Funk Generation is the sixth studio album by Brazilian singer Anitta. It was released on 26 April 2024, through Republic Records and Universal Music Latin Entertainment. It is her third trilingual album after Kisses (2019) and Versions of Me (2022).

Are you ready to party - again? Die 90er sind zurück und mit ihnen die größten Hits des Jahrzehnts! Feiere weiter mit der „BRAVO Hits Party - 90er Vol. 2“."Oops!…I Did It Again" - mit ihrem Kultsong gibt Popsängerin Britney Spears den Ton an. Auch die zweite Ausgabe der „BRAVO Hits Party 90er“ vereint die größten Hits des beliebten Party-Jahrzehnts.
Für die volle Ladung 90er sorgen Stars wie die Backstreet Boys, Salt-N-Pepa, Take That, Christina Aguilera, *NSYNC, Jennifer Lopez, Cher und viele mehr.BRAVO Hits präsentiert mit über 60 Klassikern schon das zweite 90er Special und auch hier gilt wieder: Nur Hits, keine Kompromisse!Feiere deine Jugend: „BRAVO Hits Party - 90er Vol. 2“!

Watermark is the second studio album by Irish singer, songwriter and musician Enya, released on 19 September 1988 by Warner Music internationally and on 10 January 1989 by Geffen Records in the United States. Watermark received many positive reviews from critics and it became an unexpected commercial success, which propelled Enya to worldwide fame. It peaked at number five on the UK Albums Chart, number twenty-five on the Billboard 200 in the United States, and reached number one in New Zealand and Switzerland. It was certified quadruple platinum by the British Phonographic Industry and the Recording Industry Association of America.

When it comes to the Delta blues, all roads lead to its father figure Charley Patton, an immensely gifted performer, Patton served as a major influence on other legendary bluesmen who followed including Robert Johnson, Muddy Waters and Howlin' Wolf

Mikhail Pletnev and the newly formed Rachmaninoff International Orchestra (RIO) performed under the baton of Kent Nagano all four Rachmaninoff piano concertos and the Rhapsody on a Theme of Paganini in October 2023.

Back to Black is the second and final studio album by English singer and songwriter Amy Winehouse, released on 27 October 2006 by Island Records. The album spawned five singles: "Rehab", "You Know I'm No Good", "Back to Black", "Tears Dry on Their Own" and "Love Is a Losing Game". Back to Black was acclaimed by music critics, who praised Salaam Remi and Mark Ronson's production, as well as Winehouse's songwriting and emotive singing style. At the 50th Annual Grammy Awards ceremony, Back to Black won Best Pop Vocal Album and was also nominated for Album of the Year. At the same ceremony, Winehouse won four additional awards meaning that she ties with five other artists as the second-most awarded female in a single ceremony. The album was also nominated at the 2007 Brit Awards for MasterCard British Album and was shortlisted for the 2007 Mercury Prize. Back to Black sold 3.58 million copies in the UK alone, becoming the UK's second best-selling album of the 21st century. Worldwide, the album has sold over 12 million copies.

Less of an intentionally confusing title than might be thought, Reilly for all intents and purposes is Durutti no matter the changes through the years – Vini Reilly does signal another new phase of the band's work, moving into a full embrace of technological possibilities via an Akai sampler. With Reilly and Mitchell joined by a slew of guests – Swing Out Sister keyboardist Andy Connell; singers Pol, Rob Gray, and Liu Sola; and even former member John Metcalfe on the epic surge "Finding the Sea" – Durutti this time around pursued the organic/machine combination to even more successful conclusions than on The Guitar. Reilly's singing has often come in for criticism (unwarranted, really, considering how his soft approach effortlessly suits the general atmosphere of Durutti's work), so the slew of sampled and borrowed snippets from other vocalists and musicians that pepper the album makes for an intriguing change. "Love No More," the album opener, shows how the approach can work, with acoustic guitar to the fore and echoed, truly haunting snippets of what sound like soul and opera singers wafting through the mix.

