Trompe le Monde is the fourth studio album by the American alternative rock band Pixies, released on September 23, 1991 on 4AD in the United Kingdom and Elektra Records in the United States. After the surf-pop of Bossanova (1990), the band returned to the abrasive sound of the band's earlier releases. Bonus Tracks 16 to 19 recorded live at Muziekcentrum Vredenburg, Utrecht on 25th September 1990 for VPRO Radio 3, Holland.

Earth, Wind & Fire were one of the most musically accomplished, critically acclaimed, and commercially popular funk bands of the '70s. Conceived by drummer, bandleader, songwriter, kalimba player, and occasional vocalist Maurice White, EWF's all-encompassing musical vision used funk as its foundation, but also incorporated jazz, smooth soul, gospel, pop, rock & roll, psychedelia, blues, folk, African music, and, later on, disco. Lead singer Philip Bailey gave EWF an extra dimension with his talent for crooning sentimental ballads in addition to funk workouts; behind him, the band could harmonize like a smooth Motown group, work a simmering groove like the J.B.'s, or improvise like a jazz fusion outfit. Plus, their stage shows were often just as elaborate and dynamic as George Clinton's P-Funk empire.

J.C. Lodge is the type of artist reggae purists have no use for. As they see it, blending reggae with elements of pop, urban contemporary and dance music in so sleek a fashion only serves to water reggae down. But then, Lodge never claimed to be a purist, and in fact, Tropic of Love is fairly decent. The expressive Lodge has an alluring, sexy quality to her voice that works to her advantage on such sleek pop-reggae offerings as "The Prey," "Why" and the hit "Telephone Love." Most of the material is very 1990s-sounding, but "Come Again" is a pleasant number that, except for some dancehall-minded toasting, recalls the reggae of the '60s (when Jamaican artists were paying very close attention to what the American soulsters of Motown were up to). Also noteworthy is Lodge's cover of Sylvia Robinson's seductive 1973 hit "Pillow Talk." Tropic isn't breathtaking, but it's definitely more soulful and enjoyable than reggae's purists claim.

Micro is a 2019 5-song EP by Jinjer. This was released by Napalm Records.

Raised To Life is a 3-song EP released in 2014 by Christian pop group Elevation Worship. This was released by Essential Worship, in honor of Christ.

"Digital Madness" is an album by Barnaby Finch, released in 1986. Barnaby Finch, a keyboardist, was, for many years, a touring member of Lee Ritenour’s band. He toured with Lee on and off from 1982 to 2008. Prior stints include Ronnie Laws, Alphonse Mouzon, Boz Scaggs, Lionel Richie, and David Foster. His piano was featured on the Lionel Richie/Diana Ross hit “Endless Love”. From 1982 to 1989 Barnaby toured with George Benson, and from 1987 to 1989 he was conductor and musical director. He has recorded with Lee Ritenour, George Benson, Pat Kelley, Lee Oscar, Kazu Matsui, Marlena Shaw, Ronnie Laws, Pressure, Lionel Richie, Earl Klugh, Anthony Marinelli, Tom Scott, Peter Sprague, Hubert Laws, Patti Austin, and Kenny Rogers, among others.

This 2004 survey of modern settings of the medieval sequence Stabat Mater Dolorosa is part of conductor Marcello Viotti's project to record the little-known but worthy sacred works of the twentieth century, in conjunction with the Munich Radio Orchestra and the Bavarian Radio Chorus for their concert series Paradisi gloria. The four works by Francis Poulenc, Karol Szymanowski, Krzysztof Penderecki, and Wolfgang Rihm are dramatically different in conception and musical content, and may be regarded more as reflections of personal faith than as practical works for ecclesiastical purposes.

Merceditas Valdés (1928-1996), was a Cuban singer who specialized in Afro-Cuban traditional music. Under the aegis of ethnomusicologists Fernando Ortiz and Obdulio Morales, Valdés helped popularize Afro-Cuban music throughout Latin America. In 1949, she became one of the first female Santería singers to be recorded. Her recording career, which continued until her death in 1996, was especially prolific in the 1950s and 1980s.

