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Dear America

Eric Bibb

Blues - Released August 20, 2021 | Provogue

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The scion of a musical dynasty (his father was folk-singer Leon Bibb and his uncle was jazzman John Lewis), Eric Bibb released his first album almost 50 years ago. He grew up in the blues, but he has long been much, much more than simply a bluesman. He has travelled and lived extensively outside the United States, sought inspiration in African music, and refined his technique through contact with other styles and musicians. Dear America, released in the year of his 70th birthday, is a kind of return to his roots. This is a historian's album, which visits some tragic pages of Afro-American history in song. Musically, this is a record rooted in blues, soul and gospel choirs. These are genres so old and well-worn that one wonders how musicians can still draw life from them without falling into clichés. But Eric Bibb succeeds, and with young-at-heart verve, he transforms this return to the roots into an elixir of youth. He does not handle this old music like an antiques dealer, but like a craftsman or a sculptor who is perpetually dazzled by the forms that emerge from the raw material. The picking is soft, the tempo laid-back, and all the tracks here are bathed in a sober elegance. He moves from blues to acoustic soul or folk with a unique fluidity that he shares with his musicians, including drummer Steve Jordan, bassist Ron Carter, guitarist Eric Gales, singers Shaneeka Simon and Lisa Mills. This is an album of American music by a zen master of the form. © Stéphane Deschamps/Qobuz
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Lives in the Balance

Jackson Browne

Pop - Released January 1, 1970 | Elektra Asylum

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Black and White America

Lenny Kravitz

Pop - Released August 19, 2011 | Roadrunner Records

Lenny Kravitz has walked the musical line between Black and White America ever since 1989, when he cannily crafted his persona through strands of Prince, Curtis Mayfield, David Bowie, John Lennon, and Jimi Hendrix. Kravitz has never been shy about his colorblindness but the very title of Black and White America suggests that he may finally be getting political, something he’s avoided outside of the occasional free love platitude. Naturally, this isn’t quite the case. Certainly, there are hints of politics flowing throughout the album, but Kravitz is never about detail -- he’s about big bright broad strokes, a skill that’s on prime display here. Unlike the monochrome It Is Time for a Love Revolution, Black and White America pulsates with color and texture, playing somewhat as a return to his one-man band hippie fantasias. If anything, this is looser than Let Love Rule and Mama Said and more forward-thinking too, the Mayfield-isms offset by heavy synthesizers and dance beats, the overall package bearing a modernist snap to its retro revivalism. Even with that stylized flair and cameos from Jay-Z and Drake, Black and White America never quite feels like it belongs to 2011; it seems as fuzzy and analog as its cover photo of a young Kravitz, which is of course a large part of its appeal. Kravitz’s greatest gift is how he evokes different eras through his sonic synthesis, and he’s let that gift slide slightly as he’s emphasized guitars over the studio. Here, he reverses that dynamic, playing the studio like the virtuoso that he is, and he’s come up with his best record in years, a shamelessly enjoyable piece of aural candy.© Stephen Thomas Erlewine /TiVo
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Black and White America

Lenny Kravitz

Pop - Released August 19, 2011 | Roadrunner Records

Lenny Kravitz has walked the musical line between Black and White America ever since 1989, when he cannily crafted his persona through strands of Prince, Curtis Mayfield, David Bowie, John Lennon, and Jimi Hendrix. Kravitz has never been shy about his colorblindness but the very title of Black and White America suggests that he may finally be getting political, something he’s avoided outside of the occasional free love platitude. Naturally, this isn’t quite the case. Certainly, there are hints of politics flowing throughout the album, but Kravitz is never about detail -- he’s about big bright broad strokes, a skill that’s on prime display here. Unlike the monochrome It Is Time for a Love Revolution, Black and White America pulsates with color and texture, playing somewhat as a return to his one-man band hippie fantasias. If anything, this is looser than Let Love Rule and Mama Said and more forward-thinking too, the Mayfield-isms offset by heavy synthesizers and dance beats, the overall package bearing a modernist snap to its retro revivalism. Even with that stylized flair and cameos from Jay-Z and Drake, Black and White America never quite feels like it belongs to 2011; it seems as fuzzy and analog as its cover photo of a young Kravitz, which is of course a large part of its appeal. Kravitz’s greatest gift is how he evokes different eras through his sonic synthesis, and he’s let that gift slide slightly as he’s emphasized guitars over the studio. Here, he reverses that dynamic, playing the studio like the virtuoso that he is, and he’s come up with his best record in years, a shamelessly enjoyable piece of aural candy.© Stephen Thomas Erlewine /TiVo
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Commémoration de 600 ans de musiques féminines

Ensemble Galilei

Classical - Released March 11, 1997 | Dorian

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America in Black and White

Life of the Party

Pop - Released December 10, 2013 | Party People Records

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HIP HOP VS AMERICA 'Black & White Beats Downloadable Beats

White Boy Street Trell Beatz

Electronic - Released January 1, 2008 | Unsigned Artist

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Highwayman 2

The Highwaymen

Country - Released February 9, 1990 | Columbia Nashville

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Country music's version of the Traveling Wilburys, the Highwaymen's second album clocks in at just under a mere 33 minutes and covers little new territory for the group of country legends. Sadly, of the ten tracks, only six were penned by any of the members. Even the songs included are a little light for this group of country heavyweights, and the album suffers from an overall homogenous and dated 1980s studio sound. The opening track, "Silver Stallion," was the only minor hit from the album, though Cash, Nelson, and Kristofferson make solid contributions to the album. Overall, Highwayman 2 features a decent set of rather uneventful songs, but only the most dedicated fan will find this album a necessity.© Matt Fink /TiVo
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Red, White, Black and Blue

