A Seat At The Table, is the new album from Solange Knowles. The album will be available digitally on September 30th, released on CD November 18th, and on vinyl LP December 9th. Solange describes A Seat At The Table as "a project on identity, empowerment, independence, grief and healing."
A Seat At The Table was written by Solange, and features a host of guest artists including Q-Tip, Kelly Rowland, The Dream, BJ The Chicago Kid, Kelela, Tweet, Moses Sumney, Sampha, Sean Nicholas Savage, Nia Andrews, Devonte Hynes of Houston Texas and Lu of Carolina.

For a quarter-century, the Canadian chamber ensemble has made hold music for awaiting a revolution. Suddenly, on their seventh album, they sound hopeful it could come.

Lahore, Pakistan
Jaubi (جو بھی) is an urdu word roughly translating to "whatever".
Creating whatever sounds good and whatever feels good is the goal.

小詹姆士·喬瑟夫·布朗，非洲裔美國歌手，有「靈魂樂教父」之稱，被認為對20世紀的流行音樂有至深的影響。 詹姆士·布朗生涯為知名歌手、作曲家、樂團團長及音樂唱片製作人。布朗將福音音樂及節奏藍調帶入靈魂樂及放克，對許多其他類型的音樂也都有影響，如：搖滾樂、爵士樂、雷鬼、Disco、舞曲、電子樂、afrobeat及嘻哈。

2015年水星音乐奖 Mercury Prize 获得者。
“Very little about Clementine is predictable, all of it is worth watching” – The Observer
“Sombre piano balladry that goes straight for the gut” - DIY
“Nina Simone’s brother steps into an elegant French café, sits down at the piano and tears open a vein” – Rolling Stone
“An extraordinary new musical talent. Incredible” - The Evening Standard
He's been popular in Paris for a while, but is only very recently garnering similar attention in his home nation. The press release explains his Hollywood-worthy tale:
"Benjamin Clementine has packed a lot into his 25 years: heartbreak, homelessness, reinvention, before reaching cult status in Paris and returning home in unlikely circumstances. Raised in Edmonton, his household was a strictly religious one, where children were barred from the living room unless it was a weekend dinner ("my parents, even though they were quite devilish, acted like Christians, and we weren't allowed to play anything other than gospel music”)."
The North London singer-songwriter, inspired by those formative restrictions, classical radio and the Anthony and The Johnsons, has also announced a headline date at the Barbican on 1 April to support the release of his debut.
At Least For Now is due for release via Virgin EMI on 23 March.

WRITTEN AND RECORDED
August 31st to Dec. 6th, 2016 in the same room where Geneviève died, using mostly her instruments, her guitar, her bass, her pick, her amp, her old family accordion, writing the words on her paper, looking out the same window.
Why share this much? Why open up like this? Why tell you, stranger, about these personal moments, the devastation and the hanging love? Our little family bubble was so sacred for so long. We carefully held it behind a curtain of privacy when we’d go out and do our art and music selves, too special to share, especially in our hyper-shared imbalanced times. Then we had a baby and this barrier felt even more important. (I still don’t want to tell you our daughter’s name.) Then in May 2015 they told us Geneviève had a surprise bad cancer, advanced pancreatic, and the ground opened up. What matters now? we thought. Then on July 9th 2016 she died at home and I belonged to nobody anymore. My internal moments felt like public property. The idea that I could have a self or personal preferences or songs eroded down into an absurd old idea leftover from a more self-indulgent time before I was a hospital-driver, a caregiver, a child-raiser, a griever. I am open now, and these songs poured out quickly in the fall, watching the days grey over and watching the neighbors across the alley tear down and rebuild their house. I make these songs and put them out into the world just to multiply my voice saying that I love her. I want it known.
"Death Is Real" could be the name of this album. These cold mechanics of sickness and loss are real and inescapable, and can bring an alienating, detached sharpness. But it is not the thing I want to remember. A crow did look at me. There is an echo of Geneviève that still rings, a reminder of the love and infinity beneath all of this obliteration. That’s why.
- Phil Elverum
Dec. 11th, 2016
Anacortes
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Available in physical form, very nicely made, from
P.W. Elverum & Sun
box 1561
Anacortes, WA
USA 98221