Ludwig van Beethoven’s first printed work was a set of variations – published in 1783 when he was only twelve years old – and his final keyboard composition was the massive set of thirty-three variations on a theme by Anton Diabelli, composed almost four decades later. Not counting the several movements in variation form included in the sonatas, his twenty-one sets of piano variations thus trace a line of development in his production, parallel to those formed by the 32 piano sonatas or the 16 string quartets.

Vivaldi, the Venetian, master of the whole palette of human emotions. From the church to the opera house, from tragedy to joy, the immediately-recognisable sensibility, the expressiveness, the inimitable colours and an unbeatable talent to say so much in just a few notes.

At the start of the 1980s, it dawned on somebody in charge of Jimi Hendrix's musical legacy that a whole generation of new listeners had come of age since the guitarist's demise. That meant it was time for a fresh raid on the vaults and a fresh, authorized album release to fly the flag of the Hendrix estate, amid the steady stream of bootleg, gray market, and other unauthorized collections of his early work starting to fill up record store bins and browsers. Kiss the Sky did not just resurrect and recycle old familiar recordings, but included a pair of tracks that were new to most listeners and had a lot of meaning for serious fans. The album walked a fine line, emphasizing the more challenging side of Hendrix's work without ignoring some key elements of his mass appeal…

The ten 1963-1964 sides that make up the majority of this set have sort of fallen through the historical cracks over the years. They didn't deserve such shoddy treatment - Sam didn't record "Back Door Friend" or "Hi-Heel Sneakers" anywhere else, and he's in top shape throughout The Late Great Magic Sam. Two live tracks at the set's close from 1969 don't add much to the overall package.

This is an utterly fascinating tribute to the music of Thelonious Monk. Most of the selections feature the unusual trio of tenor saxophonist Joe Lovano, guitarist Bill Frisell (who with his wide range of original sounds is really a one-band band), and drummer Paul Motian. Tenor saxophonist Dewey Redman and pianist Geri Allen are guests on two songs apiece and fit in quite well with the sparse but very complete trio. Among the ten Monk songs explored, taken apart and given surprising treatment are "Evidence," "Bye-Ya," "Ugly Beauty," and "Trinkle Tinkle." Recommended to open-eared listeners.

Schizoid Dimension: A Tribute to King Crimson contains contributions by a variety of artists on Cleopatra-affiliated labels, including Controlled Bleeding, Chrome, Brand X, Pressurehed, Astralasia, Melting Euphoria, Alien Planetscapes, Architectural Metaphor, Xcranium, Spirits Burning, Solid Space, and ex-Crimson violinist David Cross, whose track features John Wetton on vocals. Sometimes the artists' styles don't really mesh well with the music, but at other times, the reinterpretations can be fresh and compelling.

Sessions 2000, Jean-Michel Jarre's first Stateside release after a maddening drought, is essentially a year in the life of the mind of the master who wowed the world with his seminal "Oxygene" suite in 1976. Jazzier than early fans would probably expect, but as interesting as he's always been, Jarre's six-track view of a year is energetic, invigorating, and after-dinner-drink smooth.
Eschewing song titles for a deceptively simpler system of dates, Jarre has both taken away outside meaning from each song, but has also imbued each one with the sensory synapse each season brings. So, then, "January 24" is shot through with the ambience of ice and wind, becoming a chilled "Auld Lang Syne" of sorts, leaving "March 23" to open up sunnier vibes with jazz trumpet and down beat synths…

Boundary-pushing electronic duo and technological pioneers the Future Sound of London have charted a magnificent, unpredictable course throughout their multi-decade career, ranging from early rave staples to ambitious excursions into ambient soundscapes, psychedelic rock, modern classical, and more. Prodigiously releasing club records under various pseudonyms since the late '80s, Garry Cobain and Brian Dougans launched FSOL with the breakbeat house classic "Papua New Guinea" in 1991, following suit with the Accelerator full-length. After signing with Virgin Records in 1992, the duo began releasing more experimental, atmospheric material, including the highly regarded 1994 double album Lifeforms. They also sidestepped traditional methods of touring, instead broadcasting studio performances via ISDN lines. Following 1996's Dead Cities, the duo went on hiatus, re-emerging with the 2002 psychedelic opus The Isness, one of several releases credited to their Amorphous Androgynous alias.