The Tortured Poets Department (colloquially shortened to Tortured Poets) is the upcoming eleventh studio album by the American singer-songwriter Taylor Swift. It is set for release on April 19, 2024, via Republic Records. Swift wrote the album with producers Jack Antonoff and Aaron Dessner.Swift announced the album at the 66th Annual Grammy Awards on February 4, 2024, after winning Best Pop Vocal Album for her tenth studio album, Midnights (2022). She conceived The Tortured Poets Department shortly after finishing work on Midnights and continued developing the former during the Eras Tour (2023–2024), her ongoing sixth concert tour. With a concept fashioned after the five stages of grief, The Tortured Poets Department is Swift's self-proclaimed "lifeline" album. It consists of sixteen songs, featuring collaborations with the American rapper Post Malone and the English indie rock band Florence and the Machine. The physical editions of the album include bonus tracks.

Banana Wind is typical latter-day Jimmy Buffett. Over a laidback, Caribbean-inflected folk-rock, Buffett waxes eloquent over boats, booze, sun, and women. Although the sound of the album certainly is pleasant, there's not a single distinctive song on the record, which means it's good for Parrotheads, but casual fans should let this Banana Wind sail on by.

By the time of his fifth album, Havana Daydreamin', Jimmy Buffett seemed to have established a pattern for what a collection of his songs would be. The best one-word description for the musical style still would have to be "country," but Buffett, and probably his record label, had given up on trying to sell him to the conventional country audience, and instead aimed at a slice of the pop market. That was fair enough, since he had evolved a persona as a Gulf Coast ne'er-do-well in compositions full of sentimentally viewed oddball characters ("Woman Goin' Crazy on Caroline Street," co-written with Steve Goodman, a re-recording of "The Captain and the Kid" from his first album, Down to Earth), self-deprecating self-portraits ("My Head Hurts, My Feet Stink and I Don't Love Jesus"), and humorous depictions of life on the road for the working musician ("Big Rig," written by Gregory "Fingers" Taylor, harmonica player in Buffett's Coral Reefer Band, "Kick It in Second Wind," co-written with girlfriend Jane Slagsvol), with plenty of references to alcohol and recreational drugs thrown in. It was perhaps unfortunate that the two best-written songs on the album, each of which ended one side of the LP, were written by others, Jesse Winchester's touching, whimsical "Defying Gravity" and Steve Goodman's road song "This Hotel Room." But that suggested that Buffett was looking for good songs to sing, whether he wrote them himself or not. © William Ruhlmann

While it still lies much closer to Nashville than Key West (like in the boisterous slide guitar solo that lights up "The Great Filling Station Holdup"), Jimmy Buffett's A White Sport Coat and a Pink Crustacean does begin to delineate the blowsy, good-timin' Key West persona that would lead him to summer tour stardom and the adoration of millions of drinking buddies everywhere. "Why Don't We Get Drunk," "Railroad Lady," and "Grapefruit – Juicy Fruit" rightly became crowd pleasers. But Buffett reveals himself a storyteller with the touching sigh of "He Went to Paris," where a slide guitar appears again to lend a subtle gleam to the arrangement, or in the gorgeous, sweetly sad tale of a passed-away poet's unlikely posthumous success. It's in this wide-eyed honesty, as well as the winking sarcasm of the scrambling honky tonker "Peanut Butter Conspiracy" – "We never took more than we could eat/And we always swore if we ever got rich, we'd pay the mini mart back" – that Buffett's flair for easygoing accessibility really emerges.

Iconic UK indie band Flowered Up, seen as London’s answer to Happy Mondays and The Stone Roses, reissue their debut album ‘A Life With Brian’ (from 1991) via London Records. The reissue follows a BFI documentary on the video of ‘Weekender’ and it’s legendary status in UK club culture of the time. The album remastering was overseen by Flowered Up keyboard player Tim Dorney.

The Joni Mitchell Record That Forever Changed the Music and Cultural Landscapes: Blue Is Widely Considered One of the 10 Greatest Albums of All Time. 1971 Landmark Plays with Reference-Grade Detail, Intimacy, and Directness on Mobile Fidelity's Numbered-Edition Hybrid SACD.

Torchbearers of the Southern California band sound, Local Natives first drew attention in 2009 when their debut album, Gorilla manor, grabbed fans with its vibrant mix of kinetic, complex rhythms and soaring harmonies. The album drew praise for its enthusiastic balance of post-punk urgency and evocative lyricism. In 2013, the group expanded upon that sound, exploring a darker, more introspective aesthetic on their follow-up, Hummingbird (produced by Aaron Dessner of The National). Their third album, Sunlit Youth, arrived in the summer of 2016 via Infectious and Loma Vista Recordings. Its globe trotting writing process found the group experimenting with production techniques and expanding their palette of entrustments. The classic studio setting is juxtaposed on Local Natives’ fourth full-length, Violet Street [Loma Vista Recordings] with modern production and visuals to form a timeless album. The band’s signature soaring 3-part harmonies are augmented by loops of tape, physically spliced and transformed by hand, the result of experimenting in the studio with producer Shawn Everett (Alabama Shakes, Kacey Musgraves, The War On Drugs). The band's fifth project Time Will Wait For No One [Loma Vista Recordings] serves as a harmonious return to their roots. Their sixth album, But I'll Wait For You, is a companion piece to the album prior to it. Local Natives are Kelcey Ayer, Nik Ewing, Matthew Frazier, Ryan Hahn, and Taylor Rice.

