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Illusion and Doubt was the band's second album, and was noted for its eccentric lyricism, and unusual musical influences, including its usage of a cello.
Have the time of your life with the unforgettable soundtrack to Dirty Dancing! This classic album topped the charts for 18 weeks in 1987 and 1988 thanks to hits like "(I've Had) The Time of My Life", "Hungry Eyes" and "She's Like the Wind".
The only officially approved soundtrack release by Danny Elfman and Warner Bros. Studios. The music presentation includes not only the music from Pee-wees Big Adventure, but also the score from Elfmans work on Back to School featuring Rodney Dangerfield.
Iann Dior, 070 Shake, Alessia Cara, G-Eazy, Tori Kelly, Alesso & Danna Paola, A7S, Kiana Lede, X Ambassadors and more are featured on the soundtrack to ‘Blade Runner: Black Lotus’.
West Side Story is the recording of the 1957 Broadway production of the same-titled musical. All music is composed by Leonard Bernstein and lyrics written by Stephen Sondheim.
Doris Duke is a veteran in the music industry, being one of the top background singers in the business; nevertheless, this is her initial venture into the recording field as a single artist.
Named for the bumpy toll-roads of Oklahoma and their rough-hewn, folk-singing heroes, the Turnpike Troubadours are proof that isolation can be the mother of originality.
"The South Florida rapper internalizes his skeptical gaze, yielding music that's more deliberately self-reflective, with few ragers or bangers." -Pitchfork
Culture III is the groundbreaking third installment finale of the blockbuster Culture trilogy. As a knockout climax, it spotlights their nimble ad-libs, bulletproof bars, head-spinning hooks, and irreplaceable chemistry.
The Diary of Alicia Keys is the second studio album by American singer Alicia Keys. It was released on December 2, 2003, by J Records. The album was recorded at several recording studios, and production was handled primarily by Keys with contributions.
Genre and sound-encompassing the shaggy psychedelic rock of the 1960s and '70s, and the airy sounds of 1990s mod-post-rock-taking listeners on an auditory expedition, as if they're riding in the back of Bear's Filipino jeepney that adorns the album's cove
Musick To Play In The Dark² spans a full witching hour of bad acid sound design, synthesizer voyaging, opiated balladry, Luciferian glitch, and subliminal hymnals, alternately ominous, oracular, and absurd.
