The album is a four-part concept album based on Wright's then-wife Mildred's battle with depression, and is very much like a classic Pink Floyd concept album in its structure and overall feel.[citation needed] Two songs, "Reaching for the Rail" and "Breakthrough" feature Sinéad O'Connor on lead vocals, with Wright singing elsewhere. The album was recorded in Wright's personal studio in France. Broken China was only Wright's second solo record after 1978's Wet Dream and the last to be released before his death in September 2008.
Wright's Pink Floyd bandmate David Gilmour agreed to play on "Breakthrough." However, the approach for the song was changed later on, and Gilmour's performance was not used on the finished release.
On the DVD David Gilmour in Concert, a guest appearance is made by Wright, who sings "Breakthrough" accompanied by David Gilmour and his band.
The packaging has artwork by Pink Floyd's regular designer, Storm Thorgerson, and Peter Curzon.
Richard Wright – keyboards, vocals, programming
Anthony Moore – computer programming & arrangements, 'telephone vocal' (2)
Sinéad O'Connor – lead vocals (12, 16)
Tim Renwick – guitars
Dominic Miller – guitars
Steven Bolton – guitars
Pino Palladino – bass guitar
Manu Katché – drums, percussion
Sian Bell – cello
Kate St. John – oboe, cor anglais
Maz Palladino – backing vocals

From a preoccupation with the transcendental and occult that informed Ripley Johnson and Sanae Yamada’s guitar driven psych rock, and reached its apotheosis in the acclaimed Occult Architecture diptych, Stars Are the Light sees the band synthesise the abstract and metaphysical with the embodied and terrestrial. Branching out from Occult Architecture Vol. 2, the album has a sonic physicality that is at once propulsive and undulating; it puts dance at the heart of an expansive nexus that connects the body to the stars. These are songs about embodied human experience — love, change, misunderstanding, internal struggle, joy, misery, alienation, discord, harmony, celebration - rendered as a kind of dance of the self, both in relation to other selves and to the eternal dance of the cosmos. Taking disco as its groove-oriented departure point, Stars Are the Light shimmers with elements of ’70s funk and ’90s rave. Johnson’s signature guitar sound is at its most languid and refined, while Yamada’s synths and oneiric vocals are foregrounded to create a spacious percussiveness that invites the body to move with its mesmeric rhythms. With Sonic Boom (Spacemen 3, Spectrum) at the mixing desk in Portugal’s Serra de Sintra, (known to the Romans as “The Mountains of the Moon”) the area’s lush landscape and powerful lunar energies exerted a strong influence on the vibe and sonic texture of the album. On embracing disco as an inspiration, Yamada says,
“It’s something we hadn’t referenced in our music before, but its core concepts really align with what we were circling around as we made the album. Disco is dance music, first and foremost, and we were digging our way into the idea of this endless dance of bodies in nature. We were also very inspired by the space and community of a disco – a space of free self-expression through dance, fashion, and mode of being; where everyone was welcome, diversity was celebrated, and identity could be fluid; where the life force that animates each of us differently could flower.”

2012 release from the Chicago-based Alt-Rockers. With Steve Shelley (Sonic Youth) now fully integrated into the lineup, Disappears return with a full-bore assault of a record. "Pre Language" finds the band speaking on, of all things, love. Direct allusions to Philip K. Dick, James Baldwin, and Joan of Arc sit side by side with songs about the lows of life and the characters that permeate it. Recorded in Hoboken, NJ at Sonic Youth's Echo Canyon West studio and mixed with John Congleton, Pre Language finds Disappears at their most potent and focused. The band has finally stepped into their own world and the results are thrilling.

The Darkside is one of the many projects to emerge from the groundbreaking drone-rockers Spacemen 3. The band was led by Pete "Bassman" Bain and they came from Rugby, England.

Los Angeles seven piece, The Warlocks release their hotly tipped new album Phoenix, on Mute in conjunction with City Rockers. Released on Birdman Records last year in the US, the British release of Phoenix features two new songs 'Red Rooster' and 'Isolation'.

Boureima "Vieux" Farka Touré is a Malian singer and guitarist. He is the son of Malian musician Ali Farka Touré.

