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Black Moses
Isaac Hayes
Soul - Released November 18, 2016 | Stax
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Booklet
The sheer tenacity -- albeit undeniably fitting -- of this double-disc set has made Black Moses (1971) one of Isaac Hayes' most revered and best-known works. The multi-instrumental singer/songwriter and producer had been a central figure in the Memphis soul music revolution of the mid-'60s. Along with Booker T. & the MG's, Hayes wrote and performed on more Stax sides than any other single artist. By the time of this release -- his fifth overall, and first two-record set -- Hayes had firmly established himself as a progressive soul artist. His stretched-out and well-developed R&B jams, as well as his husky-voiced sexy spoken "raps," became key components in his signature sound. Black Moses not only incorporates those leitmotifs, but also reaffirms Hayes abilities as an unmistakably original arranger. Although a majority of the album consists of cover material, all the scores have been reconfigured and adapted in such a fundamental way that, for some listeners, these renditions serve as definitive. This is certainly true of the extended reworkings of Jerry Butler's "Brand New Me" and Esther Phillips' "You're Love Is So Doggone Good" -- both of which are prefaced by the spoken prelude to coitus found in each respective installment of "Ike's Rap." The pair of Curtis Mayfield tunes -- "Man's Temptation" and "Need to Belong to Someone" -- are also worth noting for the layers of tastefully scored orchestration -- from both Hayes and his longtime associate Johnny Allen. The pair's efforts remain fresh and discerning, rather than the dated ersatz strings and horn sections that imitators were glutting the soul and pop charts and airwaves with in the mid-'70s. Hayes' own composition, "Good Love," recalls the upbeat and jive talkin' "Hyperbolicsyllabicsesquedalymistic" from Hot Buttered Soul (1969), adding some spicy and sexy double-entendre in the chorus.© Lindsay Planer /TiVo
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Black Celebration
Depeche Mode
Rock - Released March 17, 1986 | Mute Records
Whether the band felt it was simply the time to move on from its most explicit industrial-pop fusion days, or whether increased success and concurrently larger venues pushed the music into different avenues, Depeche Mode's fifth studio album, Black Celebration, saw the group embarking on a path that in many ways defined their sound to the present: emotionally extreme lyrics matched with amped-up tunes, as much anthemic rock as they are compelling dance, along with stark, low-key ballads. The slow, sneaky build of the opening title track, with a strange distorted vocal sample providing a curious opening hook, sets the tone as David Gahan sings of making it through "another black day" while powerful drums and echoing metallic pings carry the song. Black Celebration is actually heavier on the ballads throughout, many sung by Martin Gore -- the most per album he has yet taken lead on -- with notable dramatic beauties including "Sometimes," with its surprise gospel choir start and rough piano sonics, and the hyper-nihilistic "World Full of Nothing." The various singles from the album remain definite highlights, such as "A Question of Time," a brawling, aggressive number with a solid Gahan vocal, and the romantic/physical politics of "Stripped," featuring particularly sharp arrangements from Alan Wilder. However, with such comparatively lesser-known but equally impressive numbers as the quietly intense romance of "Here Is the House" to boast, Black Celebration is solid through and through.© Ned Raggett /TiVo
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Black Is The New Gold
Brooke Combe
Soul - Released April 21, 2023 | Modern Sky UK
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Black Panther
Ludwig Goransson
Film Soundtracks - Released March 16, 2018 | Hollywood Records
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As the Swedish composer's third collaboration with director Ryan Coogler and actor Michael B. Jordan, Ludwig Göransson's original score for Marvel's Black Panther was also his most adventurous and cross-cultural to date. Pushed by Coogler to utilize as much traditional African music as possible, Göransson traveled to the International Library of African Music in Grahamstown, South Africa, where he collected hundreds of sounds that would find their way into the score (such as the tambin flute that was central to Killmonger's recurring theme). Göransson also recruited Senagalese singer Baaba Maal, whose haunting vocals appear throughout the album, most prominently on the grand anthem "Wakanda" and the moving "A King's Sunset." Throughout, tribal chants, a crew of percussionists, and a 40-person Xhosa choir collided with American hip-hop trap beats and Western string orchestration, supporting the multicultural sound of the fictional kingdom of Wakanda, especially on standout moments like "Killmonger's Challenge" and "United Nations/End Titles." Motifs from the triumphant score also found their way onto the Kendrick Lamar-curated soundtrack, like on the Jay Rock single, "King's Dead," which shared vocal samples with the exhilarating "Casino Brawl." In the same week that the soundtrack topped the charts, the score also landed in the Top 100.© Neil Z. Yeung /TiVo
