無論是用什麼名字或是符號出現，永遠是樂壇最尊貴的王子。眼光跟敏銳度永遠快人一步，擷取許多傳統樂音，自在遊走節奏藍調、放克、靈魂、流行、搖滾、藍調、爵士、新浪潮、嘻哈…等領域；建立起自己的音樂王朝，擁有引以為傲的子弟兵團；跨行演藝之途，藉著「紫雨」、「櫻桃月下」、「浮士繪之橋」電影的推出，80年代人氣到達顛峰。滾石雜誌曾評論，如果說《1999》讓Prince成為了明星王子的話，那麼《紫雨》就足以讓他成為國王。總累積86,275,000張專輯銷售量，同時擁有獨特的生活哲學，引人側目之行徑、造型打扮與音樂，總是成為鎂光燈下的聚焦中心所在！

Recorded over a period of just 10 hours, the future star’s breakthrough 1969 debut captured her idiosyncratic mix of soul, jazz, and folk and her singular vision as a bandleader.

Freetown Sound is the third album from Devonté Hynes aka Blood Orange. Written and produced by Hynes, Freetown Sound is a tour de force, a pastiche of Hynes’ past, present, and future that melds his influences with his own established musical voice.
For well over a decade, Devonté Hynes has proven himself a virtuoso of versatility, experimenting with almost every conceivable musical genre under a variety of monikers. After moving to New York City in the mid-2000s, Hynes became Blood Orange, plumming the oeuvres of the city’s musical legends to create a singular style of urgent, delicate pop music. Freetown Sound, which follows 2011’s Coastal Grooves and 2013’s breakthrough Cupid Deluxe, builds upon everything Hynes has done as an artist, resulting in the most expansive artistic statement of his career. Drawing from a deep well of techniques and references, the album unspools like a piece of theater, evoking unexpected communions of moods, voices, and eras. Freetown Sound derives its name from the birthplace of Hynes’ father, the capital of Sierra Leone. Thematically, it is profoundly personal and unapologetically political, touching on issues of race, religion, sex, and sexism over 17 shimmering songs.

無論是用什麼名字或是符號出現，永遠是樂壇最尊貴的王子。眼光跟敏銳度永遠快人一步，擷取許多傳統樂音，自在遊走節奏藍調、放克、靈魂、流行、搖滾、藍調、爵士、新浪潮、嘻哈…等領域；建立起自己的音樂王朝，擁有引以為傲的子弟兵團；跨行演藝之途，藉著「紫雨」、「櫻桃月下」、「浮士繪之橋」電影的推出，80年代人氣到達顛峰。滾石雜誌曾評論，如果說《1999》讓Prince成為了明星王子的話，那麼《紫雨》就足以讓他成為國王。總累積86,275,000張專輯銷售量，同時擁有獨特的生活哲學，引人側目之行徑、造型打扮與音樂，總是成為鎂光燈下的聚焦中心所在！

滚石杂志对他的评价是：“虽然他可能看不见，但他却饱览了美国的风景，尤其对黑人的生活有着敏锐的洞察力”。Stevie把他对美国社会的思考和自己的理想表达在音乐里，一手包办了自己的大部分专辑。
这张专辑在滚石杂志选出的500张历代最强专辑中排名第23位。

Japanese only SHM pressing. The SHM-CD [Super High Material CD] format features enhanced audio quality through the use of a special polycarbonate plastic. Using a process developed by JVC and Universal Music Japan discovered through the joint companies' research into LCD display manufacturing SHM-CDs feature improved transparency on the data side of the disc allowing for more accurate reading of CD data by the CD player laser head. SHM-CD format CDs are fully compatible with standard CD players. Universal. 2009.

Dirty Mind is the third studio album by American recording artist Prince. It was released on October 8, 1980, by Warner Bros. Records as the follow-up to his commercially successful second album, Prince, released in 1979.

Mr. Hands is the thirtieth album by Herbie Hancock. It features Jaco Pastorius on the track "4 A.M.," plus an all-synthesizer track, "Textures," performed entirely by Hancock. "Shiftless Shuffle" (originally recorded for the Japan-only album Directstep) features all five members of The Headhunters quintet that first appeared on the 1973 album Head Hunters, including the quintet's original drummer Harvey Mason. This album was the first on which Hancock used a computer, this time an Apple II. He would continue his relationship with Apple Computer for many years.
An overlooked album when it was released, this would be the last outing of "straight" electric jazz from Hancock for some time. Later albums focused more on his R&B influences.