American Dog

Hard Rock - Released January 1, 2003 | Glue Factory

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Black and White

Bleu Edmondson

Country - Released May 7, 2012 | American Saint

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Blue and Green in Black and White

Mike Stout

Country - Released September 25, 2016 | American Blue Collar Records

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Good in Black & White

The Proles

Rock - Released January 20, 2015 | The Americans Are Coming Recordings

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It Aint Black And White

CribDeath

Punk / New Wave - Released January 19, 1990 | South American Pleather Records

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The Blackest Beautiful

letlive.

Alternative & Indie - Released July 5, 2013 | Epitaph

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L.A.-based hardcore unit Letlive broke through in a big way with their 2010 album Fake History, finally capturing some of the bone-breaking energy of their live show in a way that translated to album as well as developing their arrangement skills with atypical song structures and inventive expansion of the sometimes formulaic post-hardcore sound. Follow-up fourth album The Blackest Beautiful takes the strengths of Fake History even further, offering up 11 tracks of technically dazzling and soulfully delivered aggression. Frontman Jason Butler's vocal twists fuel the fire throughout The Blackest Beautiful, jumping acrobatically from screaming rage to tight, sophisticated harmonies to frenzied funky riffing to emotively melodic parts, often all within the same song. Beginning with opening track "Banshee (Ghost Fame)," Butler's lyrics are as inventive and thoughtful as the group's song structures, tackling the complex topic of chasing fame and losing integrity through a series of chants, screams, offhandish laughter, and smooth, soulful lines. The pace never really lets up from there, with Butler attacking topics like corporate greed, racism, and the heavy weight of growing up in a broken home. Musically, Letlive are equally restless, moving through heavy, pummeling riffs reminiscent of Refused or Glassjaw, while breaking into a groove on almost every track, sometimes even melting down into acoustic sections without ever losing intensity. Standout tracks are plentiful, but absolute must-hears include the Soundgarden-meets-Deftones frenzy of "The Dope Beat," the relentless high-speed blasting of "The Priest and Used Cars," and a brilliantly arranged critique of corporatized health care and government corruption on "White America's Beautiful Black Market." The Blackest Beautiful is not just more ambitious, interesting, thoughtful, and boundary-pushing than any of Letlive's previous work, the album is engaging and surprisingly hooky for any record falling under the hardcore umbrella. Fans will be overjoyed and those unfamiliar with Letlive or even modern hardcore circa 2013 should begin with this compelling document of anger, loss, and struggle.© Fred Thomas /TiVo
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Seven Worlds One Planet

Hans Zimmer

Film Soundtracks - Released January 17, 2020 | Silva Screen Records Ltd

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White Lies (MVNW8)

Black Buffet

Hip-Hop/Rap - Released January 10, 2017 | Pan-American Artistic Resource Kollective, LLC

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White Lies (Remix) [feat. Pusha T]

Black Buffet

Hip-Hop/Rap - Released April 15, 2017 | Pan-American Artistic Resource Kollective, LLC

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The High End of Low

Marilyn Manson

Rock - Released January 1, 2009 | Marilyn Manson - Interscope

Remember when everybody was afraid of Marilyn Manson and Eminem? Then it turned out Detroit's white king of rap was a celebrity-obsessed one-liner machine with a pathetic array of mommy issues, and Florida's homegrown Satan went through a bad breakup and released 2007's weepy (relatively speaking) Eat Me, Drink Me. Now, on The High End of Low, Manson is trying to regain his dark throne once more, and frankly, it's unlikely to work. The track titles read like Manson-by-numbers: "Pretty as a Swastika," "Arma-godd**n-motherf**kin-geddon," "I Want to Kill You Like They Do in the Movies," "I Have to Look Up Just to See Hell," and perhaps the most unwittingly revelatory, "We're from America." This album marks the return of former bassist Twiggy Ramirez to the band, but as ever the Manson personality/persona towers over everything else, and his two or three musical ideas are repeated throughout the disc, with only a few exceptions. It doesn't help that he's never even tried to become a technically proficient vocalist; his desultory croon and hoarse shriek are the same as they've been since the early '90s. There are a few catchy riffs here, and a nice tone on "Blank and White," but lyrics like "If you touch me I'll be smeared/You'll be stained for the rest of your life" (from "Leave a Scar") and "Everyone will come to my funeral to make sure that I stay dead" (from "Four Rusted Horses") feel like he's trying to convince himself as much as the audience. The album's middle stretch is a hard slog, with the six-and-a-half minute "Running to the Edge of the World" followed by the nine-minute "I Want to Kill You..." The former is a Bowie-esque ballad/epic (acoustic guitar, strings) that could have been great if it had only been two minutes shorter, while the latter is a one-riff trudge that never builds up any momentum. The aggressive "We're from America" has bursts of lyrical wit, but when your opening line, "We're from America where we eat our young," is cribbed from Funkadelic circa 1972, you're pretty much advertising that you're out of ideas.© Phil Freeman /TiVo
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Cuando Fuma

Black & White

Dancehall - Released October 10, 2022 | CrazyRecordsChile

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