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Channel the Spirits (Special Edition)
The Comet Is Coming
Jazz - Released August 25, 2017 | The Leaf Label
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Busking sessions
The Big Push
Alternative & Indie - Released April 17, 2023 | The Big Push
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Ghosts of West Virginia
Steve Earle & The Dukes
Country - Released May 22, 2020 | New West Records
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As Steve Earle has built a rising profile in the theater and acting worlds, his original music output has run thin. After 2000's Transcendental Blues, he's recorded a talky political manifesto, The Revolution Starts Now; Washington Square Serenade, a presumptuous bid to be part of NYC folk history; separate albums covering both Guy Clark and Townes Van Zandt and the inevitable blues album with a Robert Johnson-referencing title. Now comes Ghosts of West Virginia, which draws on Earle's love for American history and his support of the labor movement. Composed for the documentary play Coal Country (about the 2010 explosion that killed 29 miners), these short, bluegrass-influenced songs are pleasant if unmemorable, constrained by being a soundtrack to a pre-existing story. Dedicated to Kelly Looney, the longtime bassist for the Dukes, Ghosts was recorded at Electric Lady Studios in NYC by longtime Earle engineer Ray Kennedy. It benefits from the presence of a pair longtime collaborators—guitarist Chris Masterson and vocalist/fiddle player Eleanor Whitmore (heard on the love song, "If I Could See Your Face"). The big change is Earle's voice, now gruff and haggard, lacking much of its former expressiveness. It makes a song like "The Mine" a tough listen, though it adds the right atmosphere to "Black Lung"—and his gift of twangin’ rock and roll thankfully reappears on "Fastest Man Alive." Meant as a visual accompaniment, Ghosts is a placeholder for Earle completists and dedicated fans. © Robert Baird/Qobuz
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Battlefield 1 (Original Soundtrack)
Johan Soderqvist
Film Soundtracks - Released October 28, 2016 | EA Music
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Black Up (Édition StudioMasters)
Shabazz Palaces
Hip-Hop/Rap - Released June 28, 2011 | Sub Pop Records
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Only a little more than a year after releasing two EPs -- a self-titled one, and Of Light -- Seattle's Shabazz Palaces signed to Sub Pop for their full-length debut. Even on a high-profile label, former Digable Planets member Ishmael Butler (formerly Butterfly) maintains a shroud of mystique, rapping under the facade of Palaceer Lazaro and purposely avoiding publicity, interviews, and liner credits. Considering his long-term time in the game, his wordplay is still surprisingly relevant, and, masked as Lazaro, he reinvents himself by adding an air of sophistication to the persona of a streetwise gangster. Jazz references are no longer the norm and Butler steers away from the blaxploitation slang and rhymes about being an insect or a creamy spy, but he still has a distinctive, surreal style of flowing. Compared to former albums by Digable Planets, Cherrywine, Camp Lo (Butler guested on some of their tracks), or even on the prior Shabazz Palaces EPs (which were pretty dark to begin with), Black Up is a much harder-edged album. There are no obvious singles, and the beats are murky, splintered, and synthesized, reminiscent of the space-age rap of acts like Deltron 3030, Kool Keith, and Dälek. In a year when minimal production is on the upswing -- a trend highlighted by the enormous buzz surrounding Odd Future and Tyler, the Creator's bare-boned productions -- Shabazz Palaces seems perfectly in tune with a modern underground movement that embraces the most ominous and difficult aspects of hip-hop. As the mainstream becomes more and more predictable, Shabazz Palaces’ inscrutability is a welcome change. Because the beats are so abstract, roots take precedent, and a strong presence on the microphone becomes the most important aspect. Butler fills this role with ease. His smooth, sparkling rhymes glue Knife Knights' watery environment together to create a provocative listen from start to finish.© Jason Lymangrover /TiVo
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So Say We All (Battlestar Galactica Live)
Bear McCreary
Rock - Released June 4, 2021 | Sparks & Shadows
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HAARP - Live From Wembley Stadium
Muse
Alternative & Indie - Released December 3, 2007 | Warner Records
Whether you view them as dynamic rock & roll rulers or overblown Radiohead knock-offs, it's hard to contend with Muse's strength as a live act. H.A.A.R.P. shows the band strutting its stuff in front of a sold-out audience at Wembley Stadium, with a set list that relies heavily on 2006's Black Holes and Revelations but still dips into the band's back catalog. The accompanying DVD gives a flashy, glitzy face to the music, and the refreshing lack of lightning-fast camera editing helps boost it above the band's previous CD/DVD combo, Hullabaloo Soundtrack. Still, the audio disc holds up quite well on its own, both for its crystal clear sound quality as well as the band's confident performance. Muse's intricate, electronics-laced material isn't the easiest thing to replicate in a live setting, but H.A.A.R.P. sounds as sharp as the band's studio albums, with Matthew Bellamy often adding different guitar flourishes (a brand new riff here, an extended solo there) to make these live renditions unique. And even if a small handful of songs sound nearly identical to their studio counterparts, it's nice to hear a song like "Starlight" -- a tune that has always sounded like it was consciously created for arena-sized crowds -- finally get the proper Wembley Stadium treatment.© Andrew Leahey /TiVo
