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Pop - Released October 20, 1982 | Warner Records

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Alternative & Indie - Released October 24, 2000 | Warner Records

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Alternative & Indie - Released March 24, 2003 | Warner Records

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Alternative & Indie - Released May 14, 2007 | Warner Records

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Rock - Released August 26, 2013 | Warner Records

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Alternative & Indie - Released September 13, 2010 | Warner Records

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Rock - Released October 16, 2012 | Warner Records

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Rock - Released October 16, 2012 | Warner Records

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Pop - Released April 17, 2012 | Warner Records

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Soul - Released December 18, 2020 | Warner Records

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Five months after the release of her magnificent and self-titled third album, Lianne La Havas offers a live interlude, made under quarantine conditions, of course, and broadcast via livestream over social networks. A former protégée of Prince, the English singer, born to a Jamaican mother and a Greek father, keeps things fairly brief on this EP, Live at The Roundhouse. Five tracks, including four excerpts from the record released during the summer of 2020. Alone, her voice stretches out languidly over a cosy acoustic guitar mat. The album Lianne La Havas, revealed a heart which was almost more folk than soul, and carried by a simple six-string line, lightly wreathed in sunlight. In this more refined live context, she is blasting in all directions! Every word, every syllable, every inflection, every flight, the sensation is hypnotic, close to that created by Joni Mitchell's records of the early 70s. No vocal line has ever been as stunning as that on Bittersweet. As for this version of Courage, it plays hide-and-seek with a bossa nova sound. In the end, a five-track release that stamps the personality of Lianne La Havas that bit more strongly, and corrects those who made her out to be just another little sister to Sade, Lauryn Hill, Jill Scott or Erykah Badu ... © Marc Zisman / Qobuz
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Alternative & Indie - Released June 17, 2016 | Warner Records

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Yes, the Red Hot Chili Peppers are back in town and as spicy as ever! After five long years without any new material, the band straight outta California finally hit the studio again. This time, there was no trace of Rick Rubin’s long white beard during the recording sessions as Danger Mouse and Nigel Godrich (Radiohead’s producer) were in charge of musical production this time around. The two wizards have given the band a more atmospheric sound, less brutal than it used to be. Despite that, the Red Hot Chili Peppers’ sound is still evident and we can hear Flea slapping his bass, Josh Klinghoffer on guitar and Anthony Kiedis’ energetic vocals. The Getaway is a real mixture of funk, pop and rock melted with the hot sun of the West Coast.
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Country - Released March 6, 2020 | Warner Records

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Brandy Clark's third album opens with a stunner: "I'll Be the Sad Song," a ballad carried by sweeping strings and melancholy trumpet. It's a little bit country, a little bit Dusty in Memphis, and a whole new style of Americana. Credit goes not just to Clark, whose songwriting has long been smarter than most. Producer Jay Joyce layers on instrumentation, much of it courtesy of the Memphis Strings & Horns, that acts as Clark's equal. High-hat clicks and jaunty horns offer a sarcastically joyous counterpoint to the kiss-off lyrics of "Long Walk" ("Take a long walk off a real short pier, take a cinderblock with you as a souvenir"). Sad piano and buried-deep bass imbue the regrets of "Apologies." Flute, of all things, adds mischief to the delightful Randy Newman duet "Bigger Boat." There's plenty of dark humor as well as exceedingly human pain, as on "Pawn Shop"—starring an old guitar as metaphor for tarnished dreams—and the lush "Can We Be Strangers," with Clark sighing "I don't want to hate you or even care enough to." © Shelly Ridenour/Qobuz
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Alternative & Indie - Released March 22, 2019 | Warner Records

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Youth says, "I can do it all." But years pass and suddenly, in music at least, the idea of collaborators, of stacking the deck in your favor while paying tribute to the past begins to have a canny appeal. There's no questioning Jenny Lewis' prodigious talents—Vegas-born successful child actor, onetime leader of the band Rilo Kiley and now, on her fourth solo album, a fan of old pros and the success of the California sound of the 70s. Using the piano on which Carole King recorded Tapestry, and with vocals recorded in Sinatra's Capitol Records Studio B, On The Line evinces a cool, effective nerve and perspective in both Lewis’ dynamic singing and her multi-faceted songwriting, which here serve bruised, reflective lyrics about rampant familial dysfunction, hot sex and the edge between self-discovery and self-destruction. The wonderful specificity of her words adds vivid flavors as she argues about Elliott Smith and grenadine, plays Candy Crush, cries like Meryl Streep and looks up "at the chemtrail haze." Where her last album The Voyager leaned towards an 80’s rock sound, this stronger set revels in a seductive musical homage to 70’s Fleetwood Mac-like L.A. decadence and hooky pop/rock. Lewis' sharp, imagistic originals are the star here. The album’s rocker, "Red Bull and Hennessy," complete with an abrupt ending, is appropriately intoxicating. Led by an acoustic piano, "Wasted Youth" examines one of Lewis favorite subjects. If there’s any controversy here it lies in the gleaming sound and glossy production choices which, centered on her voice, layers on the reverb, big drums and a booming ambience. And then there's that aforementioned supporting cast. Starting with heavyweights like Beck and Ryan Adams producing and playing on the album, the band here speaks volumes about Lewis’ reputation and talent and includes drummers Jim Keltner and Ringo Starr, guitarists Smokey Hormel and Jason Faulkner, bassist Don Was and keyboardist Benmont Tench. Simultaneously harrowing, irresistible and more than a little calculating, On The Line, with its accumulated experience and wisdom is a career milestone. © Robert Baird / Qobuz
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7

R&B - Released November 6, 2015 | Warner Records

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After the global successes of Kiss From a Rose, Love’s Divine, and Crazy, the British soul legend Seal continues to maintain his exemplary vocal standards on his new album, 7. Staying true to himself, love remains the chief preoccupation for Seal on this instalment; this noble sentiment has proven an endless source of inspiration for the singer throughout his storied career. His powerful, hushed voice continues to be the perfect instrument to treat his amorous subject with. The deep complicity that Seal has with his producer, Trevor Horn, continues to work sonic wonders. The compositions on 7 possess a certain steaminess, which, when coupled with Seal’s vocal range, give extremely listenable results. An unexpected pleasure. © LG/Qobuz
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Alternative & Indie - Released November 27, 2020 | Warner Records

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Pop - Released March 25, 2020 | Warner Records

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Film Soundtracks - Released January 24, 2019 | Warner Records

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Alternative & Indie - Released September 9, 2016 | Warner Records

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Alternative & Indie - Released September 24, 2020 | Warner Records

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Rock - Released January 21, 2021 | Warner Records

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Warner Records in the magazine