catalog no. ELV040
credits
releases March 24, 2017

女爵士蓝调大师Etta James1961年的一张专辑。这张专辑融合了流行、蓝调和爵士乐的风格，较同时期的蓝调歌手而言更为“主流”一些，这张专辑中的"Stormy Weather"， "I Just Want to Make Love to You"等歌曲都是打榜的热门歌曲，而她也被认为开创了一种被称为“Crossover diva”的独特演唱风格。
本专辑在滚石杂志评出的500张历代最强专辑中排名第116位。
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从1960年到1976年，Etta James在Chess旗下所出的唱片贴着各种各样的Chess商标（意味着不同的风格），最令人感叹的是，不论是出哪种风格的东西，她都能给人以惊喜。什么事都能被她歌唱，教堂布鲁斯“我只能哭泣（All I Could Is Cry）”的灵感来自于她与这个厂牌的第一次对话，而十个月之后她又推出了一首近乎献媚的“最终（At Last）”，-- Christina Aguilera经常在演唱会上演唱这首歌并以此向James致敬。
在22岁的Etta走进Chess之前，她已经有5年的职业音乐生涯了。在此之前，她并没有好好地开发自己的嗓子。在“All I Could Do Is Cry”中，她的嗓音听起来相当成熟、有形，但在以后灌录的唱片中，她给了人们更多的惊喜。她说，在长大后，她希望自己唱起歌来能象个男人，最好能像她儿提时代在洛杉矶浸礼会教堂里唱师班的领唱。没有几个人能像她那样唱得既漂亮又铿锵有力。Leonard Chess认为她有着像Dinah Washington那样跨越正统与流行的潜质，于是在Etta的早期歌曲中经常会出现管弦乐的合音—这并不是Chess的一贯作风，有时他们听起来既粗制滥造又老土。即使在这些歌中，James的演唱也是引人入胜的，忽而咆哮忽而温柔，就象是坐上了过山车。
在自己参与创作的歌曲（如“有什么抓住了我（Something Got s Hold on Me）”，“停止婚礼（Stop the Wedding）”中，她的力量更是发挥得淋漓尽致，相比之下，Tina Turner的嗓子显得那么平面。而在“给我的孩子（One for My Baby）”与“不要再逃避（Don\'t Get Around Much Anymore）”中，James的发音又表现出少有的轻柔。以上所提到的歌曲都收录在第一张CD中。在第二张盘中，“两面（Two Sides）”有着完美的编曲配器；在“亲爱的你想让我做什么（Baby What You Want Me to Do）”里，她的嗓音呈现出完全出乎意料的混浊，--这首歌出自Etta最棒的现场专辑之一、录制于1963年的《埃塔震撼了房子（Etta Rocks the House）》；小歌“波比是他的名字（Bobby Is His Name）”迸发了生命与死亡的激情；与Sugar Pie DeSanto合唱的歌曲“在地下室（In the Basement）”是一支激情四射的舞曲；还有灵歌中的颈点“告诉妈妈（Tell Mama）”（被Janis Joplin翻唱）和“我宁愿瞎了眼（I’d Rather Go Blind”）（被Rod Steward翻唱）。

。低传真、Nosie Pop与庞克精神骚动的惨绿青春乐章
。Nirvana、Pixies制作／录音大师Steve Albini合力打造
。乍现Nirvana《In Utro》时期粗犷不羁的狂躁能量
进入千禧年后，Lo-Fi曲风不但没有随着90年代而逝，反而冒出了许多如Wavves、Tapes’n Tapes、No Age等接棒新秀。2011年，来自美国克里夫兰的年轻人Dylan Baldi化名为Cloud Nothings，在Carpark厂牌下发行了首张同名专辑，以Lo-Fi精神与Noise Rock曲风纪录下乖戾躁郁的青春，满溢出来的青春张力，获得了权威音乐网站Pitchfork 7.9分的好评。
最新专辑《Attack On Memory》由曾经为Nirvana、Pixies打造无数经典的制作／录音大师Steve Albini合作，依旧弥漫Lo-Fi精神的粗犷活力，力道却更加成熟饱满。专辑开场曲〈No Future／No Past〉以抑郁的旋律开场层层堆叠出澎湃激昂的前卫缓飙格局；长度接近9分钟的〈Wasted Days〉，在Dylan Baldi声嘶力竭的畅快怒吼之后，让人血脉贲张的噪音音墙直扑而来；〈Fall In〉短小精悍的Punk曲式，令人联想起早期的Green Day；〈Stay Useless〉一曲所散发出来的青春活力，足以让人勾起窝在沙发上看【瘪四与大头蛋】那款属于90年代的回忆。
“当你孓然一身，便无所畏惧了。（When you got nothing, you got nothing to lose. ）”Bob Dylan在〈Like A Rolling Stone〉里这么唱着。这一无所有的匮乏，正如我们的青春，而没有什么音乐比简单粗糙的Lo-Fi精神，更能捕捉这段惨绿岁月，Cloud Nothings生猛带劲的音乐，正好可以让人重新燃起体内温驯太久的小宇宙。

Limited Edition import-only vinyl LP repressing of this album. Universal. 2007.

该专辑收录的都是萨姆 库克的现场表演。本专辑在滚石评出的500强中被排名443位.美国民谣歌手Art Garfunkel(民谣传奇组合Simon & Garfunkel的主唱)在2004年接受滚石杂志采访时是这么评价Sam Cooke的：“Sam Cooke唱歌的方式非常简单：纯净优美，声线饱满，格外地直率。他拥有一个歌手具备的所有素质与自信，调子应该这么定，唱出来的声音应该这个样子，这些正是Sam所擅长的。

圣诞女王回归，冬日必听再添一曲！牛姐Mariah Carey携R&B才子毛刷Khalid和福音歌手 Kirk Franklin打造全新圣诞单曲《Fall in Love at Christmas》，灵魂合声溢满冬日温情！

A very first attempt playing live in the renowned studio in Beijing. Baihuashenchu - directly translated to the Deep of 100 Flowers, in a small Hutong.
作词：烧飞
作曲：赛吉来信
编曲：赛吉来信
主唱：烧飞
吉他：烧飞/郇郇
贝斯：一陈
鼓手：甜甜
小打：杜博轩
黑管：哈迪
录音：尹冲
混音：刘家辉/尹冲
母带：尹冲
制作人：赛吉来信
录制地点：百花录音棚