, is the only bassist on this date, but guitarists Charlie Ellerbee and Bern Nix, along with drummers Denardo Coleman and Calvin Weston, keep the ensembles quite exciting. None of the eight Coleman originals (which includes a tune titled "What Is the Name of That Song?") would catch on, but in this context they serve as a fine platform for Coleman's distinctive horn and often witty and free (but oddly melodic) style. ~ Scott Yanow, All Music Guide

Robert William Cray (born August 1, 1953) is an American blues guitarist and singer. He has led his own band and won five Grammy Awards.

6、70年代著名的美国南方摇滚乐队CCR的第四张专辑，首发于1969年，专辑中的"Down On The Corner" 、"Fortunate Son"和"Cotton Fields"都是经典的英文老歌。这张专辑中他们也开始抨击一些政治问题，比如Fortunate Son就激烈批评了越战，看过电影《阿甘正传》的朋友相信会有印象。专辑曾登上Billboard第三位，有百万销量。
本专辑在滚石杂志评出的500张历代最强专辑中排名第392位.

Marshall Crenshaw is hard to describe, maybe a sort of rockabilly singer/guitarist who issued numerous albums in the 1980s. We now proudly bring back four of his out-of-print releases on CD. Field Day reached # 52 on the charts in 1983. 10 tracks. Wounded Bird. 2005.

Jack Johnson (also known as A Tribute to Jack Johnson on reissues) is a studio album and soundtrack by American jazz trumpeter, composer, and bandleader Miles Davis. It was released on February 24, 1971, by Columbia Records.

After the release of 1982's All This Love, the group became one of the most popular and talented acts in music. While that effort was a likeable though uneven affair, In A Special Way was, in short, a classic. This boasts a minimalist and artful sound, and rumor has it that the horn tracks were lost during the recording. So as a result In A Special Way is one of the most spare and effective albums of the '80s. The first track, the synth based "Be My Lady," and the bittersweet and pragmatic "Need Somebody," both feature lead vocals from James DeBarge. In A Special Way also marked the coming of age of the vocally gifted El DeBarge as a producer and writer. The biggest hit here, the poignant and spare "Time Will Reveal," is perfect, from its beautiful arrangement and flawless backing vocals to El DeBarge's amazing lead. His prowess also makes the potentially overdone sentiments of "Love Me In A Special Way" come off instead as romantic and effective. The last track, "A Dream," was written and sung by Bunny DeBarge. With a great melody line, the song accurately attains a sense of longing as Bunny DeBarge's lead is particularly moving. Although R&B and rap have appropriated segments of this album in every conceivable manner, the greatness begins and ends with this album.