"Staring at the Sun" is a song by Irish rock band U2. It is the fifth track on their 1997 album, Pop, and was released by Island Records as the album's second single on 14 April 1997. The song peaked at number three on the UK Singles Chart, number one in Canada and Iceland and number 26 on the US Billboard Hot 100. In the US, it topped the Billboard Modern Rock Tracks and Adult Alternative Songs charts. It also reached the top 10 in Finland, Ireland, Italy, New Zealand and Norway.

Tei Shi Is Coming Out With an Eponymous Solo LP 'Valerie'. The newly independent artist also shared the first song from the album, “Quédate Queriéndome.” Singer, producer and DJ Tei Shi is continuously evolving, recreating herself on each new album. The prolific artist, whose real name is Valerie Teicher Barbosa, will be returning with another body of work, the eponymous album Valerie.
Following last year’s BAD PREMONITION EP, Shi bills Valerie of an extension of her last project, which marked her becoming a fully independent artist. Whereas BAD PREMONITION emphasized the cathartic experience of gaining her musical freedom, the new album will see her truly come into her own sound.

Anne Wilson will be releasing her sophomore album, REBEL, on April 19, 2024. Featuring 16 songs including her current country radio single, “Rain in the Rearview,” and current Christian radio single, “Strong.” Also featured are duets with country superstars Lainey Wilson and Jordan Davis. Anne made her debut in 2021 with the release of her single, “My Jesus,” which went to #1 on Billboard’s Hot Christian Songs chart and was certified platinum, selling over a million songs. Her debut album, My Jesus, was released in April 2022. One of Nashville’s most inspiring trailblazers, Anne Wilson is a true REBEL in modern music.

This is a Record Store Day 2024 release. This vinyl will be for sale in our store in Scheveningen on April 20. If there is still stock left, online sales will start April 22 at 9:00 PM (Dutch time).

Grammy and Oscar award winning producer, musician and songwriter T Bone Burnett is back to form with a folk album of 12 tracks featuring artists Lucius, Roseanne Cash and Weyes Blood. “With this record, I tried to treat myself as kindly as I would try to treat other people,” says Burnett, who likens his producing approach to that of a photographer. “I try to find the person's best angle and light them so they look the most like themselves or the best version of themselves. And this time, rather than staying in the romantic notion I previously had of myself—of a rebellious artist, a firebrand or whatever I thought I was trying to be—I just tried to be kind to myself.” Ultimately, in looking for “you,” T Bone Burnett found himself on The Other Side.

Glen Campbell Duets: Ghost On The Canvas Sessions reimagines Glen’s critically acclaimed 2011 farewell album with some of the biggest icons in music. The project is the first of its kind, an album recreated completely as duets posthumously, blending Glen’s original vocals with the talents of artists like Elton John, Sting, Eric Church, Carole King, Eric Clapton, Dolly Parton, Brian Wilson and more to create an artful body of work that celebrates the Rhinestone Cowboy’s final ride.

Today, with Rhino's surprise release of From The Mars Hotel: The Angel's Share, the Grateful Dead vaults have once again been opened. Featuring 16 newly unearthed session recordings, the digital collection brings listeners directly into San Francisco's Coast Recorders during the spring of 1974, revealing the band's real-time process as they crafted such eternal staples as "Scarlet Begonias," "Ship Of Fools," "China Doll," "U.S. Blues," "Unbroken Chain" and more that would make up their classic From The Mars Hotel LP. The evolution of all of those songs and other album highlights is charted throughout this fourth edition of the band's fan-favorite Angel's Share series. Like previous installments that accompanied milestone reissues of Workingman's Dead, American Beauty and Wake Of The Flood, From The Mars Hotel: The Angel's Share brings together hours of expertly-curated outtakes, alternate versions, acoustic mixes, ​​unexpected moments and revelations that have never been heard or available on DSPs until now.

One of French pop's most poetic songwriters, Georges Brassens was also a highly acclaimed and much-beloved performer in his own right. Not only a brilliant manipulator of language and a feted poet in his own right, Brassens was also renowned for his subversive streak, satirizing religion, class, social conformity, and moral hypocrisy with a wicked glee. Yet beneath that surface was a compassionate concern for his fellow man, particularly the disadvantaged and desperate. His personal politics were forged during the Nazi occupation, and while his views on freedom bordered on anarchism, his songs expressed those convictions more subtly than those of his contemporary, Léo Ferré. Though he was a skilled songwriter, Brassens had little formal musical training, and he generally kept things uncomplicated – simple melodies and spare accompaniment from a bass and second guitar. Along with Jacques Brel, he became one of the most unique voices on the French cabaret circuit, and exerted a tremendous influence on many other singers and songwriters of the postwar era.