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HAARP
Muse
Alternative & Indie - Released December 3, 2007 | WM UK
Booklet + Videos
Whether you view them as dynamic rock & roll rulers or overblown Radiohead knock-offs, it's hard to contend with Muse's strength as a live act. H.A.A.R.P. shows the band strutting its stuff in front of a sold-out audience at Wembley Stadium, with a set list that relies heavily on 2006's Black Holes and Revelations but still dips into the band's back catalog. The accompanying DVD gives a flashy, glitzy face to the music, and the refreshing lack of lightning-fast camera editing helps boost it above the band's previous CD/DVD combo, Hullabaloo Soundtrack. Still, the audio disc holds up quite well on its own, both for its crystal clear sound quality as well as the band's confident performance. Muse's intricate, electronics-laced material isn't the easiest thing to replicate in a live setting, but H.A.A.R.P. sounds as sharp as the band's studio albums, with Matthew Bellamy often adding different guitar flourishes (a brand new riff here, an extended solo there) to make these live renditions unique. And even if a small handful of songs sound nearly identical to their studio counterparts, it's nice to hear a song like "Starlight" -- a tune that has always sounded like it was consciously created for arena-sized crowds -- finally get the proper Wembley Stadium treatment.© Andrew Leahey /TiVo
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Folk Songs of the American Longhair
Brother Dege
Blues - Released February 16, 2010 | GolarWash Labs & Records
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Channel the Spirits
The Comet Is Coming
Jazz - Released April 1, 2016 | The Leaf Label
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Love Is The New Black
Anthony Hamilton
Soul - Released September 24, 2021 | BMG Rights Management (US) LLC
Anthony Hamilton intended to stock his first self-released album with material in support of the fight for racial equality and in honor of Black lives taken by racist actions. As he was writing and recording, he opted to ease up somewhat to cover a broader range of emotions. Love Is the New Black is not without songs that convey a message. "Mercy" is a sorrowful but tough ballad in which Hamilton, seemingly consumed with grief, sings with his chest like never before. In the following low-slung "Safe," his voice switches from dispirited to determined, from "It's gettin' gutter 'round here/I lost my brother 'round here" to "Justice, we gon' get it back/Our families, we gon' get 'em back." Those two songs lead the way to the finale, where Hamilton assures his mother like a visiting absent son taking a short break from hustling for survival. The Trouble Man theme seeps into some of the preceding love songs, such as the shaming "Threw It All Away," a weary if elegant ballad that integrates a sample from Tom Brock's Barry White-produced "I Love You More and More." Elsewhere, the sweeter "Coming Home" could pass for a cover of a mid-'70s Isley Brothers classic, all the way down to the fiery guitar solo, and "I Thought We Were in Love," another powerful pleader, got its sway from Harold Melvin & the Blue Notes' "I Miss You." Speaking of soul classics, Hamilton and Jennifer Hudson pair up for a reading of "Superstar" modeled after -- and distinct from -- the Luther Vandross version. Hamilton also delivers one of the hottest-blooded slow jams with "White Hennessy," and dips back into hip-hop soul with the testimonial "Real Love" -- an original, not a Mary J. Blige cover -- produced to neck-swinging effect by 9th Wonder. The contributions of Rick Ross and Lil Jon are unnecessary, but the same most definitely cannot be said about Jermaine Dupri, a factor as co-songwriter and co-producer on most of the highlights. Dupri hadn't worked on a Hamilton album since the breakthrough So So Def recording Comin' from Where I'm From. So, in a way, Love Is the New Black is both a full-circle moment and a fresh start for the newly independent singer.© Andy Kellman /TiVo
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Music Motivation Crossfit Training & Fitness (Charts & Hits Motivant Pour Le Sport, Musculation...)
Remix Sport Workout
Electronic - Released October 28, 2017 | Remix Sport Workout
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Moan Snake Moan, Pt. I-III
Bror Gunnar Jansson
Blues - Released December 1, 2023 | Playground Music
Suppose you have a more precise idea of what you want. If you are searching for the album "Bad" by Michael Jackson, type michael jackson bad. The album in question will be displayed at the top, as it is the most relevant.
By default, search results are sorted in order of relevance. The drop-down menu to the right of "Sort by" allows you to display the results in the desired order.