This glorious collection fearures the A-sides of all 15 of Ms. Collier's Chess 45s, plus the best of the B-sides. Quality 60s Chicago soul, spanning the whole of the 60s. Ten of her singles A and B-sides have never been on CD before, a further four have only ever been on Kent compilations. The only CD reissues on Mitty to date has been a now deleted reissue of her Chess album "Shades Of A Genius" with a few randomly selected bonus cuts - including the `wrong' version of her biggest hit, `I Had A Talk With My Man'.

The listing shows a CD cover with the word "Complete" in the title. The listing also mentions that there are 2 CDs in the package. I ordered a copy from a seller and received a one CD version of the latest Japanese printing (2004). The two CD version does exist and includes versions of "God Bless the Child" and "Hold 'em Joe". The original single CD version includes "Powaii", "St. Thomas", "Alfie" and "Moritat" for around 45 minutes of music.

GRP's generally well-chosen 1991 Collection covers an entire decade of Lee Ritenour releases from Elektra and GRP. As such, those years seem to form a late-'70s plateau descending into a commercial valley by the early part of the '80s and then gradually ascending a slope as Rit's playing grows and deepens in the decade's final years. Some of the high points are the Latin-inflected numbers from Festival ("Latin Lover") and Portrait ("Asa") and two excellent straight-ahead excerpts from Stolen Moments ("24th Street Blues," "Waltz for Carmen"), the latter two with lots of Wes Montgomery-like octave work. And even "Is It You?," Ritenour's pop hit from 1981, comes off as a good, catchy piece of record-making. Recommended for those who only want a sample of Lee Ritenour's voluminous solo output.

1969's Fancy Free marked the beginning of Donald Byrd's move away from hard bop, staking out fusion-flavored territory that – at this juncture – owed more to Miles Davis than the R&B-dominated jazz-funk Byrd would embrace several years down the road. Recorded just a few months after Davis' In a Silent Way, Fancy Free finds Byrd leading a large ensemble prominently featuring Frank Foster on tenor, Lew Tabackin or Jerry Dodgion on flute, and several percussionists. But the most important piece of the puzzle is Duke Pearson's electric piano, the first time Byrd utilized the instrument.

Given the heartbreaking context in which this album was released – this was the final recording by saxophonist Michael Brecker, who died of myelodysplastic syndrome and leukemia only a few months before its release – there might be a certain temptation to cut it some slack for sentimental reasons. However, leniency is hardly needed. Leading a group comprised of jaw-dropping talents (pianists Herbie Hancock and Brad Mehldau, guitarist Pat Metheny, bassist John Patitucci, drummer Jack DeJohnette) and playing for the first time a program consisting entirely of original compositions, Brecker delivers an emotionally rich and startlingly powerful album of straight-ahead modern jazz that will stand as his musical epitaph and will effectively confound anyone who has ever been tempted to dismiss him as a mere jazz-pop fusioneer.

Buffalo Tom began life as a trio of pre-grunge, neo-psychedelic guitar maulers owing a heavy debt to Dinosaur Jr. (though one might argue that on Birdbrain they actually beat J. Mascis at his own game), but over the next dozen years they matured into a considerably more dynamic and intelligent band, capable of generating crunching rockers or acoustic ballads with equal precision, all of which possessed heart, soul, and a compassionate intelligence. Asides from Buffalo Tom compiles most of the band's best-known songs, including the top sides of their singles, radio emphasis tracks, a few fan favorites, and a cover of the Jam's "Going Underground" from a 1999 tribute album. While the album isn't sequenced chronologically, which would have made a greater case for their growth over time, it does a superb job of capturing the many sides of their musical personality, and it is both a fine summation of their first 11 years as a recording act and great introduction to one of the better bands to rise from the alt-rock scene in the 1990s.

Coupling Debbie Harry and partner Chris Stein with Chic's Nile Rodgers and Bernard Edwards sure seems like a good idea. Add H.R. Giger's stunning cover art and KooKoo should have been a winner. Too bad everyone forgot to bring the songs. Harry's stern delivery over the funky backing winds up sounding forced, with lyrics that are clumsy and limited. "Inner City Spillover" starts off promising enough, but its metaphor of bricks in the city that fall on people's heads and end up paving serene suburban Maine roads hangs around four minutes too long.