Khruangbin is an American musical trio from Houston, Texas, with Laura Lee on bass, Mark Speer on guitar, and Donald Ray "DJ" Johnson Jr. on drums. The band is known for blending global music influences, such as classic soul, dub and psychedelia.

Milton Nascimento (Portuguese pronunciation: ['miwtõ nasiˈmẽtu]; born October 26, 1942) is a prominent Brazilian singer-songwriter and guitarist.

60年代最古怪迷幻盘第一位. 科幻性女王的唯一作.
The First International Sex Opera – Anita. 1969. God knows who made me this tape, but I'm guessing it goes back to the early 90s. Despite the band name, and the Amsterdam based location of said group, this is decidedly NOT erotic in the least bit. The female vocals (more like nagging shrieks, heavy sighs, rollercoaster screams and other irritants) are completely annoying. On this front, the closest comparison would be to Japan's JA Caesar, but without any of the purpose and tension they bring. Musically, FISO is fairly interesting, as the band pretty much play in a loose free rock style with decent guitar and organ leads. My guess is this album was influenced by the Vampyros Lesbos movie/album from Germany, that enjoyed a cult following even back then.

Histoire de Melody Nelson is a 1971 concept album by French songwriter Serge Gainsbourg. Produced by Jean-Claude Desmarty, the album was released on March 24, 1971 through Philips Records. The Lolita-esque pseudo-autobiographical plot of the album involves the middle-aged Gainsbourg unintentionally colliding his Rolls-Royce Silver Ghost into teenage girl Melody Nelson's bicycle, and the subsequent seduction and romance that ensues. Histoire de Melody Nelson is considered by many critics and fans to be Gainsbourg's most influential and accomplished work, as well as one of the greatest French-language albums in popular music.

This ten-song sampler presents the best of Santana, 1969-71, the period of its greatest popularity. The hits include "Black Magic Woman," "Evil Ways," "Everybody's Everything," and "Oye Como Va." But note that this is a bare minimum of prime Santana. Not only does the sampler choose from only Santana's first three albums, but it leaves out such seminal numbers as "Nobody to Depend On" and "Soul Sacrifice." Those looking for a more extensive overview should consider Viva Santana!

Japanese limited edition pressing includes 3 bonus tracks packaged in a miniature LP sleeve. By the time Santana arrived on the San Francisco scene in 1968, the Grateful Dead's freeform antics were already legendary. But Santana was a jam band of another order, fueled by Latin rhythms, blues, bebop, and straight-ahead rock. Having set the audience at the 1969 Woodstock festival on its collective ear, the band did the same for the nation with its self-titled debut. Songs such as 'Evil Ways', 'Jingo' and 'Soul Sacrifice' contain extraordinary ensemble playing, powered by percolating congas and timbales and topped by the grippingly human cry of Carlos Santana's guitar. CBS. 2006.

Credits
Art Direction – Isao Sakai
Composed By – Mako*
Design – Tsutomu Matsui
Engineer – H. Senuma*
Photography By – Tadashi Muto
Producer – Ken Matsumoto (2), Mako*

This sparkling debut, fueled by "Smiling Faces Sometimes," a number three pop hit, zoomed to #43 on Billboard's Top 200 albums chart. Lead singer Joe Harris had recorded as a teenager with Little Joe & the Moroccos and later with the Fabulous Peps, and logged a brief, unsuccessful stint with the Ohio Players. Additionally, Brenda Joyce and Billie Rae Calvin had done background work and sung in the Delicates. Producer Norman Whitfield brought one original song to the session, "You Got the Love I Need"; every other cut was previously recorded by others (Holland-Dozier-Holland's "We Got a Way Out Love" was originally done by the Originals, and so on). Whitfield had the creative juices flowing on "Ball of Confusion," which bounces along for more than ten minutes and is true bliss; the arrangement is totally different from the Temptations blockbuster. The monster "Smiling Faces Sometimes" has a dead serious beat and some strong comments about people who show their teeth all the time. The tracks, with a couple of exceptions, follow a pattern: Harris sings lead, sounding Jerry Butler-ish, and Joyce and Calvin sweeten the tracks with their sugary, two-part harmonies. On Bob Dylan's "Like a Rolling Stone," Whitfield experiments with the trio by testing the pop/psychedelic waters, an indication of a new direction for Undisputed Truth.