New York based singer/songwriter, Morgan James, infuses soul and the roots of rhythm and blues into everything she does. If she and her fans have learned anything over the course of her extensive career, it’s that no matter where she goes, she brings the soul with her. Her newest studio album is an electrifying soul revival tour through some of her own guilty pleasure favorites: heavy rock and metal songs of the 80s and 90s. Yes, you read that correctly; and yes, it’s as epic as it sounds. The album features iconic hits from Black Sabbath to Soundgarden to AC/DC to Stone Temple Pilots, and more; featuring soulful horn arrangements by Doug Wamble, an incredible live band, and signature Morgan James vocals. Her newest release is at times playful and sexy, and sometimes soaring, angry, and devastating.

Bluebeard is a 1972 film written and directed by Edward Dmytryk and starring Richard Burton, Raquel Welch, Joey Heatherton, and Sybil Danning. The film's plot is very loosely based on the French folktale of a nobleman whose latest wife grows curious when he tells her she may enter any room in his castle but one.

The Jelly Beans were an American rhythm and blues vocal group from Jersey City, New Jersey, United States. Formed in 1962 by five high schoolers, the group signed with Jerry Leiber and Mike Stoller's label, Red Bird Records, in 1963. Working with songwriters Jeff Barry and Ellie Greenwich, the group released its debut single, "I Wanna Love Him So Bad", in 1964 the song became a hit in the United States, peaking at No. 9 on the Billboard Hot 100 and No. 8 for 2 weeks in Canada. The follow-up, "Baby Be Mine", peaked at No. 51 later that year and No. 31 in Canada, and while the group recorded copiously, an album was never issued. Red Bird dropped the group at the end of 1964; one final single was released on Eskee Records in November 1965, but it fizzled in the US while appearing at No. 36 in Canada and the group broke up in 1966.

Considering the Bruthers released just one single, it took some digging to manufacture an entire album of material from their brief legacy. Sundazed, as usual, was up to the task, compiling the 11-track Bad Way to Go CD, all but two of the songs coming from previously unreleased studio recordings. Both sides of their sole 1966 45, "Bad Way to Go"/"Bad Love," are here of course, and "Bad Way to Go" is certainly the best of the bunch. Its tense, almost circus-like up-and-down riffs, archetypically snarling mid-'60s garage vocal, doom-clouded organ, and furious tempo changes make it one of the best '60s garage records to have escaped inclusion on the Nuggets box set. The previously unreleased "The Courtship of Rapunzel," recorded just a couple of months later, had a similarly manic-aggressive feel, though perhaps its roller coaster riffs were a little too similar to "Bad Way to Go" to raise it to the same level. A few more Alf Delia originals here are enjoyable teen outrage in the same herky-jerkyish style, the 1965 demo "I'm Gonna Be Alone" betraying a melodramatic pre-Beatles influence along the lines of Del Shannon, and the folk-rock-influenced late-1966 outtake "Walk in the Sun" offering evidence of possible growth into a more mature sound. But the brief set's diluted by some typically energetic-but-derivative garage covers (of the Beatles' "I Wanna Be Your Man," the Who's "My Generation," and the Blues Project's "Wake Me, Shake Me"), as well as an instrumental version of "The Courtship of Rapunzel."

The term "scratch band" refers to a tradition of folk music, Ron Blake explains in his album notes, "performed by storytellers and groove makers in the community I grew up with in the Virgin Islands." The music here isn't reflective of the genre of scratch bands, called quelbe, but "the intention when putting the album together … is. Groove and other elements of music–melody, harmony, & space, imagined without pretense."

Join the band leader of the modern masters of exotica; ÌXTAHUELE, Mattias Uneback, on a new mind- bending sonic adventure with love and dreams as the driving force! Inspired by library-, exotica-, beat- and psychedelic music as well as the breathtaking landscape of the Swedish mountain world. These are the Now Sounds for your cocktail lounge and Tiki bar

21… Ways to Grow is the third studio album by American R&B singer Shanice. It was released by Motown Records on June 21, 1994, in the United States. Less successful than her 1991 album Inner Child, it peaked at number 46 on the US Billboard's Top R&B/Hip-Hop Albums and at number 184 on the US Billboard 200. It includes the minor hit singles "Somewhere" and "Turn Down the Lights".