VSOP

Purple Rain is the sixth studio album by American recording artist Prince, the first to feature his backing band The Revolution, and is the soundtrack album to the 1984 film of the same name. It was released on June 25, 1984 by Warner Bros. Records. To date, it has sold over 22 million copies worldwide, becoming the sixth best-selling soundtrack album of all time.

Cheryl Lynn (born Lynda Cheryl Smith; March 11, 1957) is an American singer. She is best known for her songs during the late 1970s through the mid-1980s, including the 1978 R&B/disco song "Got to Be Real".

With their new Velour Recordings release, Outta Here, Lettuce comes raw: no fluff, nothing smooth, just hard funk.  The record combines the grit of the Meters, the harmonic textures of Herbie Hancock, and the hyper-tempo funk of live James Brown.

Back in ‘92, the guys met at the Berklee summer program and were drawn together by their love of classic funk. Only 15 years old, they began taking over clubs and jam sessions in Boston, storming the stage whenever they could. Underage and with no gear, everywhere they went it was, "Let us borrow your drum kit" and simply "Let us play." And Lettuce (Let us) was born.  Since that summer, the guys have all had success -- Eric & Sam play with Soulive, Adam drums for AWB and the John Scofield Band, Erick produces for Sunshine Anderson, Ryan was a founding member of Rustic Overtones -- but they’ve all waited for this long-overdue reunion.

On the new record, Lettuce is joined by some of their heroes. Guitar great John Scofield rips on Flu the Coop and Back in Effect, to which Neal Evans of Soulive lends his B-3 chops. Trombone legend Fred Wesley lends some funk to the James Brown-inspired Superfred and the title track Outta Here.

Despite the record’s title, Lettuce is anything but outta here.  The band is focused on their upcoming tour of the U.S. and Japan.  It’s been ten years in the making, but Lettuce’s bid to re-land the funk mothership on planet Earth has begun.

Malibu is the second album from Oxnard, California-based rapper and singer Anderson Paak. The album was released on January 15, 2016 via Steel Wool, OBE, Art Club & EMPIRE, directly on the heels of the Link Up & Suede EP, Paak's collaborative EP with producer Knxwledge as duo NxWorries, released on December 4, 2015, through Stones Throw Records. This album is in the aftermath of Paak's rise to stardom as a main feature on Dr. Dre's Compton, where he was prominently featured on six songs, including "Animals", a song that was originally Paak's that Dre took to put on the album.
The album features the singles The Season / Carry Me, the Schoolboy Q-featuring disco-influenced track Am I Wrong, and Room in Here featuring vocals from Sonyae Elise and a verse from The Game.

Originally released in 1975 as a double live album, recorded and initially released only in Japan. Flood admirably documents Hancock's Headhunters-period in a concert setting. The tunes are mostly culled from the recommended studio albums Headhunters, Thrust and Man-Child, with an excellent remodeling of 'Maiden Voyage' opening the program.

2001 reissue of 1970 album, remastered from the original analogue tapes and packaged in a digipak. Currently out-of-print in the U.S.3 tracks. Approx. 45 minutes.

Centered around some soundtrack music that Herbie Hancock wrote for Bill Cosby's Fat Albert cartoon show, Fat Albert Rotunda was Hancock's first full-fledged venture into jazz-funk -- and his last until Head Hunters -- making it a prophetic release. At the same time, it was far different in sound from his later funk ventures, concentrating on a romping, late-'60s-vintage R&B-oriented sound. with frequent horn riffs and great rhythmic comping and complex solos from Hancock's Fender Rhodes electric piano. The syllables of the titles alone -- "Wiggle Waggle," "Fat Mama," "Oh! Oh! Here He Comes" -- have a rhythm and feeling that tell you exactly how this music saunters and swaggers along -- just like the jolly cartoon character. But there is more to this record than fatback funk. There is the haunting, harmonically sophisticated "Tell Me a Bedtime Story" (which ought to become a jazz standard), and the similarly relaxed "Jessica." The sextet on hand is a star-studded bunch, with Joe Henderson in funky and free moods on tenor sax, Johnny Coles on trumpet, Garnett Brown on trombone, Buster Williams on bass, and Albert "Tootie" Heath on drums. Only Williams would remain for Hancock's 1977 electric V.S.O.P.: The Quintet album to come. In addition, trumpeter Joe Newman, saxophonist Joe Farrell, guitarist Eric Gale, and drummer Bernard Purdie make guest appearances on two tracks.