Mr. Mister was an American pop rock band most popular in the 1980s. The band's name came from an inside joke about a Weather Report album called Mr. Gone where they referred to each other as "Mister This" or "Mister That", and eventually selected "Mr. Mister." Mr. Mister may be considered as representative of the melodic sound of 1980s pop rock. The band consisted of Richard Page on lead vocals and bass guitar, Steve George on keyboards/backing vocals, Pat Mastelotto on acoustic and electronic drums/percussion and Steve Farris on guitars/backing vocals. Welcome to the Real World was the second album by band Mr. Mister. Released in 1985, it climbed to #1 on the Billboard album charts during early 1986.

Singing Down the Lane is an album recorded by country music singer Jim Reeves. Released in June 1956,[1] it was his first album for RCA Victor.

1981 was a seismic year in pop music, with a huge number of new artists making unforgettable chart debuts. We have included more than 160 tracks on the CDs of the 1981 Yearbook, the 80-84 Final Chapter, and their extras so far in our appreciation of the year. Those tracks were generally the bigger hits of the year, with their chart achievement a factor in their inclusion – however – that’s not the whole singles story of the year, and our celebration of 1981 wouldn’t be complete without shining a light on some of the years’ singles that have been compiled much less frequently over the past 40 years. Welcome to THE VAULT for 1981, 4-CDs featuring 82 tracks. Some of the tracks included were Top 40 hits, some missed the chart completely. Some were representative of massive selling albums, and some were big hits in the U.S. and not in the U.K but all are part of the wonderful pop story of 1981.

They were originally named 'The Hot Chocolate Band' by Mavis Smith, who worked for the Apple Corps press office. This was quickly shortened to Hot Chocolate by Mickie Most. Hot Chocolate started their recording career making a reggae version of John Lennon's "Give Peace A Chance", but Brown was told he needed permission. He was contacted by Apple Records, discovered that John Lennon liked his version, and the group was subsequently signed to Apple Records. The link was short-lived as The Beatles were starting to break up, and the Apple connection soon ended.

The cliché about singer/songwriters is that they sing confessionals direct from their heart, but John Lennon exploded the myth behind that cliché, as well as many others, on his first official solo record, John Lennon/Plastic Ono Band. Inspired by his primal scream therapy with Dr. Arthur Janov, Lennon created a harrowing set of unflinchingly personal songs, laying out all of his fears and angers for everyone to hear. It was a revolutionary record - never before had a record been so explicitly introspective, and very few records made absolutely no concession to the audience's expectations, daring the listeners to meet all the artist's demands. Which isn't to say that the record is unlistenable. Lennon's songs range from tough rock & rollers to piano-based ballads and spare folk songs, and his melodies remain strong and memorable, which actually intensifies the pain and rage of the songs…

From Time To Time - The Singles Collection is a compilation album by the English singer Paul Young. Released in 1991, it was Young's first "greatest hits" collection, compiling tracks from the past decade. The album entered the UK Albums Chart at number one and has been certified Triple Platinum by the British Phonographic Industry.

After decades of drifting aimlessly in a musical equivalent of Superman's Phantom Zone, virtuoso guitarist Uli Jon Roth (who along with countryman Michael Schenker virtually wrote the Teutonic guitar hero scrolls during his spell with the Scorpions) finally stumbled upon a viable new creative framework with which to express his still formidable but often mislaid talents. Doing away with the psychedelic Hendrix worship that had branded him both a pale imitation and dated anachronism throughout the '80s and '90s, Roth rediscovered sure footing via the Transcendental Sky Guitar concept, which combined his expertise on a custom-designed instrument (the seven-string Sky Guitar) with backing by a full-fledged orchestral ensemble…

Vocalist Stacey Kent may or may not be "the greatest ballad singer in half a century," as her PR claims, but her straightforward renditions of these by-request ballads are not at all generic. What makes them consistently delightful is her unique sound and delivery. There's a certain brassiness, a trumpet-like pointedness, in her voice, as well as a host of endearing idiosyncrasies. Listen to her pronounce the word "idea" in George and Ira Gershwin's "Isn't It a Pity?" Or deliver these remarkable lyrics from the same song: "What joys untasted!/You, reading Heine/Me, somewhere in China." And later, "My nights were sour, spent with Schopenhauer." Kent knows how to make every tune fit her own musical persona. Dreamsville includes a number of seldom-heard gems, particularly "You Are There" by Johnny Mandel and Dave Frishberg, "You're Looking at Me" by Bobby Troup, and the ever-stunning title track by Henry Mancini…